OK, I'll be doing this evaluation in stages.

1. This post which includes links to RAW or Highest quality possible QT files from each camera of resolution and various colour charts.
   All cameras are in the same position with the same lens and lit with a Fill-Lite 200
   All cameras were auto white balanced on the Abel-Cine resolution chart. Focus was first on auto and then checked manually on a Convergent Design Odyssey with focus assist activated.
2. I'll post location footage shot with the cameras in various situations these will be web compressed at 4K
3. I'll post my unvarnished opinions of the cameras and whether I'd use them and if so what for!

The test files are here bear in mind that they're camera originals and therefore very large files.

Thanks Geoff!

Did you shoot over and under exposure tests as well? Plus any high ISO tests?

All modern cameras seem to (pretty much) perform equally well when exposed correctly - it’s more when you push them you get to see the differences!

Colin Elves
DP: london, Berlin and ting.

I did over/unders of the C200 & UrsaMP in July and they’re available for download.

The EVA wasn’t available then and I’m doing the current tests at home and don’t have enough light available to do these.

Oh. That’s a shame! I’ve shot Over-Under tests for the EVA1 at home as well. I can share the files with you if you like, but I’m not sure how comparable they will be - it’s just my fat face with an old Gretamacbeth chart, a TLS focus chart and a can of coke and Sprite (to indicate colour accuracy) - shot on an old Canon FD.

But I can make the files available if people want. Or I’m happy to duplicate your tests if someone can help sort the right lenses and charts! (Currently I’m in Berlin)

Merry Christmas big man!

Colin Elves,
DP, Berlin/London.

Since these are cameras that are very capable but on the lower end of the price spectrum i recon they will be used in projects with lower budgets where you can’t always control the contrast ratio. I would love to see a real world test with these three camera where someone is in the shade with a bright sky behind and to have one round with the cameras exposed just below clipping and one where a grey card is exposed at 50percent. I think that would give a nice intuitive feeling of which way to go if you are in a pinch ( bringing back highlites/ nice roll off or underexposing and then bringing back the exposure)

I Would also include in an eventual new test, the KODAK MAX8 camera (it should be available first Quarter 2018) and five stocks:
7219 Vision3 500T (ECN-2) - 50 feet
7217 Vision3 200T (ECN-2) - 50 feet
7203 Vision3 50D (ECN-2) - 50 feet
Ektachrome 100D (E6) - 50 feet
Fujifilm Provia 100F (E6) - 50 feet
The proposed Digital Film workflow would be as follow: 2.5K scanning with a DFT Scanity HDR (DPX RGB 16-bit),  uncompressed workflow within Snell Advanced Media Quantel RIO to grade with (Printer) "Lights" and apply NeatVideo OFX plug-in. ACES workflow also possible using an ADXtoACES 3D LUT. 

Best regards,

Daniel Henríquez Ilic
Post-Producer / Technical Consultant
Fotoquímica Films SpA
Santiago de Chile
+56 975543323
fotoquimicafilms@...

 

Actually, Vision3 200T code number is 7213 (not 7217).
This stock scans well to DPX RGB 16-bit Log.

On 12/23/17 03:40, Colin Elves wrote:
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It’s just my fat face with an old Gretamacbeth chart
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I thought Elves were tall and skinny.

:-)

Robert A. Ober
IT Consultant, Vidcaster, & Freelancer
www.infohou.com
Houston, TX

--
Folks,
Please be aware that I am not always watching email so text me
or go old school and call me at 281-772-3596 if you need help within a few hours.

It’s just my fat face with an old Gretamacbeth chart
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I thought Elves were tall and skinny.

:-)

I’m a very unusual elf.

Colin Elves
Short, fat, bald Elf/DP
Berlin, testing after a busy night...