The great camera shootout – What it means for agency producers and creatives
Recently Zacuto, a cinema gear company finished it’s Great Camera Shootout 2. They tested many of the most popular cameras now used in commercial production as well as 35 negative film. The results were surprising to some and proof for the initiated.
But what does it really mean to those in the creative industry facing more and more challenging budgets, timelines and clients? Does this mean everything can now be shot on a AG-AF100 Digital Camcorder – 3.5" LCD – Live MOS – Full HD“>Panasonic AF100 is like shooting super 16, many people won’t be able to tell the difference between it’s image and 35 mm film but it’s smaller sensor size means less options for lenses, greater depth of field, and its compression, thus image quality, isn’t as good as the big guns.
Arri Alexa is like shooting a 35mm negative, it preserves the most highlights, giving you amazing image quality on par with 35 mm film.
Red Epic 5k is like shooting super 35. This camera provides a larger image that give even greater room for cropping, plus Red Raw preserves more color information and latitude for manipulation in post.
These are just a few of the more popular cameras often discussed with commercial shooters. When your bidding your next job, ask the director why they want to use a particular camera over another. It’s not just a budgeting choice, it’s a creative one too.
Like when Gale Tattersall chose to shoot House with Canon DSLRs because it was the best way to shoot in confined spaces. He then worked within the systems limitations to achieve great television.
Or maybe if you’re shooting on a set, you don’t need the same depth of field so the workflow of the AF100 could save you money to use in post or the art department.Posted on: October 25, 2011, by : Jimmy Gilmore