Last year, the American Society of Cinematographers and the Producer's Guild of America orchestrated a follow up to 2009's Camera Assessment Series with the Image Control Assessment Series. Unlike a shootout where the relative strengths and weaknesses of the selected cameras were pitted against one another, ICAS was an attempt to unify the different camera systems under a single workflow: the Academy Color Encoding System, or ACES.
In a previous post, I extolled the virtues of the Panasonic AF100, hailing it as a gift to independent filmmaking and the DPs who work so hard to make art with as little as possible. At the time, I hadn’t shot anything with the since-released Sony FS100, their answer to Panasonic’s AF100. While the Sony […]