Alex Barroso

I have already done some green screen tests with the camera and have had absolutely no problem keying it out.

Here's a link to a test we did with the Camera at Mole Richardson. Was transcoded to 24P and unfortunately on youtube there is some clipping on the speedy parts, but is not there on the original video so ignore it. You will also see that jiggly CMOS as an effect done intentionally at the end. I personally still believe that if you know it's faults and work around them the camera will treat you well.

Oh and I believe you should be able to do 25P no problem. Just edit the whole thing at 30P before the conversion to save you a headache.

I think the common mistake people make with this camera is treating it like an HD Pro camera. This camera can make beautiful video, but has to be treated more like the good ol days, before hand-held. Shooting on a fisher dolly we have had great results with this camera, as well as with pulling focus w/monitor. It is not a good hand-held camera for clear reasons and needs a complete camera crew to get consistent imagery. Lighting also has to be strict as you can't just run and gun. We have been shooting at the very least a 5.6 to keep the DOF in check since the chip technically is larger then 35mm film. At a 1.4, the DOF is literally less then a 1/2 inch, so light control is imperative, otherwise yes, the 1st AC or DP will want to shoot themselves.

He had said the theaters in his area are state of the art, which I would imagine they would have the projectors. I also extremely disagree with

a high contrast image. As Phil said, the settings of the camera have to be understood and used properly and respectfully more like a film camera. I have yet to ever get the rolling shutter on it, but other cameras like the EX3 and the RED camera have all been scrutinized before for that. The camera's image is also no more compressed then the EX3 or the HVX. it's data rate is 35mbps, which is also the EX3s. Granted if you were to get a Sony, the EX1 would surely be more beneficial then the 3 in terms of price and use. Though agreed the HVX could also definitely do the job and cheaper too and decent enough for big screen.

On the side note, I have never had trouble getting the SxS cards out of it.

The Ex3 will do fine displaying in a theater. I have shot and displayed a short with it used in a theater and it looks great. Honestly I believe any camera can look

great on-screen, but it depends entirely on the DP and the lighting. The camera may have only a 1/2 inch chip but if the DP understands the camera and it's limits, a great DOP can still be achieved, it just takes more time. Even more so, as long as you have a good story, your viewers won't care more or less what it was shot on.

The Canon 5D mark II like said actually can shoot some great stuff for a lot cheaper, granted you don't get the 24P, but again...most of the people that only care about that is US. The viewer could care less and you save yourself $6000.00.

Sony EX3

1/2 chip

4:2:0 color space

24P,30P,60I

Expensive Cards $300 + for 8GB

$8320

Canon 5D Mark II

Full Size Chip

4:2:2 color space

30P

Best low light camera I have seen btw

Uses Compact Flash

Can take advantage of Prime Lenses and all the fun that goes into it.

$2700

I own both, and let me tell ya...I am getting awfully close to selling my Sony if that tells you anything. The only drawback is handling the 5D takes some getting used to. Hope this helps.

I hoping some of you have experience with both the bigger Sony cameras ( F900R or F330, F350 XDCAM etc) and smaller Sony cameras ( EX1 or EX3). I?m mainly interested in knowing how similar the cinegammas in the EX1/EX3 are to the hypergammas in the F900R and F330/350 ( I think all these shoulder cameras have the same hypergammas. Possibly the F23 too). The reason is I?m trying to establish which cinegamma is best for low light, which is best for high contrast like days exteriors and which captures the widest dynamic range.

For what I could gather there seems to be some who say the cinegammas are identical to the Hypergammas (like this article: http://digitalcontentproducer.com/ca...ex/index2.html

that says; ?For those who would like to tackle greater dynamic range, EX1 provides in addition to four standard preset gamma curves, four CINE Gamma curves identical to those in the F330/350 and, for that matter, F900R and F23 where they?re known as HyperGamma curves 1-4. For some reason, the ordering is scrambled in the F330/350 and EX1. CINE1 with a 108-percent white clip is the same as HyperGamma 4.?)

while I have read people saying they are not the same at all since all cinegammas are the same going from 0 to 109% except cinegamma 2 which goes from 0 to 100% and that they don?t seem to to have any difference in highlight handling (the clipping point of the highlights remains the same) and that just the mid tones change. If this is true, the cinegammas cant possibly be similar to the hypergammas, since there are 4 types of hypergammas. Two go from 0-100% HG 1 &2) and two go from 0-109% (HG 3&4) and among these one set is for low light (HG 1&3) and the other is for high contrast (HG 2&4).

If you have used the F900R or the bigger XDCAMs and also the EX1/EX3, I would love to know what you think about how cinegammas and hypergammas relate. The reason is that I?m having a very hard time knowing when to use which cinegamma and there are no articles or guides online to advice on the cinegamma use in the EX1/EX3. But there are several good articles and papers about how to use Hypergammas (like these: http://www.sony.co.uk/biz/view/ShowC...=1219237429204

http://pro.sony.com/bbsccms/assets/f..._factSheet.pdf) which could be put to good use if it's confirmed they indeed behave the same way.

 

Guides like these are a very useful rule of thumb for a guy without any video engineering background like me and they are all over the net since the F900R is so widely used.

So knowing how this info can translate to the EX1/EX3 would be really useful and I couldn't really find any solid confirmation on how close the Cinegammas are to the Hypergammas so I thought I would ask here if anybody know and also if you have been shooting with the EX1/EX3 what gamma curve you are using for low light and for high contrast like shooting talent in the shade with a sunny background.

I have attached a picture comparing the gamma curves of the EX1, F900R and F790P in case somebody who haven't used both the big and smaller cameras want to take a crack on it just by looking at the curves. They look rather similar to me.

 

 

Thanks in advance.

I have handled the F900 and own the Sony EX3, we actually did tests with the histogram,waveform monitor, low lighting tests etc comparing the two side by side, they are virtually the same camera, all tests came back identical, the only difference which was extremely slight was DOF due to chip size. Are you just curious on what to use?