You may now find 10 images shot during the filming of “REVERIE” from the prototype Canon 5D MKII Camera at the following link (here.)
All of these images were shot between 1600 ASA and 3200 ASA. These are in-camera JPEGs with no post production (except for the inclusion of my watermark.) Therefore it is quite foreseeable that you will get even better quality images once a final production camera becomes available – and once you are able to decode RAW images in DPP, Aperture or your favorite software – designed to better handle and minimize noise. Although I have to honestly ask: What Noise????
I think that the excitement over the video – has overshadowed the pretty incredible still image quality at high ASAs – I’ve never seen an image look this clean at 3200 ASA.
These images were shot with the exact same lens, position and timing as the video.
I remember shooting Kodak’s TMAX 3200 in college – and thinking that was a Godsend for photojournalists…. my how things have changed: some of these look better than the Kodak Ektapress 100 ASA Color Neg film I used back then as well…
(SPECIAL NOTE: I have released these images for you to download to your hard drives for evaluation only. You may share these freely with others with the following terms: AT NO TIME can these images be used in any media whatsoever without attribution. If you are a web publication – you may not run these images on your website without the following specification – the images must run with the following credit “© Laforet Visuals Inc – blog.vincentlaforet.com “. If you are a print publication – please contact me directly to obtain a release to run these images without a watermark at studio (a) vincentlaforet.com
A quick note that I forgot to share:
In very low light – shooting at the aperture of f2 was the key with this prototype 5D MKII camera in my opinion. Of the three clips that were released – only one of them was shot at f2 – the one with Jimmy (the model) splashing water on his face. You’ll have a hard time seeing any issues of “noise” or other technical negatives from most of the footage shot at f2 (which is what the majority of the film was shot at.) Understand that almost all of the light we shot in was the still camera equivalent of 1600ASA, f2, 1/15th. That’s very low light – no matter how you cut it. Read the rest of this entry »
