BSC Film and Digital Evaluation

“It was one of the best comparisons I have ever seen, straightforward and useful.” Geoff Boyle FBKS writing on his CML web site, reflecting the views of the 400 delegates who watched the long awaited premier of the BSC Film and Digital Evaluation 2009 which took place at the NFT1 in London on July 8th.

This highly successful event will be taken to other European countries and shown on Monday October 5th between 10.00 and 12.00 at the eDIT Film Makers Festival in Frankfurt. Plans are also in hand for it to be shown in Sweden or Denmark.

Geoff Boyle is not noted for withholding his well-informed opinions, writes Nigel Walters BSC, Imago President. “Apart from his occasional illogical questions such as why anyone would wish to sit at the back of a crowded auditorium, his web site comments reflected many thoughts which I shared with delegates in post–event moratoriums.”

After explaining that all cameras and film stocks were exposed at the manufacturers recommended ratings and that all the results were graded to match the Macbeth and Grey charts and projected 2K, Geoff goes on to write on CML “ I have to say that 35mm film looked best handled this way, Fuji or Kodak, 200 or 500, film won, with best skin tones, best saturation, best latitude, by far.”

“Having said that” he continues “the D21, Genesis and F35 were all very close and could be made to match as far as skin tones and saturation, but never in latitude. Highlights were the real killer. Lights that burned out completely in all the digital tests worked fine with film.”

Geoff’s personal preference was for the D21 noticing a “dramatic improvement in the shadow response over the last year.” Never one to be lost for words he described the Canon 5D as “looking dreadful, just dreadful.”

If there was a universally agreement as to the merits of one particular camera it was, to use Geoff’s words,” how staggeringly good, looked the results from the Sony EX-3, especially considering the price.”
By comparison the Panasonic HVX 201 looked “soggy, let down by compression,” stated Boyle who, although seated near the front of the cinema claimed that from the back it looked fine with good colour rendition. Australians have eyes everywhere!

It was generally agreed that the new Arri Relativity software did a remarkable job of cleaning up 16mm, removing the existing grain and adding 35mm grain.
Boyle reverted, with some restraint, to his normal confrontational self with criticism of the BSC post-production handling of the RED in particular claiming that the images he had witnessed from it and the SI 2K were” among the worst I have ever seen, truly appalling” and claimed that movies he had shot” both theatrical and for TV did not look anything like this.”
“Comment was made that the RED made the girl in the skin tone test look like she had a Californian tan –it did- but the Kodak was warmer than the Fuji, the skin tones on the F35 looked a bit green but all within easy correction to whatever you wanted it to look like”

This point that the skill of the Colourist being able to level out the differences in the images were made repeatedly in the excellent presentation of the Programme given by Sue Gibson, BSC President. In this presentation she was ably supported by John Daly BSC and a memorable contribution from Billy Williams OBE BSC. Neil Peplow newly appointed Director of Film, Skillset, the main Sponsor of the event outlined the objects of the Skillset encouragement for making this BSC Evaluation the most comprehensive image testing ever undertaken anywhere. Other contributors including Ashley Rowe BSC, Haris Zambarloukos BSC, Gwyn Evans, colourist at Hat Factory, and Nic Morris BSC.

Dick Pope BSC and Phil Meheux BSC were both present at the Los Angeles unveiling of the ASC image evaluation tests. Both agreed the BSC result was far superior.

A moving appreciation by Billy Williams BSC followed by the showing of a short film dedicated to the late Jack Cardiff BSC brought a fascinating day to a close. It is difficult to comprehend the hard work and dedication of all those involved, particularly in post production. Their reward was there for all to see on the screen, whether seated at the front or back!

Different people will learn different lessons from the day but all the Cinematographers present left determined never to over-light a duck on HD.
 

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