Heres a test I did with high ISO and Low light (single candle).
I was wondering whats its like to intercut the two.

Both running at 24P with the 7D at shutter 50 and the red at 48.

Same lens used for both cameras.


Link to video:
Red One and Canon 7D side by side By Ted Ramasola On ExposureRoom (http://exposureroom.com/redand7d/)

Red One and Canon 7D side by side on Vimeo

Now all the Red owners are sad!
:~(
:~)

Thanks Rusty,

Red owners should'nt be sad.. cuz now they can have a cheap B cam for 1080 work! ;-)

Well, when you get past the basic image being in the same "ballpark" you then have to manipulate it. Then, the RED will run circles around the 7D with regards to post processing options. Don't forget the RED can also shoot at variable frame rates for other great effects that the 7D still cannot.

So the 7D falls far short of all the options of the RED. However, I am sure there is a small group of RED users out there that didn't necessarilly need "all" of those RED features that are thinking that the 7D could have accomplished what they are doing for much less. So the 7D is like a mini RED without all the post processing options and professional features. But, for the low price we are able to work around that unless a job calls for more.

Yup. The RAW negative is always there to go back to when you want the image tweaked.But it was nice to know I can intercut it when my needs are around 1080 only.

Care must be taken when doing so since the 7D's color and contrast are baked in.

Do not forget the dimension of the cameras!!!
I put my 7d everywhere :-D
I had a JVC and with the 7d I came to a new life because the steady and the tripods and all the others video supports are finally working great!

of course red beats canon in post processing options
but canon beats red with in camera processing
not everyone is shooting a feature film

Ted, why the different apertures?

I have a 7D. Its great. Its fun to see it cut against something like RED. However, the test shows the real differences when you're actually looking at the 1080p footage, unscaled. 1080p, WMV compressed and then Vimeo compressed to 720p hides so much. I converted the 1080p WMV original file to ProRes to scrub through, frame by frame and the differences in clarity become obvious.

RED ONE, very crisp. Also very expensive. The Mysterium-X sensor makes the low light look even more fantastic, which I'm guessing the RED ONE used here didn't have? The 7D holds its own though when you're finishing into 720p. Very cool little camera. Wish I had a RED though. Hehe.

On a side note, I've heard and seen that the 7D ISO settings are better optimized at the 160, 320, 640, 1250, 2500, 5000 settings.

of course red beats canon in post processing options
but canon beats red with in camera processing
not everyone is shooting a feature film

Ted, why the different apertures?

Don,

The different apertures is because I was exposing for the glass of the candle and the face of the doll.
Maintaining apertures would blow out the image on the 7D at higher iso.

The red raw is constant at 320 iso. Changes in Red footage exposure is done only in redcine x.

Ted

You are really chopping off the legs and arms of Red by only viewing at 720. It is at a solid 1080p and 4K where you will really notice the difference. Im sure if they wanted to make Red at best resolve 720p then it would have been a heck of a lot cheaper as well. Also take into consideration the form factor of Red and how it doesn't have as many of the limitations that users of DSLR's have to find work arounds for. It is impressive however and if somebody would make one of these with a proper low pass filter the industry will be changed forever.

"Also take into consideration the form factor of Red and how it doesn't have as many of the limitations that users of DSLR's have to find work arounds for."

Yet so many answers these days to those challenges...with more coming out of the woodwork everyday. We aren't just limited to Zacuto and RedRock anymore...3rd party companies are cashing in on the boon for everything necessary to all but eliminate the ergonomic "limitations" of the DSLRs.

"It is impressive however and if somebody would make one of these with a proper low pass filter the industry will be changed forever."

I would agree...however, it's either one or the other. Stills or Video. If an OLPF was designed for the DSLR to optimize video, the stills would be limited to 2 megapixels for ultimate quality...over that would suffer as your OLPF would be optimized for 1920x1080. Just as the Scarlett will be a 6 or 8 megapixel still camera...they have decided (Smartly so, as it's a Video Cam first) to provide the OLPF specific to video resolution at 3 or 4k.

I'm with ya though...and as both, a photographer and videographer, I would have NO problem buying two DSLRs....a V5d3 and an S5d2:) Still a couple G's less than the low priced, fixed scarlett. I do like the looks of their mini-primes though...

I think we should ALL keep our fingers crossed that RED succeeds with their Scarletts...as it can only mean great things for the competition...and 1/3"/1/2" sensors become a thing of the past (I'm still shooting primary cams HVX200a and EX1 with the 5d2 and 7d as B cams)!

It would be nice to have 4/3, Super35 and even FF sensor choices under 5 grand...>WITH the ergonomics you speak of (without having to hang a bunch of 3rd party company gear of the kit;))

jer

You are really chopping off the legs and arms of Red by only viewing at 720. It is at a solid 1080p and 4K where you will really notice the difference. Im sure if they wanted to make Red at best resolve 720p then it would have been a heck of a lot cheaper as well. Also take into consideration the form factor of Red and how it doesn't have as many of the limitations that users of DSLR's have to find work arounds for. It is impressive however and if somebody would make one of these with a proper low pass filter the industry will be changed forever.

Nope its not 720. Its 1080.The one one vimeo and ER are "playing 720" but download the file, its 1080. Also the compression depreciated the material.

I'm not trying to cripple the red. I'm trying to match the two.

I'm waiting for my caprock to fix the achilles heel of the canons. -moire and alias.

The Red is an awesome piece of technology and innovation.
Its just too bulky and darn heavy to be flexible and agile enough in the kind of work I do and the economy I am in.

So even though its there, I don't pick it up as often as the canon.

Theres also 2 JVC pro hdxx cameras and 35mm and mid format adapters in our arsenal, but these dslrs made us feel like a big yoke has been lifted from our shoulders, literally.

Theres no turning back. Technology is making things lighter and cheaper. And if a new offering doesnt follow that direction it gonna be hard for that product. I feel the market has seen the light to know what it wants.

Hmm, curious I went to the ER and Vimeo to check, and indeed the 1080 files I uploaded were converted to 720P.

For a couple of days the download button showing the info on the file for download did say it was 1080. Which curiously became 720 after a while. And in Vimeo the WMV file I uploaded became MP4. Hmmm.. oh well.

I think the raw version only lasts for a week or something like that.

Thanks for that info Thomas.

On a side note, I've heard and seen that the 7D ISO settings are better optimized at the 160, 320, 640, 1250, 2500, 5000 settings.

You have that backwards.

A these "fractional" ISOs the camera does some trickery that can rob you of highlight latitude.

You want to shoot at "whole" ISOs, 100, 200, 400, 800, 1600 & 3200.

You want autolighting optimizer off pretty much all the time.

You only want "highlight tone priority" on when shooting 1600 or 3200.

I don't recommend shooting faster than 3200 unless all you need is a record of something happening or want the high grain look. Even Neat and Foundry noise plugins don't do a good job at those ISOs.

I think it depends. If you're shooting a wedding or billowing white clouds, shoot at 100, 200, 400... It gives you the most dynamic range. If you're shooting a horror film with lots of shadows, shoot at 160, 320, 640... You give up 1/3 stop at the top, but the noise in the blacks will be reduced.