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Everything posted by Gregormannschaft

  1. Nice work, I honestly can’t tell the two cameras apart! Are these two essentially your A and B cams now?
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Great shot, is the cyclist getting really wet a second after this was taken?
  11. 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.
  12. 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.
  13. I've been listening for the past 3 years or so. Standard podcasts are great and I feel for the breadth of stuff he puts out there its more than worth paying 5 bucks or so a month. I'm not anywhere near the scale of projects Patrick works on, but his discussions on how to manage a set and breakdown shots are fascinating.
  14. He uses them so well, no doubt, but I really liked his stuff before the gimbal craze and felt he was more creative with his shots. And cheers, yours was beautifully shot.
  15. I really, really like Brandon Li's stuff and think it's pretty impressive how he's grown his own personal brand but kind of wish he would stop using the gimbal so much. I'll put something together as soon as I finish a project I had leftover from before the world came to a screeching halt. Will be a struggle to not make something revolved around the pandemic, I like that Film Riot expressively said no doom and gloom.
  16. Totally agreed. I could get a nice handheld feeling without the jitters with Sony's IBIS, exactly what I wanted. I'm not so keen on the movement you tend to get from gimbals and wouldn't want that ultra smooth quality all the time.
  17. Those videos are amazing but I hate them. When they were all the rage, I had a corporate client request that their corporate video be in the same style. It was a one man band shoot, just me, a Sony A7SII and a gimbal. I mean...
  18. I can’t answer your question but I’d love to ask. I’ve been looking for a cheaper alternative to the Rhino, Edelkrone and Syrp options out there. Have you tested it with heavier cameras at all? And are you able to get smooth motion with small movements? I find the brands above incredibly overpriced and would rather not spend 800 € on what should be simple camera movements.
  19. C200 as A cam, BMPCC4K for B cam and gimbal work, and Sony A7SII for the odd shoot. It will likely get sold soon which is a shame, it's been incredibly reliable over the years.
  20. Well, what about driving around in Lambos with a RED?
  21. I really like PotatoJet's channel, not gonna lie. He strikes a good balance between being really charismatic and entertaining and actually knowing what he's talking about. He posted something about the Edelkrone slider recently and it seemed pretty obvious it was a product that had been sent to him for review, which is pretty standard in other industries. He's also done some other posts on lighting breakdowns and how to plan short film shoots which I found useful. So he's good. There are some really awful channels out there that just flaunt this luxurious lifestyle that they just happen to be filming with the latest RED camera. They're gross.
  22. This is true, but it still requires a sizeable investment over time to buy new drives and media. I find things get cheaper, but sizes go up. The RAWLite out of the C200 is just about manageable to the moment, with 256GB getting you about 30 mins of record time. This is nicely broken down. I purchased a second hand (never used) C200 from a production house 2 years back for just over 5k euros which was a great deal at the time. So if you buy second hand you can easily get cheaper prices. I'm not entirely sure why you'd want the 1DXIII if you're doing both video and photo. It offers the extreme best of both world, but do many jobs really require you to be shooting 5K Raw and using a top of the line professional photo camera? I guess the middle broadcast codec is a great thing to have for some photojournalists out there and the more I think about it the more I think that's who will really end up buying and using this camera to its full ability. The rest of us probably specialise on one side or the other. Doing only video, once you have internal NDs and built in XLR audio it's very hard to go back.
  23. The specs are really nice, but 13 minutes or so on a 256GB card is crazy. It's nice to have the option and it's great there's a ton of codec options in there but that's a serious cinema camera bitrate for serious productions. Maybe it'll be used as a B or crash cam on some bigger productions. I'm not entirely sure who this is for to be honest. It's a couple more grand more expensive than the C200 I bought a couple of years ago. My hopes for a middle codec have completely disappeared, but I can't see myself seriously requiring more than the Canon RawLite format. Once you start shooting in these really nice, thick codecs it quickly shows up other areas of your production that could be improved like lenses, lighting and sound. I'd argue that if you have a camera that can shoot decent RAW and you like shooting with it, there will be no real reason to upgrade for a long time. It's going to be too big for a lot of shooters used to mirrorless, and it's too expensive to be used as a B cam. I'm currently using the BMPCC4K as my B cam and gimbal cam and it pairs really well with the C200. You would have to have a very particular use case to warrant splashing out on the 1DXIII as a B cam. Serious hybrid photographers maybe?
  24. This is true, but I'm a big fan of the Light Dome for documentary lighting. I use it a lot in corporate spaces, and it means I can change locations and really quickly and easily. I use a light wand as a hair light, and a small LED as a fill (if needed, I prefer to get as much contrast as possible usually).
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