Section 1: Lights, Camera, Action!
Fellow filmmakers, have you ever wondered which camera and lens combo will take your visual storytelling to new heights? Fear not! The Artlist.io post-processing department has boldly gone where no department has gone before, testing top cinema cameras and lenses in one epic showdown. And guess what? We're sharing our discoveries with you!
Section 2: The Cinematic Colosseum
Our contenders in this epic battle included heavyweights like the Alexa 35, Alexa Mini LF, Red V-Raptor, Canon C500 MKii, and Sony FX9. They were paired with both vintage and modern lenses, such as Zeiss Master Prime, Tokina Vista Prime, Canon FD PL, Zeiss Super Speed, and Cooke Anamorphic. The arena was an indoor studio, armed with Aputure 600d, Aputure 300d, Matthews Silent Grid cloth 6x6, practical lamp with Edison light bulb, Astera tube, and LED light string. Our brave subject: Talia.
Section 3: Camera Duel: Alexa 35 vs. Red Raptor
The Alexa 35 and Red Raptor are both amazing cameras with RAW recording, dynamic range, latitude performance, and low-light capabilities. The Alexa 35 has the "Arri look" straight out of the camera, which many famous DP's like Roger Deakins and Emmanuel Lubetzky prefer to use. The Red Raptor, on the other hand, has its own distinct look that can be achieved with the right tone mapping and color grading. Regarding resolution and sensor size, the Red Raptor wins big time, with twice the resolution and a much bigger sensor.
| Alexa 35 | Red V-Raptor | |
| Sensor | Super 35 | Full Frame Vista Vision |
| Resolution | 4.6k in open gate / 4k up to 120fps | 8k up to 120fps |
| Built-in ND | Has built-in ND filters | Doesn’t have built-in ND filters |
| Dynamic Range | 17+ stops of dynamic range | 17+ stops of dynamic range |
| Low Light | Very good in low light, up to 6400 iso, noisy. | Very good in low light and very clean shadows. |
| Latitude |
Less saturation and sharpness in underexposed images. 2 stops under make the black levels very harsh and hard to grade. It makes an interesting look but very specific. A lot of saturation and texture in overexposed image (up to 2 stops overexposed). The footage is usable up to 3 stops over. Overall better performance in overexposed than underexposed. |
Great performance 1 and 2 stops underexposed. There is still rich tones and a lot of contrast. The performance in overexposed is good as well. The image remains usable, and the rolloff of the highlights is good. Overall better performance in underexposed than overexposed, |
| Colors | Great color rendition, very good highlights roll-off | Great color rendition, very good highlights roll-off |
| Straight out of camera “look” | Low contrast, grainy, beautiful skin tones, not very sharp. A unique feature lets you choose the amount of grain, sharpness, and contrast. |
Sharp, more contrast, natural skin tones. A unique option lets you adjust the tone mapping - adjusting the contrast and highlight roll-off. |
| Price | 78,000$ for basic camera package | 32,000$ for basic camera package |
Section 4: Lens Battle: Zeiss Master Prime vs. Zeiss Super Speed MK II
In the lens arena, we tested the Zeiss Master Prime and Zeiss Super Speed MK II. Both lenses produce a flattering look and share classic Zeiss characteristics, such as a colder, contrasty feel. Films shot with the Zeiss Master Prime include The Revenant, Blade Runner 2049, and Sicario, while films shot with the Zeiss Super Speed MK II include Her, Taxi Driver, and Euphoria Season 2 (mixed with other lenses). The Zeiss Master Prime is sharper overall and has zero distortion even at the widest focal lengths, while the Super Speed lenses are lower contrast and have slightly milky characteristics when used wide open. However, when combined with sharp modern digital sensors, they can give a vintage yet sharp look.
Section 5: Assembling Your Filmmaking Dream Team
When choosing your cinematic arsenal, consider factors beyond just the camera and lens brands. Ponder full-frame or Super 35 sensors, clean or noisy images, dynamic range, latitude (the “usability” of underexposed and overexposed images), low light capabilities (sensor sensitivity), resolution, file size, and color rendition. Let your creative vision and project requirements be your guide.
Section 6: The Epic Cinematic Showdown
What did we learn from our gladiatorial contest? There's no single victor! Different cameras and lenses can achieve similar looks, and the same camera can deliver varying outcomes. Your choice of equipment should be project-specific and tailored to your unique visual storytelling and technical or financial constraints.