这六款摄影机分别是：

Aaton 35-3

Arri Alexa

Red MX

EOS 1DmkIV

Sony PMW F3 (was an engineering sample)

Aaton XTR PROD (Super 16)

镜头都是：Cooke S4\'s 除了1D用的是 CP\'s.

看看你能不能在看到最后之前判断出是哪个段落是哪个摄影机拍摄的？

本片主创者之一johnbrawley关于这段测试影片的说明文章：

Posted – Available light tests are finally online.

Posted on June 2, 2011 by johnbrawley

Translated by 107cine.com

After screenings in Melbourne and Sydney I’ve had a lot of people asking to access these tests online.  Well here they are !I would say though, that these are designed to be viewed in a cinema.  That was the whole point when Kate Dennis and I first set out to create this test.  

Obviously there’s a lot lost in the encoding for the web as well.  I’ll go through the technical in a bit, but it’s also interesting to look at the feedback from those who actually attended the screenings and saw both the DCP and the 35mm print.  Because this was what we most wanted.  To see the results in a cinema, and to compare them screened as a print and as a DCP.Which takes me back to the why.  It’s probably worth going over the thinking behind these tests again.

本来呢，这段影片是只在影院播放的，不过，自从在墨尔本和悉尼的影院播放后，很多人都说希望能把影片也上传到网上，の。。。说心里话，我们还是最希望是在影院里，通过DCP或者35mm胶片来播放，再听听大家的反馈。因为，转码放到网上，真的对画质影响很大，后来，想想搁到网上也许也是给自己重新思考这个测试的好机会，也是很值得去做的事情。所以，嘿嘿……

On the first season of Offspring, setup director Kate Dennis and I were shooting some night exterior scenes on the mean streets of Fitzroy with a then just released RED MX camera and some fast primes.  Both of us were simply amazed at how bright everything looked just using the available street lighting that was around from all the retailers.We started to discuss the idea of shooting scenes for a cinema finish, for a film in the same way. Kate is ex-camaera department and she’d retained a scepticism for digital formats for a feature film but she was getting curious about just how good the new digital cinema cameras are.

总而言之，言而总之，Kate Dennis和我有次用RED MX在外面大街上就这现有光拍了些画面，俺们都震惊鸟：光就着那些商店透出的街光，拍出的画面就巨通透，很亮堂的感觉。KATE原本呢对数字的东西还是抱有疑虑的，正好，这下也打算说看看这些新的数字摄影机到底能到什么程度。

Kate has a feature film in development that is largely set in Paris and would feature a lot of night scenes.  She was wondering if she could just let the mayor of Paris do the majority of her lighting.  Maybe there was a different model of shooting with her relatively modest budget that would enable a much freeier style of shooting.

And the common thinking now amongst most would go something like this.  Digital cameras have a distinct advantage when shooting at night and in low light over film acquisition.  I wanted to put that to the test.  I wondered if you could adapt a guerilla style of shooting that seems to go hand in hand with shooting on digital cameras.  Could film be treated in the same way ?

KATE当时手头有一个剧情片要拍，在巴黎，有很多夜戏。她在想巴黎市长不会为她把大街上的灯打上吧（玩笑话）。也许会有别的方式来拍，可以符合有限的预算，又能实现比较自由的拍摄风格。这么说吧，数字摄影机在夜戏低照下可能有不少便利之处。我想试试看是不是如此。而且，我也想看看提着摄影机跑来跑去的拍片的感觉怎样。（哈哈）

So Kate and I started to think about a test.  Something that would replicate some of the key scenes from her feature, shooting in an urban environment.  It also became obvious that we should use actors.  We wanted there to be scenes that would then inform the way they were shot.  We didn’t want to shoot test charts.  We wanted to replicate narrative drama.

于是乎，我们准备开始做这个测试鸟：从KATE将要拍的片子中得选取几个关键场景，在城里面拍拍，还要演员，我们没打算用那些各种各样的测试卡测试表之类的，我们就想直接搞出一段小剧情片来。（这有意思啊）

As I was still in the middle of shooting the first season of Offspring, Kate began scouting and finding locations.  We came up with 6 locations that each offered their own challenge. Kate then wrote a sequence of scenes that would form a loose story that we could shoot.

So we wanted a short sequence of narrative drama that would be about 2 mins, that would have 6 locations featuring difficult available light situations.  We would then shoot the same short sequence 6 times over using 6 different cameras.  Each sequence would then be compiled together and screened as a 35mm print and then again as a DCP.

大概说了准备情况：选景、准备分场剧本等等。最后后就是一个大约2分钟的片子，有6个场景，都和现场光利用有关的状况。6场戏，用6款摄影机，拍摄6次，组后整成35mm胶片和DCP。（总之呢，就是要看看最后上影院是啥样子）

In a way, we were trying to de-intellectualise the usual kinds of tests one sees of charts and colour chips and make them more about the emotional reaction to a narrative sequence.  We were also prototyping the usability of each camera in the field.  So not only where we judging the end results, but the practicalities of each camera.

总之，不是用那些卡啊，表啊来做测试，而是一种基于剧情场景的感性测试，也想看看这些摄影机在外景拍摄时的可用性，所以呢，不仅仅说看看最后的画质，也测测看他们在实际使用性。

Rather ambitiously, we settled on 6 cameras to test.We also adopted a style of shooting that would favour speed of setups.  To reduce the crew numbers we would shoot like a doco crew.  I pulled my own focus right off the lens.  We would stage the scene, work out the coverage, then shoot each setup six times with a different camera for each take, before moving on.

We decided on;

接下去说的就是用了哪六个机器来拍摄：

35mm.  Obviously the standard for cinema acquisition with 100+ years of history.  I was really interested to see how the format would go competing in this worst case scenario.  The lighting conditions would very much favour digital cameras.  We shot using 5219 500T and perhaps controversially, I didn’t push the stock on the advice of Kodak. (the advice being that with the modern stocks there’s very little to be gained in a push process)

Super 16mm.  Although considered by many to be a bit of a dead format, I was really interested to see what kind of look could be created with it.  A slew of successful mainstream films had featured super 16 recently so I was quietly confident it would give us some kind of look, even if it was a bit grainy.  We used the 7219 500T stock, also not pushed.

RED MX.  The digital camera that has certainly generated more debate than almost any other other camera, and the camera that had started the whole discussion off.

Arri Alexa.  The new kid.  when we shot these tests (december 2010) there were only a few of these around and RAW recording wasn’t enabled.  We shot 4:4:4 logC pro res.

Sony F3.  This was a late addition, but I thought it would be worth while.  It was an engineering sample, so it wasn’t finished and we recorded natively to the internal recorder.

Canon EOS 1dMKiv.  I knew that this camera had a slight sensitivity advantage over the 5D / 7D’s so we chose this camera as out DSLR entry.

All the lenses were the same, Cooke S4′s.  We approximately matched the focal lengths for the Super 16 and we couldn’t get a PL mount 1D so used compact primes instead.

用的都是Cooke S4′s镜头，对于S16，我们就大概的调了调焦距，由于找不到PL卡口来接1D，所以1D用的是一小的定焦头（这个翻译对吗？）

On set we had myself and Kate, plus a Loader, a data wrangler, a low light gaffer and a runner.

Now I did say Gaffer didn’t I ?  I had someone to wrangle some poly bounce and I had a single LED battery light.  That was my lighting package !  Again, in keeping with a stealthy and small footprint style of shooting !

（大概说） ，我们就这样轻装上阵了，我和KATE，一个LOADER，一个数据WRANGLER,一管灯的，一场工（是这么翻吧？）。没说灯光师，是管灯的，是因为说没啥灯了，只有一个LED灯。真的是个很小的的拍摄组啊。

Originally, this was a test just for the interest of Kate and I.  As we went though post at Deluxe, a few people started to hear about it and wanted to see the results.  We started talking about organising a screening in Deluxe Melbourne’s 20 seat preview cinema.  We quickly ran out of room and ended up at ACMI where nearly 200 showed up !

Deluxe Melbourne who couldn’t have been more supportive of our experiment handled all the post and the excellent and experienced colourist Stanly Lopuszanski put in so much of his own time and brought so much to the end result we felt he had to credit him up the front.(107cine.com影视工业网编译）

一开始呢，这个项目，本来只是KATE和我玩玩看的，后来不少朋友听说后，都很有兴趣想看看。所以我们就组织了影院放映，只有20座的影院，结果来了200多人。我们超级感谢Deluxe Melbourne给了我们大力的支持，提供了影院环境，还有超级赞的调色师Stanly Lopuszanski也给了我们巨大的帮助，投入了大量的时间和精力。

So some numbers.  We had 6 cameras.  We shot this in a single night across 6 locations across the city of Melbourne.  We were on foot. We mostly only had a single take with each camera in each set up.  Even so, the final edit has on average 28 shots.  That means 168 takes.  Pretty impressive on any DPR.  It also meant that sometimes, there would be a take that wasn’t optimal for technical reasons used in the cut to maintain continuity.

（这些数字很重要）

我们用了6台不同的摄影机，6个场景的拍摄都是在一个晚上完成的，在墨尔本。我们是走路滴。每个机器在每个场景只拍摄一次。最后成片我们有28个镜头。也就是说我们拍了168次（大概是要说数字摄影机很牛逼，能在这么短的时间搞出这么多镜头量）

We also made a definite choice to NOT edit them exactly the same way, but to favour each edit to be the best it could be with the available material.  This extended to the grade.  Instead of trying to match everything to one camera, we simply tried to make each camera look the best it could.

我们也完全可以不剪辑的完全一样，当然，巴拉巴拉，（看过视频的人都知道现在这么剪，好啊）

This clip was created as a Pro Res from the final DPX sequence that was created in Lustre.  I’ve then converted it to an MP4 using squeeze.Now, as an extra challenge, I’ve only identified the cameras by a letter code.  So you’ll watch all 6 sequences and then your challenge is to try to pick which camera is which.

After the 6 sequences, I’ve put selected shots from each camera back to back so you can more readily make a direct comparisons.  I’ve also then done a 200% blow up on a selected shot, and the theory with this was to try to show how the resolution (or lack of resolution) stands up in a cinema environment.  It’s not quite the same at this small online scale but you’ll get the idea.  I then included a sequence that shows the ungraded and graded shots just to show how little we were working with.

对于这网上的影片，作者特别做了说明：

这个传到网上的片段我是这么做的：从DPX序列中生成Pro Res，然后转成MP4。这可能有点难度：但从画面来判断是哪个机器拍摄的，所以我在影片左后还加了对比片段，可以进行直接的对比，还加了字幕说明。还做了200%放大的对比，主要是看看分辨率啦，也做了些调色前后的对比（反正就是说网上的素材还是差点啦，那是当然，哈哈）

I would say, looking at the end Vimeo encode, that the blacks are a little crushed and in the cinema versions of theses, they are a lot more “open”.I also had a lot of trouble eye focussing with the 16mm material, and unfortunately the first setup is quote soft.

So enjoy the results.  Remember they were designed to be seen in a cinema where they do look quite different to how they look here.  We weren’t’ setting out to do a scientific test as such, but more just to compare the emotional story telling impact of these cameras in very difficult lighting situations without the usual lighting and gripping support of a *big* shoot.

最后，这仁兄再次强调了这个影片是设定为在影院环境看的，呵呵。赞！！！！！

影视工业网编译转载自：http://johnbrawley.wordpress.com/2011/06/02/posted-available-light-tests-are-finally-online/