I was recently asked to DP a multi-camera series for a streaming platform. Our “A” camera is the Sony VENICE shooting XOCN – ST; we will cross-shoot with up to 6 Sony VENICE’s in the field. I also wanted a smaller camera capable of shooting similar specs to the Sony Venice but in a much smaller package, so we could use it on a gimbal or rig the camera in cars and tight spaces.
There aren’t many cameras capable of RAW at these specs and with the form factor I need. The cameras must match in the post to look almost identical, which is not easy when the A camera is a Sony VENICE, with its high spec list and price point. I looked at the RED KOMODO, Blackmagic Pocket 6K, Sony FX6 with an external recorder, and the Canon C400. The C400 with internal RAW, autofocus, small size, and weight was our first choice to match the Sony VENICE. The camera must fit on a DJI Ronin RS4, which the C400 does. Whichever camera we choose, it must have a 12-bit 444 RGB deliverable.
The first test was an interview set-up; we filmed a mix of full frame 6K and Super 35 4K. The Canon C400 has very similar sensor resolutions and crop modes to the VENICE; if you want to shoot in full frame RAW, you must shoot 6K Cinema RAW Lite; the Sony VENICE is also 6K if you want to shoot full frame. I used a Sigma FF 50mm prime and a Canon Flex zoom 45-135mm. I swapped the lenses and camera positions for our interview test to account for any color shift with the lenses.
I also tested the cameras outside using the Sigma 50mm FF prime again. For the next test, I had the C400 rigged on the DJI Ronin RS4; I wanted to show what this camera could offer to the production. I used the RF mount 35mm and 50mm, and the autofocus performed very well, which will save us a lot of time in the field.
I have uploaded the tests for anyone who wants to download the vision. I have also included a color space transformation LUT, as well as C400 and VENICE LUTs.
Canon C400 – download link:
https://drive.google.com/drive/folders/1wdU-34qkisw6cWeSP6AFS9UCfb61W5Un?usp=share_link
Sony Venice – download link:
https://drive.google.com/drive/folders/1OjJFsAsZf3bmdynpoArzWoeN5Q8Gh1j_?usp=share_link
We got the final approval to use the Canon C400 as the “B” camera for this production based on the tests we did. The colorist was very happy and had no issue matching the cameras. I would like the Canon C400 to become my permanent “B” camera when shooting with the Sony VENICE; having this test and sharing it with any future production should be very helpful in getting the camera over the line. I’m hoping this test helps others use a mix of cameras. It has always frustrated me that productions want either a Sony, Canon, or ARRI and are often reluctant to mix brands. Still, we use Go Pros, drones, and various cameras without worrying about how well they match. I also had another colorist and tech wiz make some color-conforming LUTs.
Here is what he said: “When applying this post-LUT in Resolve, consider it a foundational color space transformation that should be placed as the first node in your node tree before any creative adjustments. This ensures your footage is normalized to the Venice space for further grading.”
“This LUT was crafted by dividing the color cube into six distinct segments: red, green, blue, cyan, magenta, and yellow. Each segment undergoes a tailored linear transformation that adjusts the X, Y, and Z vectors (representing R, G, and B values). Additionally, a 1D LUT is incorporated to ensure consistent grayscale handling, harmonizing the luminance across the image for smooth tonal transitions.”
The Canon C400 certainly performs well above its price point; it produces an image comparable to the VENICE but at a fraction of the cost. Like any new camera that comes out, it’s important to test it thoroughly before it goes into the field. I hope these tests help others decide either way before selecting the camera they want to use on their next project.
