Always wondered, how a Scarlet and expensive cineglass holds up against a BMC and pretty affordable lenses?
Is the difference – that is almost as huge as the price for a new car – really that big?
Felix Patzke of Heimspiel and I where also curious, so we did a little shootout. Here comes part one.
The setup was pretty simple.
We wanted a realworldish scenario, so we used mixed daylight and tungsten, a high dynamic range with dark and light materials, for the indoor shot
and a scene with high detail for the outdoor shot. We did not light or shot for the chart in particular, but just placed it in the middle of the scene for reference and as a focus point.
We had the lovely set of Zeiss SuperSpeeds from Felix and I threw in the Samyang glass. On top of that – and just for shits and giggles – we had some more exotic lenses like vintage Angenieux and Kino Precision zooms. The Super Speeds ranged for 18, 25, 35, 50 and 80 millimeters and the Samyang where the 24, 35 and 85 millimeter.
All was shot @ f4
For the first part, we mounted the Super Speeds on both, the Scarlet (@4k) and the BMC (@2.5k).
On the left is the BMC (original size) and on the right, the 4k Scarlet, (cropped and scaled down, to match the BMC’s FOV and size)
The Red material was rendered at “premium full” debayering, BMC was imported wit Adobe raw.
In the Adobe raw, I just hit “auto” and did no other fine-tuning or grading there.
Once imported to AE, I matched the BNC material to the Scarlet images (i.e. mostly just turned down the saturation and matched the shadows)
The crops are at 200%. You can doubleclick on the images to see them in full glory.
As expected, the LPF of the Scarlet makes things a bit soft, compared to the “naked” BMC.
But you have to pay the penalty of moire and aliasing, for the detail, the BMC delivers.
Part 2 is now online: http://frankglencairn.wordpress.com/2013/05/13/blackmagic-cinema-camera-vs-red-scarlet-zeiss-vs-samyang-part-2/