5D vs FS100, How to Match Footage from Canon and Sony

5D vs FS100, How to Match Footage from Canon and Sony

Phil Boyer and I worked together on the Kentucky Symphony Gala last February. Right about that time Apple came out with its Multicam update to Final Cut Pro X, which I used to put together a project which I wrote about last March.

It was the first project I had done using the Canon 5D Mark II, the Sony FS100, and GoPro cameras in a multicam setup. I was delighted to see how the footage from the 5D and FS100 worked together in spite of the bad lighting. On that KSO shoot the stage lighting was continually changing, including going dark as some points!

A few weeks later it was again my pleasure to work with Phil doing a little spot for the Cincinnati non-profit ‘Having the Courage to Change’. Phil does an amazing job as a producer and as a director working with people during interviews. You’ll see he took stills I took with the 5D, footage from both cameras, Motion graphics, and background music and edited that down with Final Cut Pro X to make a compelling little video that really tells a story. What else would you expect from a broadcast veteran who formerly served as general manager of WABC-TV/New York?

I thought you would be interested in just how well the FS100 and the 5D matched up. The interview portion was shot with LED lighting, the rest was available lighting. We used a white card to color balance during the interview, Phil with the WB button on the FS100 and I just eyeballed it using the Kelvin dial on the 5D. For a HDSLR user the WB controls on the FS100 offer an upgrade in convenience and speed. The 5D settings are serviceable, but slower. Phil was using his Ikan monitor on the FS100 and I was using the Z-finder on my 5D. We both used the white card to balance the shot. I checked the image visually coming off the FS100 monitor to the image on the 5D to double check. It worked. Here is a tip to make it simple: When you set the WB on the FS100 make note of the Kelvin readout (it shows momentarily after storing the WB in either the A or B position) then just dial in the same Kelvin on the 5D.

Strictly speaking this is not a scientific method to ensure perfect balance between the cameras. However, the point is that you can dial in these two cameras pretty closely. So if you are looking for a how-to on matching footage from the 5D and FS100, just set the white balance and let ‘er rip, simple as that. If you follow this procedure you should get it in the ball park and will be able to tweak them if needed in post. In this case we did no color correction in post.

It is amazing just how well these two cameras line up, the FS100 Super 35 sensor and the 5D VistaVision size sensor. Can you tell which is which?

HI DEF – CGM – REV IV from pbb on Vimeo.

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