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Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket... 1 2 3
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Grant Petty on the future of DaVinci Resolve Studio pricing: "We'll probably eventually charge some kind of upgrade for this." 1 2
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By eatstoomuchjam · Posted
The C50 is a $3,900 camera. It's quite good and I'd love to have one, but there's a LOT of competition in the $4,000 space. It shouldn't surprise cined that not everybody's talking about it. Ultimately, it will probably be a good seller for Canon. On the other hand, adding something with "Redcode" in the name as a feature for the ZR was a fantastic marketing decision on Nikon's part. With a decent colorist, the differences in a final image between the Redcode NE and Nikon raw are likely to be negligible - but it doesn't matter because people can now say that they have a camera that records Redcode RAW. These days, used Komodos are not that much off the ZR in price - and lensrentals.com has their early BF special on off-rental gear where you can get 15% off one of their Komodos which are still in decent condition - putting them almost equal to the ZR in price. But getting an OG Komodo means a bigger camera with a smaller sensor, much worse autofocus, worse/less flexible built-in screen, much ergonomics, worse media (Cfast vs CF Express), and probably buying a v-lock battery plate so you don't need to source older/expensive Canon camcorder batteries (I did exactly that), and a less flexible lens mount with fewer third-party lenses available. But you do gain global shutter and 16-bit raw with better test chart performance. So yeah, of course everybody's talking about the ZR. Not sure why anybody, cined included, should be mad about it. People are welcome to use whatever hammer they like - and more competition in the cinema camera space, especially affordable (in comparison) competition is great for us as consumers of those cameras. -
The reason people don't see the difference reported with chart tests in real life is the saturation limit of modern sensors, and they're all in the same ballpark. Improvements are mostly in the readout noise, which is good to have, but nobody lifts the shadows more than one, or in rare cases two stops, anyway. I don't blame CineD for reporting 10 stops, as its what they professionally do and they have to be consistent. But calling it an "average" camera was personal, for whatever reason. Average between what and what? But its not just a CineD thing. I sometimes doom scroll Chinese social networks and there are also some video shooters over there who sounds angry that this camera exists! Which is crazy. -
The Best video to debunk that hit piece from CineD about the ZR dynamic range test they did. This is a side by side of the ZR and the Red dragon Monstro and they are literally indistinguishable. The Zr tone curve seems to grab a little bit more highlight and loses a little bit in the shadows. They must be a bit pissed at CineD, no one is talking about the C50, hen they were flown to Japan to film a promo video. -
Still waiting for a better package than an S1H... Waiting pretty eagerly for Panasonic's next move but in the mean time I'm happy with an ~almost~ perfect camera. -
once you are in the mf lenses realm, there is no way back. you will be a hoarder lol
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