Posts Tagged ‘ Test

Sony NEX-7 vs Sony NEX-5N

Digital Rev has posted a Sony NEX-7 vs. Sony NEX-5N article here.

Canon C300 Test Film

This film is a Test of the Canon C300 camera using Canon ef lenses.
We filmed different scenes around Chelsea in London to see how the C300 dealt with the varied conditions offered on a London street.
It was a very windy day so were dealing with sun in & out, a bit of rain and generally the constant changing weather you get on location.
This was our 1st proper opportunity to use the C300 and try out it’s form factor.
It performed very well holding detail in highlights and also shadows where we didn’t expect and because of the quality of the LCD screen and viewfinder it is much easier to operate.
The Camera was set to 1920 x 1080 @ 50m/bs – 25p we used the Normal 3 Gamma curve & Matrix.
I have set Vimeo to play this at 1080P so it may take longer to playback but please comment if you want it back at the standard 720.

2-Perf and 3-Perf 35mm Motion Picture Film Demo

Director and Cinematographer, James Chressanthis, ASC

KODAK VISION3 250D Color Negative Film 5207
KODAK VISION3 500T Color Negative Film 5219

Cameras were donated by Panavision, and mounted side by side on a single dolly, donated by JL Fisher, to capture the scenes simultaneously.

For more information about the production click here:

For more information about film choices:

Sony NEX 5N studio graded vs. ungraded test

Sony NEX 5N studio test from superiormediagroup on Vimeo.

Shot on a Sony NEX 5N with the kit lens. Graded with LOOKS. Test to see how it matched up agains my 7d work. Auto White balance is useless.

RED Epic vs. Panasonic GH2 Video

RED Epic verus Panasonic GH2 from Philip Coltart on Vimeo.

Panasonic GH2 (hacked) vs. Red Epic. The GH2 holds up very well!

This is a somewhat David and Goliath story. It is safe to say that a GH2 does not belong on a film set but with some care and stable hacking, this little cam does what it does. I was extremely careful conducting these tests. Every shot was focus assisted, all apertures matched and each cam was on its highest setting. No effects were added or taken away. White balance was adjusted and so were the levels to match each other. Please leave constructive comments. This is an evolving industry full of challengers, large and small, old and new. Feel free to visit some of our work at Thank you.


iPhone 4S / Canon 5d MKII Side by Side Comparison from Robino Films on Vimeo.

Here’s a “fair” test between the iPhone 4S and the Canon 5D MK II. I made a little rig that allowed me to shoot both cameras at the same time side by side. All scenes are perfectly synced together so you can pause and scrutinize the frames! See photo of the makeshift rig in the photo area.

Canon EOS-1D X first look video

Canon EOS-1D X : first look video from Dan Chung on Vimeo.

Dan Chung of DSLR NEWS SHOOTER takes a look at the New Canon EOS-1D X.

I’ve been at the Canon Pro Solutions show in London this week and was lucky enough to get a full run through of the video features of the Canon EOS-1D X from Mike Burnhill. I was allowed to shoot with the camera but sadly I could not take the video away. For me one of the great things is that the camera works with many of the existing 5D mkII accessories as you can see in the video. Sadly the camera is not available until March 2012.

Arri Alexa, RED MX, Super 16 comparison footage test (VIDEO)

Dynamic Range Camera Test from John Brawley on Vimeo.

A dynamic range test between Alexa, RED MX and Super 16.

Four Scenes shot with three cameras to test the dynamic range of each camera in a real world situation. Lighting was very simple in each case, only involving a single fixture and available or practical lighting otherwise.

All lenses were cooke S4′s.
Simple balancing grade done in Lustre from grey card for each setup.
Alexa was shot in LOG mode, recorded to PRO RES 4:4:4.
RED MX processed via R3D’s natively in Lustre.
Super 16 was transferred to 2K DPX via Spirit. First setup was KODAK 250D and subsequent setups were KODAK 500T. NO noise reduction was used (though this would normally be applied)

Check the original topic and discussion on DVXUSER.COM

Sony NEX 5N review with 5n vs. Panasonic GH2 test footage


Sony NEX 5N versus Panasonic GH2 – EOSHD Review from Andrew Reid on Vimeo.

This is a short test in low light against the hacked GH2.

The GH2 is set to 1080/24p AVCHD 44Mbit with Auto Quantizer 4. The NEX 5N is set to 1080/25p AVCHD 24Mbit.

I’ve included some 1080/50p slow motion footage as well and normally lit scenes shot with the NEX 5N.

Lenses: GH2 – Samyang 35mm F1.4, 5N – Canon 50mm F1.2 L. Both set to F1.4 throughout. Later 5N scenes are with the standard 18-55mm kit lens.

The Sony NEX 5N is the first DSLR* from Sony that offers manual control in video mode and 24p. It precedes the higher end Sony A77 and NEX 7 by about 2 months and is priced at just $599 for the body only. The 18-55mm OSS kit lens is video optimised and has a very effective optical stabiliser. A 50mm F1.8 OSS prime will follow soon (I tried one at IFA, it’s great to finally have a stabiliser on a fast prime!) and the OLED viewfinder add-on.

* I use the term DSLR as an umbrella term for cameras now – when technically the new Sonys are SLT or mirrorless compact system cameras (CSC).

The NEX 5N like the FS100 and NEX 7 is E-Mount. It will take the same lenses (including PL) and the forthcoming Zeiss 24mm F1.8. I had a play with this lens at IFA and it is absolutely beautiful, as is the OLED viewfinder on the NEX 7 and A77.

There is absolutely no doubt that Sony have produced a dark horse here, at this price and position in the range. It offers the biggest amount of bang per square inch and per dollar that I have ever seen. Due to it’s size and compatibility out of the box with PL mount lenses, it could also replace a director’s viewfinder with a digital equivalent.

Personally I am extremely disappointed with the Sony Nex 5N, to my eye it doesn’t look any better than Canon T3i or 60D footage. I think it actually might not even be there, however I withhold judgement until I get my hands on one my self. Based on the footage of the Sony Nex 5n and the very disappointing reviews of the Sony A77 I am not holding out much hope for the Nex 7. Sure the Nex 7 will probably be a great little stills camera but I don’t think it will be enough of a jump to get me to sell my Canon. This new batch of Nex cameras seems like a big jump up from the previous line but I wondering if it might take the next generation to really get more out of these cameras in terms of video capability. However I think Sony IS on the right track and adding 24P was/is big and I will hope it will become standard. I want a Sony HX9V that shoots 24P!:)

Sony NEX 5N vs FS100 vs NEX VG20 test video footage

source: EOS HD

Sony NEX 5N versus FS100 and VG20 – Quick comparison from Andrew Reid on Vimeo.

Andrew Reid over at EOS HD has posted some test footage between the Sony Nex 5N, Sony FS100 and Sony Nex VG20. Check out the article on EOS HD here for more details.

How does the NEX 5N compare to Sony’s higher end dedicated video cameras?

Well first of all let me tell you that the VG20 is an absolute piece of crap. This is a camera that is meant to sit below the FS100 and is a good $1700 more expensive than the NEX 5N and yet it has a plethora of disadvantages compared to the diminutive mirrorless camera. It brings so little to the party for that extra $1700 namely a top handle and better audio. But in adding those, it also brings massive operational and build quality frustrations to the hapless operator.