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After shooting 2012 with Panavision’s Genesis, we began searching uncharted territory for an upcoming feature film project that had a considerably lower budget. Most of the film would be shot in low-light scenarios, and lots of scenes, again, would play in front of blue or green screen. So we knew that we needed a low-grain, high-sensitivity recording solution. My digital compositors, and me personally, have preferred digital noise over film grain for a long time. But not every Director of Photography would think the same way. Some because they’re simply afraid of working in a different medium than they had been for the past decades, and others for more valid reasons like, for instance, dynamic range.

We started testing the RED One with the new Mysterium-X sensor, which has been shipping for a few weeks now, and then the ARRI ALEXA joined the race. The ALEXA is currently a prototype and scheduled to ship in mid-June of this year.

Now, because I’m so excited about what I saw, I’ll give you the test results upfront.