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Gregormannschaft

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  1. I was looking for a B-cam to my C200, and didn't like any of the Canon offerings. In the end, I think the S5 footage beat out the C200 raw in a lot of circumstances and was definitely easier to work with in post (the C200 raw needs a lot of noise reduction and has huge file sizes). In terms of image, I think the S line cameras edge out the Sony and Canon cameras, but it's very close. To be honest, I've been thinking of switching to all Sony as I find myself wishing I had reliable AF on a lot of recent shoots. That's a very expensive switch though so I'm dragging my heels on actually following through. In the end, as others have said, all this gear talk is pretty useless. You can do pretty much anything with any modern camera. All you're really paying for with upgrading is improving your workflow and easing your shooting experience.
  2. Funny, I'm almost in the exact same boat as you (C200, S5) and am switching to Sony for the same reason. I need reliable AF. I've had too many shoots recently where I have limited time with talent and have had to shoot gimbal sequences. Even with a shinobi mounted to the gimbal I'm never 100% sure I'm in focus and that's not good enough really, especially if you only have one chance at the shot.
  3. The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck. Here are a couple of videos a friend and I shot last year on the S5 and S1:
  4. Nice work, I honestly can’t tell the two cameras apart! Are these two essentially your A and B cams now?
  5. Has anyone stumbled across any downloadable files from the camera at all online? On paper it looks incredible, but a lot of the footage I've seen still looks very much like a Sony Alpha series camera and not too distinctly different from the A7S2.
  6. Recently shot a project with both and much preferred the C200's form factor. It's just more comfortable to shoot on the fly stuff. If the C200 MkII has a good 4K 10bit codec and is reasonably priced I'll definitely upgrade.
  7. Been using the C70 the past few days and have to admit I wasn’t the biggest fan at first. It felt a little unwieldy to use, I’d have loved to have been able to swivel the handle a little as the joystick is in a tricky spot to reach sometimes. The dials are also a little oddly placed. Second day filming and it feels a lot more natural after I started to think of it more as a small cinema camera rather than a big mirrorless or DSLR. As always, love the internal NDs, like having false color and so many customizable buttons. The DPAF seemed snappier than the C200 but still not perfect and not something I would fully trust for some shots. Footage seems clean, not overly sharp but I haven’t really had time to play around with it properly yet. I’m still not entirely sure the price is justified, it seems a little high in Europe especially, but once it drops a little with cameras appearing on the used market I think it will be a lot more attractive. The BMPCC4K, and even the LUMIX S1, have really screwed with how I perceive what a camera is worth these days. There’s so much value to be had at lower price points, it’s really becoming more about convenience features and ergonomics.
  8. I'll be filming with the C70 later this week as a replacement cam for the C200 in RAWLite – any tips at all? I'm familiar with the C line of cameras and exposing CLOG 3 so I don't expect many issues there unless this new sensor has dramatically changed anything.
  9. This is by far the nicest footage I've seen so far from the C70, I was incredibly underwhelmed beforehand. I've been on a workshop with Ollie a few years ago and he really knows his stuff when it comes to colour.
  10. Lol wut? RAWLite is a really lovely codec to shoot with and the quality far surpassed almost every camera below that price range when it was released, and still holds up now. I think the biggest downside of the C200 RAWlite is it's subpar noise performance at higher ISOs. The 8bit codec is bad, but if you really bought the camera for an 8bit codec you probably didn't do your research.
  11. Honestly that would be atrocious. The C200's 8bit is pretty bad by modern standards. I always thought it was weaker than the 8bit codec in the A7 series of cameras, both in terms of grading flexibility, noise and detail. I pretty much only shoot RAW nowadays on the C200. The C70 looks really interesting but not at its current price point.
  12. I'd be interested in checking this out, got a link? I shoot RAW on the C200 for most projects and the only thing that really lets the camera down is noise in the shadows.
  13. Great shot, is the cyclist getting really wet a second after this was taken?
  14. I don't know if you found it, but back in early 2019 he uploaded the creative treatment that landed him his first feature film job, as well as lighting diagrams and the shot lists from the first few weeks of filming. It was pretty eye opening, very rare to see people sharing so much.
  15. Really? I'm kind of surprised. I find Patrick to be pretty down to earth and find his own takedowns of his own 'shitty' work make him pretty likeable. Most of the time he just sounds exhausted, if he was all 'awesomes' and 'supers' I wouldn't have kept listening. I find a lot of other podcasts a bit light and appreciate the level of depth Patrick puts into his lighting breakdowns, although they might only be available to Patreon subscribers.
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