CML/CMIR Camera Tests
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Professionals, Academics and Students of UWE, were involved in the tests. |
The Camera Floor The DIT Station
In our research on the aesthetics, history and cultural meaning of the moving image at the Centre for Moving Image Research - we take technology and those who're involved in technology seriously. As you'll see from the camera list above these are the most advanced cameras available as of February 2014 - the phantom Flex 4k for instance has only two prototypes available in the world and both were at the CML/CMIR camera tests. The Cinematographers Mailing List originated by Geoff Boyle, now a Visiting Professor at University of the West of England, is the principle professional discussion space on the subject of cinematography. Other lists exist, but none with the breadth of knowledge of CML, where Oscar winning cinematographers go to air their views, to gain and offer knowledge. Many professionals will be looking in on the results of these tests, which are now available (see link above).
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Cameras tests were undertaken by Visiting Professor Geoff Boyle
Cameras tested were: Alexa Black Magic Pocket Cine Camera Canon C500 KineRAW Phantom Flex 4K Red Dragon SinaCAM RAW Sony F5 Sony F55 Sony F65 Sony FS700 Click here for Test Results |
The CML Tests took place on 7th February 2014 in collaboration with CMIR at UWE
The KineRaw
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The point of testing a camera is, as Geoff Boyle argues: "a simple repeatable test to enable cinematographers to know what the limits of the cameras are so that they can then take these into account when shooting. Cameras have things that are good and things that are bad, all of them, we just need to know what they are so that we can get the best out of each camera".
This is both a simple and a complex statement. If you read it for direct meaning you'll understand why we did what we did - but if you read it with a view to the impact of the tests, you'll see that each piece of technology and the developments that arise has impact on what the audience sees in the future, what choices the cinematographer (aided by the DIgital Imaging Technician) is caused to make to take account of the limits of the technology in pursuit of an artistic goal. And that goal will relate to the circumstance of the production of the particular 'film' in societal, capitalistic, aesthetic and category value terms.
Whilst accomplishing the tests our researchers watched the behaviour that accumulated and examined the language of those working - and how they worked. We're interested in what ways the exchange through the meta language of this area is conditioned, through such things as the shortforms of address - 'pass the small flag', 'take a reading', 'pull down the iris one stop' - how this language not only enables minimum language exchange to achieve a goal, but also how much extra meaning is carried in that language. How do people use these terms, are there signs that one knows more than another, that there is a relationship encoded in the exchanges and if so what are those relationships and what do they tell us about the behaviour that is happening?
Intent and Methodology of the Tests
There were three key 3 tests to give the relevant information on the cameras:
Resolution tests - these were to be at the maximum resolution the cameras are capable of, we have the AbelCine resolution test chart for this.
Basic IR test as well, a tungsten lit set of various black materials and a MacBeth chart, lit to T11 and an ND 1.2 filter added, before and after shots, no attempt to cut IR with IRND filters, this is to see what is actually happening with the sensor.
Over and under exposure test of all cameras, batching the cameras in groups of three because of angle of view. There was a test lit to T22 and then shot at all stops to wide open then a set lit to T2.8 and then stopped down to minimum. This gave us 6 stops each way, but the charts themselves have a range of at least 5 stops so if we could discern the difference between the top 2 stages of a grey scale that will then indicate 8 stops of highlight ability (we doubted that we would see this!)
These tests were shot with all cameras in Quad HD mode, except for one, because we were interested in latitude and colour response here, not resolution.
We were open to other tests that people wanted to do on the day.
We made copies for everyone who participated and who brought a hard drive, (preferably a Seagate Go-Flex as we have TB connections for these), we also had USB3 for them, the format was EXFAT so we could use either Mac or Win machines for copying.
All the tests are available online in RAW form as 25 frame clips, they will also be there in HD DPX and JPG so if you’re not in a hurry….
Please click here for the test results
An online "making of" will be available shortly on this page.
This is both a simple and a complex statement. If you read it for direct meaning you'll understand why we did what we did - but if you read it with a view to the impact of the tests, you'll see that each piece of technology and the developments that arise has impact on what the audience sees in the future, what choices the cinematographer (aided by the DIgital Imaging Technician) is caused to make to take account of the limits of the technology in pursuit of an artistic goal. And that goal will relate to the circumstance of the production of the particular 'film' in societal, capitalistic, aesthetic and category value terms.
Whilst accomplishing the tests our researchers watched the behaviour that accumulated and examined the language of those working - and how they worked. We're interested in what ways the exchange through the meta language of this area is conditioned, through such things as the shortforms of address - 'pass the small flag', 'take a reading', 'pull down the iris one stop' - how this language not only enables minimum language exchange to achieve a goal, but also how much extra meaning is carried in that language. How do people use these terms, are there signs that one knows more than another, that there is a relationship encoded in the exchanges and if so what are those relationships and what do they tell us about the behaviour that is happening?
Intent and Methodology of the Tests
There were three key 3 tests to give the relevant information on the cameras:
Resolution tests - these were to be at the maximum resolution the cameras are capable of, we have the AbelCine resolution test chart for this.
Basic IR test as well, a tungsten lit set of various black materials and a MacBeth chart, lit to T11 and an ND 1.2 filter added, before and after shots, no attempt to cut IR with IRND filters, this is to see what is actually happening with the sensor.
Over and under exposure test of all cameras, batching the cameras in groups of three because of angle of view. There was a test lit to T22 and then shot at all stops to wide open then a set lit to T2.8 and then stopped down to minimum. This gave us 6 stops each way, but the charts themselves have a range of at least 5 stops so if we could discern the difference between the top 2 stages of a grey scale that will then indicate 8 stops of highlight ability (we doubted that we would see this!)
These tests were shot with all cameras in Quad HD mode, except for one, because we were interested in latitude and colour response here, not resolution.
We were open to other tests that people wanted to do on the day.
We made copies for everyone who participated and who brought a hard drive, (preferably a Seagate Go-Flex as we have TB connections for these), we also had USB3 for them, the format was EXFAT so we could use either Mac or Win machines for copying.
All the tests are available online in RAW form as 25 frame clips, they will also be there in HD DPX and JPG so if you’re not in a hurry….
Please click here for the test results
An online "making of" will be available shortly on this page.