5D III – Is it me? Am I missing something?

[Warren Eig]

The 5D sensor is full frame 35mm still negative about the size of Vistavison. the FS700 is super 35mm about the size of an APC sensor.

ProRes is 10bit, much better than the highly compressed h.264. YOu are better off shooting ProRes than h.264.

I’m in Los Angeles. If you are in the same city, I’d be more than happy to do a side by side comparison with you.
YOu should see a hugh difference shooting Raw 14bit over shooting HDMI out to Prores capture. The HDMI out of the 5D is 8bit.

Warren Eig
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[Devinda Fernando]

*** The 5D sensor is full frame 35mm still negative about the size of Vistavison. the FS700 is super 35mm about the size of an APC sensor. ***

Thanks for clearing that up Warren. Is that a rule-of-thumb for larger sensors, or could a smaller sensor deliver a better quality image if it was the better technology?

I guess my only question further on that is whether the footage captured on the larger sensor (5D) is better quality – and in what way?… perhaps better image quality under higher ISOs/and Low light settings, because its seems illogical that if the output footage of either Sensor are both 1080p HD H.264, that they would differ on aspects like lines of resolution?

I totally understand about the difference between 8 Bit H.264 HD and Pro Res and even Raw. I guess my confusion still lies with whether 2K Raw comes in different ‘flavors’ – i.e. is there a 10 Bit Raw, a 12 bit Raw, 14 bit Raw etc…?

Would love to meet up and do a side by side, but unfortunately I’m literally on the other side of the world from you in Sri Lanka. I shoot mostly on the 5D MKIII which has become the industry standard in this country, but just ordered the Sony FS700 with the Odyssey 7Q for 2K Raw recording. Its coming from Singapore so its going to take a couple of months since it has to be firmware and hardware upgraded by the Sony agent there since we have no Sony Agent in Sri Lanka 🙁 .

I definitely plan on doing some test shots with the FS700 – especially the Slo-mo capabilities and will post them on youtube when I get the chance.

[Devinda Fernando]

***while continuing to use our XDCam for the real work.***

When you say XDCAM do you have a Sony Ex3? I have a couple of those and the 5D MK3 footage is far superior to the EX3 footage. With the exception of the annoying moire effect (aliasing) on the 5D, I’d say I’d use that for pretty much every professional shoot over the EX3.

*** I’ve tried different shutter speeds using the Time Value setting and a 500th of a second looks about the same as a 60th. So what gives? Am I missing something basic, or is it just the way it is with this camera? ***

As someone who uses a 5DMK3 intensively I have always found a huge difference in shutter speeds 50/60 and 500! For one thing you should notice the difference in the darkness of the image when on 500 Shutter speed when compared to 50 or 60?

*** Any “ideal” settings for shooting video in terms of ISO under different conditions? ***

Personally I try to keep it ISO 640 or under. In editing you can really push the 640 or less footage much more than anything higher. This means I have to somehow light the scene to bring the exterior conditions to that 640 ISO. If no additional light is available I then increase past 640 ISO as a last resort. I usually choose not to shoot anything ISO 2500 or more… (even though the camera can go to ISO 12,500). After 2500 there is just too much noise to be acceptable for the work I do.

For Green Screen and chroma keying I try to have lighting conditions bright enough to shoot at ISO 160, but again if not possible I still try to keep it at 640 or under.

[Nick Griffin]

[Devinda Fernando] “When you say XDCAM do you have a Sony Ex3?”

No. It’s a several years old Sony Cinealta PDW-F350 with a 3.3mm wide angle zoom. Maybe I’m just used to its look, but it seems to handle motion better. Wonder if it would help if I went under settings on the 5DIII and reduced the sharpness setting? I love the image quality the 5D III produces on static shots so I wouldn’t want to compromise that.

[Devinda Fernando]

Oh wow! Then you can’t even compare the two in that case… the PDW-F350 is a far superior camera to the 5D Mk II DSLR and that reflects in the huge price difference between the two.

[Nick Griffin]

Okay I can easily understand how 24 (or 25) Progressive looks very different from 60 Interlaced, but what I can’t understand is how 60i from the 5DIII looks so different, in terms of motion, than the XDCam at 60i. I will say that thanks to Warren’s advice to shoot at a 60th of a second I’m getting much less ‘judder,’ but still see some.

[Bob Dix]

Hi Nick,

Well we have used two Canon 5D Mark II’s HDV at 1920 x 1080p and have never had that problem OVER 4 YEARS.. I suggest, however, that you buy one of their Professional EF Stabilized lens like the 70-200mm which has a special horizontal stabilizer (in Australia).We operate at 1/60 sec shutter speed at 25fps never 24fps. We normally use the 35-135 EF IS f3.5 lens because of it’s light weight, it is a consumer type lens and never a panning issue? But, pan very slowly ######

Freelance Imaging & Video
AUSTRALIA