Filmworkers recently took part in a unique event testing the performance of the current generation of digital motion picture cameras, from leading edge camera systems used to shoot Hollywood blockbusters to the humble iPhone. “The Revenge of the Great Camera Shootout” was produced by Zacuto Films, a division of the Zacuto USA, highend camera accessories manufacturer and crane manufacturer Kessler Cranes. Like similar events produced by Zacuto in the past, RGCSO features side-by-side tests of camera systems made by Sony, ARRI, Red, Canon, Panasonic and Apple. Filmworkers provided color grading services necessary to make direct comparisons between the output of the cameras. Grading was performed by colorist Jimmy Cadenas with additional grading by colorist Brian “Crash” Carlucci.nnA Chicago screening of “The Revenge of the Great Camera Shootout” is scheduled for May 1st at Tribeca Flashpoint Academy. Check Zacuto’s website (www.zacuto.com) for more info.nnTest footage was shot under the supervision of veteran cinematographer Bruce Logan, ASC at Tribeca Flashpoint Academy in Chicago. The cameras included a Sony F65, an ARRI Alexa, a RED Epic, a Sony FS100, a Sony F3 (with S-log), a Canon C300, a Canon 7D, a Panasonic GH2 and an Apple iPhone.nnThe cameras were put through two types of tests, empirical and subjective. In the empirical tests, each of the cameras was used to shoot an identical scene with identical lighting on a stage set. The camera output was then graded to match a standard look. This test was meant to show differences in the various cameras’ abilities to capture images. In the subjective tests, lighting was used to compensate for the specific dynamics of the individual cameras. The output was then put through a full, creative color grading process. Those tests were meant to show how cinematographers can take advantage of a camera’s strengths and weaknesses for creative effect.nnColor grading for both types of tests was conducted at Filmworkers‘ Chicago facility by Carlucci and Cadenas using a state-of-the-art Baselight EIGHT color grading system. Todd Freese, the facility’s technical director, notes that strict measures were taken to ensure that the tests were fair. “We made sure our pipeline was scientifically perfect and that we were able to handle the output of each camera natively, without transcoding,” Freese said. “This was not just a test of the cameras, it was also a test of our Baselight. Working with all these different cameras pushed our system to the limits, and it performed beautifully.”nnFilmworkers‘ Baselight grading suites allowed the camera media to be processed under optimal conditions. “We graded everything in P3 color space,” explained Cardenas. “We had the tools to make each one look its best. For directors and cinematographers, this is a great demonstration. It’s hard to compare one camera to another until you see their output side by side.”nnnnFrom a colorist’s point-of-view, it was insightful to compare cameras costing in the high five figures with others costing just a few thousand dollars. “It was interesting to see how each camera reacted to the empirical lighting,” said Cadenas. “You don’t have the same dynamic range in some of the lower end cameras. Getting some of that footage to match the standard look of a high-end camera was a challenge.”nnCarlucci was impressed with the subjective testing. He said it showed that with a talented cinematographer, proper lighting, and powerful post production technology, even modestly-priced cameras can be used to produce professional results. “Tools, like Baselight, allow us to do almost anything with digital images,” he said. “It really doesn’t matter to us what a production shoots with, an Alexa, an F65 or an iPhone, we will make it look fantastic.”nnResults from Revenge of the Great Camera Shootout can be seen at the Zacuto/Kessler booth at NAB. Other screenings are scheduled to be held at the American Film Institute in Hollywood, at Lucasfilm SkyWalker Ranch and in venues in New York, Chicago, Nashville, England, France, Germany, Netherlands, India, Australia and Japan.nnFilmworkers is located at 232 E. Ohio St. Penthouse, Chicago, IL 60611. For more information, call (312) 664-9333 or visit www.filmworkers.com.
Lisa Long Executive Producer Filmworkers 312.664.9333 Contact Lisa via email
Contact:Media: Linda Rosner ArtisansPR 310.837.6008 Contact Linda via email
Historic “Off The Record” Interview Archive Now Posting Rare Exclusive Audio Recordings With Rock Stars Free on YouTube
For the first time ever, the “Off The Record” Interview Archive has been posting free on YouTube, rare, historic and exclusive interviews with legendary rock musicians including Paul McCartney, George Harrison, John Fogerty, Brian May, Robert Plant, Tom Petty, and many others. These long-lost audio interviews, which have been culled over the course of three decades, present insights from many legendary artists. So far, there are more than 25 interviews publicly available, with dozens more to come. Unique gems amongst these audio interviews include George Harrison describing Abbey Road, track by track; Billy Preston on being asked to join The Beatles; and Tom Petty, talking about reuniting with The Heartbreakers. The “Off The Record” Interview Archive includes priceless audio gems, offering listeners a chance to “fan-up” to their favorite stars. Other available interviews from the archive include such icons as: Ian Anderson, Pat Benatar, Jackson Browne, Bill Bruford, Eric Clapton, David Crosby, John Fogerty, Dave Grohl, Jerry Garcia, Jimi Hendrix, Elton John, John Lennon, Brian May, Linda McCartney, Paul McCartney, Jim Morrison, Jimmy Page, Tom Petty, Billy Preston, Carlos Santana, Bob Weir, and many more. https://youtu.be/mVPaY2J1XMI?si=hlhndC-Y1xME_kcp Paul McCartney talks about his 2005 album, Chaos And Creation In The Backyard and talks about his music including the 2002 album, The Naked Ride in this full and exclusive interview from The Off The Record Rock Star Interview Archive. Video Source: YouTube For more information about the “Off The Record” Archive, including details as to how to license this material, contact Jonathan... Read More