j.f.r.

Let's expand it because I think this is an important subject now (a7s kind of camera vs C100)

A7s advantages:
-Full frame look + S35 + s16
-4K option with external recorder
-Better low light performance above 12800 ISO
-E-mount, adaptable to everything, and vintage glass lovers
-Slowmotion ability
-Much Better EVF
-Stills capability
-Wifi capability
-Smaller size, weight and cheaper price

C100 mk I advantages:
-In-camera audio, with XLRs, great preamps, phantom power, full control knobs/dials
-Much more buttons (15 all customizable)
-Much Less Rolling shutter
-Built-in NDs
-Included top handle and side grip, both detachable 
-Log Gamma can go under 3200 ISO (with the same DR of a7s S-Log)
-More extensive control over picture profile parameters
-Better LCD, with a waveform monitor, vectorscope, better peaking, better focus/exposure assist tools overall (from my own usage)
-Larger size and heavier weight for those who like that vs Smart-phone shapes, steadier handholding without gear
-Native EF mount, with full support as in fluid 1/8s stops aperture control, IS, distortion/vignette corrections
-Full HDMI, proper timecode, 
-Perfectly usable Autofocus (in the center)
-Dual Media recording two SD slots
-MUCH better battery life
-Higher build quality
-Last one is a bit unjust but sadly true: C100 has a better reputation as a professional camcorder, for example it's broadcast-approved and loved by broadcasters (externally recorded) and the larger Canon Pro Camcorder will please/attract more clients, it just has a better reputation. It's a factor to put in for many.


These are the facts parts, other objective ones are like Colour science and overall image look, that's to be determined by the user. Personally, I disagree with Andrew on A7s having better IQ is APS-C mode, to my eyes the C100 image is vastly better than the a7s. Grading C100 C-log images with skintones vs S-log2 shows how far these images are. 

I think they're different cameras as in C100 suited for fast reliable production while a7s more suited for tinkering & "creativity".

You forgot to add "imo".

But I am interested in that phone you are talking about. Please share a link. I would buy it instantly if you say it will give me the same results as I get with my NX1.

 

Referencing Oblivion and Lucy, the F65 is top of the food chain for color and skintones (Luc Besson and his DP reached the same conclusion). The ARRI 65 looks interesting- expect it to be very competitive. For ease of use and the most foolproof color, ARRI is top of the food chain (check the cameras used in all the Oscar winners for the last few years).

For Shane's test referenced above, the Dragon was noisier and the skin tones look better on the C500. Didn't see anything showing better performance vs. ARRI for skin tones or highlight rolloff. The Dragon sensor and software upgrades are certainly a step in the right direction for Red, and the Weapon looks to continue that trend. Red cameras are priced right for their performance level (looks like the ARRI 65 is $10k/day (rental only)). Sony has improved the F55 with firmware/LUTs (including matching Alexa skintones), and expect Sony to be competitive at the Red price range (above and below as well). Panasonic's Varicam 35 doesn't get much love, but the skintones looked pretty good from what I've seen so far.

Some friends are moving away from Red after the latest branding- "Weapon" and skulls, etc. Weapon & skulls might be good branding for firearms/motorcycles, but seems odd for a camera company.

If you want to see what the NX1 produces in daylight with the tiny (but good) 16-50mm PZ lens, edited natively in H265 with no grading and standard settings, here is an example:

 

 

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Thanks JFR. First, would you mind editing your post and deleting the link that I've posted and you quoted? I just wanted to show it to you, not have it here online forever. Thank you very much. If people are interested in my work, they could visit my website http://www.cinematicwedding.nl .

The video you posted is indeed 'the next level'. Great looking footage, editing, grading, etc. But that is nowhere near 'run & gun' like we wedding filmers do. These shots are prepared and prepared well. They used lights, production design, etc. I'm sure most shots are done in multiple takes. This is more like a short film. Although I get your point, this isn't really a fair comparison.

When I bought my GH3 2 years ago, there wasn't an alternative that could shoot 1080p at 50 or 60 fps. There is now. Of course I will be upgrading along the way, but the camera is not my limiting factor at the moment. Neither in my creativity, nor in what my clients think of my films. Quite the opposite, they are often amazed by the 'clear image' and slowmo. Unfortunately, my business is not high enough ranked in Google yet to make enough money to constantly upgrade all my gear. As you understand, the camera is only one of the tools one needs to buy to make good films. 

And as much as I agree there are better camera's out there in terms of DR, colors and low light, the GH3 and GH4 are more than great alternatives. You are right that ISO 1600 is the maximum ISO one can use. We never go over it. But with a Speed Boosted f1.8 lens I've only once encountered a venue where it was slightly too dark and that was in the film that I posted here.

Anyway, will check out more work of Delivery Men. Cheers.

Are you serious? A GH3 + Speedbooster + Sigma 18-35 f1.8 (f1.2 with SB) is not bad in low light at all. Sure, there might be better low light camera's, but this isn't bad at all. Also, I need the 50p 1080p for slow mo and I simply like the current look I'm getting. At the time I invested in these camera's, C100's couldn't even do 50p/60p at 1080...

Many people don't take these Panasonic 'toys' seriously but I guess that's actually a good thing. Actually, I feel obliged now to show you some of my work. (2nd half of the film has a lot of indoor low light shots.)

 

By the way I forgot to mention that I need this wide angle mainly for the 2nd camera, in this case the G6, to record a wide view of the ceremony.

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... here's the latest video I DP'd, which makes use of plenty of slow-motion and other film 'cliches.' I love every minute of it. 

 

We filmed it last fall, but the music wasn't mixed/mastered until very recently. Shot on FS-700. Canon lenses. ProRes through Ninja Blade, internal for Slo-mo (I hadn't yet discovered the magic of the 7Q). Some variation of a flat profile, but not quite S-log.

 Panasonic will release a forward thinking camera this year that will render the Canon competitor irrelevant.

​Sales doesn't mean jack shit to you and I. We don't profit from any of these companies. We only benefit from forward thinking technology and manageable price points. 

​That is very very silly if you think an old 5Dmk2 is better than all of GH4/A7s/NX1. 
Heck, I think it is even debatable if the stock 5Dmk2 is truly that much better at filming than even the original GH1 (which can be got for a mere $150 now on eBay). 

1 year too late. I'm sure Panasonic will release a forward thinking camera this year that will render the Canon competitor irrelevant.

​Yes, by all means, stop playing with toys.  At least buy gear that makes you appear like a professional behind the lens and next to the cool camera stuff because that's what the viewer will truly appreciate when they watch the final product. [rolls eyes]

Never mind these option that give you professional level imaging for a few hundred bucks, just use gear that has brand prestige among industry people.  Such as a RED.  It's so great.  And your favorite gritty movie was once shot with it.   

If you do otherwise, you're not going to be prestigious or taken seriously by other guys that appear professional next to cool camera stuff.  

Well, unless you actually capture a compelling story and create an emotional and memorable film...which depending on your circumstances, using a toy camera might give you the best chance of acquiring, but, hey, whatever.  As long as you look good in your PR shot when you're pointing and standing next to a big camera with a huge matte box.

And you'll never make money!  

As a documentarian that's probably going to be true no matter what gear you use.

Anyway, the "you-must-use-this" snob attitude (and it is a legitimate snob attitude) about specific brands is ridiculous.  Sure, some people in the "biz" embrace it, and maybe it even helps them in their certain industry circles, but it doesn't mean it's an attitude we all need to share or assume that outlook works for one's particular needs.  If you have the skill and the story, you can shoot the damn thing on a smartphone.  As a documentary film maker, if you start with thinking about the story you'll always be better off than starting by thinking about the gear.

My opinion is that too many people get that backwards.

Hello everyone

 

I'm trying to decide on a second hand camera body for some documentary work, low budget, probably short docs (though I hope to progress to full length, though I'll invest more money when that day comes).

I'm kind of half settled on getting the Canon 5D mk ii, but only when I see it at a particularly good price second-hand, for example recently I saw it going for (body only) £440. This may have been a one off, I'm willing to spend something around £500 for the body.

I want this to be something that will last me quite a while, hence why I'm not going for the much cheaper body's available, I feel like the 5D mk ii is perfect in this sense.

I'm open to other ideas, for example, the GH3 has had so many recommendations all around the internet. I kind of wanted to stick to Canon, mainly because of the functionality that comes with Magic Lantern. But maybe someone else has a better recommendation, maybe a different model of Canon.

I'm concerned about moire, I've seen the Mosaic VAF-5D2 filter which combats this, though I can't seem to find it for sale in the UK. I would like the body to have a full sensor, basically I'm looking for as much of a cinematic look at possible within my budget. 

I know this is all very vague, it's just a general outline, maybe some of you have some questions that I can answer which will lead you to recommend something to me. Any help with be much appreciated! I'm sure you must get people asking for camera recommendations every day!

Thanks again,

Sam

I shot this music performance video on my gh4 with 17.5mm voigtlander and 42.5mm nocticron. 

http://youtu.be/E4xMW5ZJow4

Mh, please help me out since I would love to learn. In my tests I found that setting the ISO higher than 20k would yield into too much noise. Setting was 1080p / 60fps. In which regard would you advice me to change the exposure?

Hello

So: Shooting a fishing show on a large trailer boat. Only me, so a busy man! 2 host's with lavalier mic's, + ambient audio on Rode X (waves, motor, birds, wind and so on)

Shooting with 5Diii (not ML) with on-camera light and Rode stereo mic X on top + Tascam running Sennheiser G3 lavelier's in my belt.

Problems: For a lot of the fishing i'm not allowed too much light, so try to stay at ISO2500 at F4 if i can. Sometimes i need to go to ISO5000 when they need more darkness not to spook the fish. 5000 is really pushing it for broadcast though and my editor is not overly exited about ISO5000.

Focussing on the 5Diii with Zacuto: never 100% sure i'm in focus. I do the same as everyone else, i just turn the focus ring a bit, only to find out that i was in focus:) so all/most clips have got these small focus in/out's that makes it look very "unpro" I have tried focus peaking on ML, but it's really bad in the dark. I just hate the feeling of never being 100% sure that i'm in perfect focus.

Obviously ended up looking at the A7S which on paper and by tests sounds amazing. I read about bad placement of the record button, but how bad can it be..! Real bad!! Pretty much a deal breaker for me at this stage. You need to grow a small and thin extra finger between your thumb and index finger unless you throw the camera over in your left hand and then find the button with your right index finger. What a complete and utter f-up. Only solution i can see is to buy/build a cage for it so you have an extra handle to the right hand side so you can push the rec button with your index finger. This will work i think, but in the dark i still need to be able to find that recessed rec button. Im thinking of contact glueing on a small plastic button on top of the rec button, otherwise i'll be fumbling around after it constantly.

I understand you can't assign another button for start stop recording?  What about the battery grip, no record button on there either?

Has the A7S that horrible AGC that Canon serves up? 

Is there another solution for me out there that i haven't looked at?

And last, How high ISO would you think i can go to for broadcast TV on A7S?

​While that's essentially true for a single editor, when you have a team working on something you need a file structure that's suited for a team, and Avid's bins are more reliable for multiple editors than anything FCP or Premiere has. Avid is also faster in trained hands.

Having not used FCPX, I don't know what the right choice is. Probably Avid.

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