But it also looks like (based off of the chart) that if you rate it that way, you only get about 5-ish stops of under exposure range. But for people who want to see into the shadows more, might be an issue... I'm not a fan of slog3 because it puts more detail in the shadows at the cost of highlights where as slog2 which I love on the F5 has really great highlight detail and rolloff.

To me the eye is drawn to highlights not shadow, so it makes sense to use slog2 over slog3. There have been countless tests run on the BMCC and it's dynamic range.

However, film kicked video's arse a long time ago when it comes to narrative storytelling for a number of reasons, not the least of which is film's beautiful highlight performance. And if you want to see a whole bunch of cameras profiled against each other, I have the profiles you can download and load into teh Sekonic DTS software here: that helps.

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This is one that was profiled on this very site and concluded 12 1/3 stops DR.

I have seen tests that suggested more and some that suggested less. Those measurements don't make any sense, 5dmark III will have the DR in raw video as in raw stills and that's 11.7 according to DXOMark.

This means it had the extra stop to give when they changed OLPFs. Yeah, the new OLPF does look a lot better in the highlights with the Dragon for sure.

Now that camera is having the opposite problem- it is noisy in the shadows. And if it looks good, I don't mind a little texture in the image.

If you missed it, here is how good the camera is in low-light (courtesy of Philip Bloom): For a $2,500 camera with high frame rates to be producing sharp 1080p and dynamic range close to an ARRI is quite a feat.

The Blackmagic Cinema Camera and Pocket Cinema Camera have very high dynamic range as well, though they lack high frame rates and don't have quite the impressive low-light abilities the Sony cam does.While the full-frame 1080p/4K a7S from Sony is proving to be an absolute beast in low-light situations, it's far more than just a night-shooting camera.Besides resolving what looks like a very solid 1080p image (an external recorder is required for 4K), it's also got some pretty fantastic dynamic range. Well the folks over at cinema5D took the camera for a spin, and measured it at over 14 stops, right next to the ARRI AMIRA, which uses the same sensor as the even higher-end ALEXA, which is being used on tons of Hollywood and indie features.For Arri Alexa shooting in Log-C, middle grey = 38% IRE Yep- exactly- you rock! :) Based off of that chart (which was processed using the web version / JPG- I am assuming) it looks like if you rate the camera at ISO 3200, and expose mid-tone at 32 IRE, then there is about 6-ish stops of over exposure range.(The first / top chip doesn't count because that is clipped.) So that is GREAT to see.I've included their A7S DR chart above, looks like it may have more under than over if you check it out on a Waveform.