Gregormannschaft

16 hours ago, SRV1981 said:

This looks great as well! May I ask what drew you to Panasonic vs Sony and canon? Does it simply come down to AF as to why more sales go to the latter ?

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.

On 6/7/2022 at 1:09 AM, herein2020 said:

Well for me the S5's time has finally passed. The lack of useable AF for the type of work that I do finally became too much to deal with. The Canon C70 has managed to meet and exceed my expectations in every possible video related area. Its AF is certainly not perfect either, but it is leaps and bounds ahead of the S5 and GH5 not to mention the integrated XLR inputs and internal ND filters has helped me set up and tear down faster than any previous camera I have owned.

For my fast moving run and gun type event work I gave up IBIS just to gain useable AF and so today I am getting rid of my C200, both S5's, and the GH5 since I haven't even turned on any of them since getting the C70. I have now shot multiple events and projects with the C70 and it has performed nearly flawlessly every time (hint: AF is terrible in lowlight/backlit scenarios). 

I still think if you can use MF for your work or if the AF is good enough for the type of projects that you shoot, the S5 is without a doubt the best hybrid photo/video camera out there for the price and offers the best of both photography and video, even audio is great with the XLR adapter, but for me the C70 is without a doubt a better fit. I still think the S5's greatest niche would be as a travel / mini doc hybrid photo/video camera.

With the S5 I was simply throwing away too much soft footage and it was always stressful trying to ensure people at events were in focus or that I at least managed to capture the peak action moment in focus.  Even simple handheld interviews I found myself using ISO4000 all the time just to increase the F stop to try to keep people in focus or I would use a wider lens. In the end I found myself making too many compromises and putting in too much extra effort just to keep the subjects in focus.

Surprisingly, at least to me, I still find the VLOG out of the S5 about even or maybe even slightly better than the CLOG2 I am getting with the C70 when it comes to dynamic range and colors. I know Canon's colors are legendary, and the C70's DGO sensor is supposed to be the best you can get below $10K at the moment, but there's something about the image quality out of the S5 with the Sigma 50mm and VLOG that I can't quite match with the C70.  I probably just haven't found the right CLOG2 to Rec709 LUT yet, but with the S5's VLOG I could grade it by hand without a LUT and get better results.

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 hours ago, SRV1981 said:

Does the fx3 have full hdmi? Maybe worth a look as I think the image is equal if not better in shadows

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:

6 hours ago, Oliver Daniel said:

I would share some of my footage but can’t as it’s paid work. 

But I can tell you now, it’s massively different from the A7S2. They don’t meet in the same ballpark. Most footage you see online isn’t the best. 

Here’s a simple one I shot. Wider shots are A7S3. Tighter shots are C70. 

 

Nice work, I honestly can’t tell the two cameras apart! Are these two essentially your A and B cams now? 

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. 

26 minutes ago, SteveV4D said:

I am in the same boat.  I need to see how 2021 develops before investing in a new camera.  By the time I know if I can expect a good year in 2021, the C200 Mark ii will either be out or at least announced and I can decide between  it or the C70.  

The smaller form factor of the C70 is nice, but the lack of RAW and EVF are annoying omissions for me.  Plus I'm not a fan of being tied to SD cards only for recording internally.  I've preferred CFast card recording on my Pocket.  As much as I've valued the mirrorless form for my cameras, I prefer the C200 body if I'm honest over the C70.

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. 

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.

15 hours ago, Oliver Daniel said:

I have a music video to show soon in the A7SIII, and some brand work on C70. 

I can tell you now, the C70 is a much better form factor to shoot with, but, the A7SIII is a monster. That camera is insane. 

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.

On 11/6/2020 at 12:40 AM, alanpoiuyt said:

 

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.

4 hours ago, Kisaha said:

Oh my! I have to sell most things and buy this. It is just perfect for me.

GH5 replacement?! get serious guys...this is a different fruit. Only the GH6 will be a GH5 replacement..

C200?!! I was laughing at that camera back in the day, one of the most useless releases of all time, that camera was crazy expensive in some parts of Europe back then, just for the 4K 8bit the C100mkII didn't have and the raw lite a few used (not one I know ever bothered to buy cards for raw). C200 costs 6200euros currently in my market.

Does anyone know if this can possible fit a Ronin S, or I have to sell that as well (not even used once..).

 

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.

3 hours ago, Mmmbeats said:

The string rumour has been C200 sensor and 8-bit only for the C50. 

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.

15 hours ago, ntblowz said:

Interesting, I saw another video compare c200 RAW and Komodo, the c200 also retain highlight better than Red, but shadow area Komodo hold better.

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.

On 4/25/2020 at 1:45 PM, gt3rs said:

This is a 400ws strobe with a big reflector on a small inflatable boat just outside the frame.... but I also have some doubts.....

Great shot, is the cyclist getting really wet a second after this was taken?

On 4/20/2020 at 12:06 PM, heart0less said:

That's what I feel, too.

Though I have to admit I'm still listening to the content from 2018, because I have lots of catching up to do - maybe the tone for most recent podcasts has changed.

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.

16 hours ago, Parker said:

I agree, he's super over the top and kind of annoying to listen to for more than a few episodes. For filmmaking-related podcasts, I prefer the Go Creative show and its short, really good interviews with top-level DP's and actual pros about what they're shooting. 

The T-Stop Inn is also pretty good, lots of really cool insights from legends of the industry. 

If you're more interested in the purely entrepreneurial, 'from the bootstraps-up' type of indy filmmaking that Wandering DP provides for a lot of people, then Alex Ferrarri's Indy Film Hustle is decent, although I haven't listened to a huge number of episodes, his personality can also be a little much. 

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.

On 5/7/2019 at 12:42 PM, heart0less said:

Hi there.

 

Does anyone have any experience / feedback regarding The Wandering DP Podcasts?

I saw some of his work and free samples of podcasts and they looked amazing and informative.

 

What's your take on this?

 

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.

7 minutes ago, heart0less said:

My thoughts exactly. Every tool has its own place. While it's perfect for his travel videos, using it in a high energy scene (like the one in his short film) is quite pointless.
But as you can see, he was made an ambassador of some gimbal company, so I guess he's bound to use it now.
 

Perfect!
I hope you have fun creating it.

( :

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.

22 hours ago, heart0less said:

Here goes another one:

 

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.

4 hours ago, Inazuma said:

You guys are gonna kill me for this but I actually loved the IBIS in my a7 iii. The reason is that it didn't have that locked-down look from better stabilisers. It still looked handheld but without the microjitters from my shaky hands. Cameras with better IBIS also had a lot of drag when you panned or worse, warpy corners. 

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.

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...

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.

1 hour ago, zerocool22 said:

Hello,

Just wondering how much you guys are earning as freelance videographers per month. Before and after taxes (which can be massively different depending where you are located)

Before tax:
After taxes: 
Location:
Type of jobs that you do: (Corporate/weddings/commercials/event/...)

Cheers

Err, you first.

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.

2 hours ago, MeanRevert said:

Probably a cultural thing but 'mega rich' means tooling around in yachts, not with cameras here..

Well, what about driving around in Lambos with a RED?

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.