ade towell

Courses for horses, I guess. I can't understand this obsession with 60p. It's a useful extra, but just that, extra. Color and bit depth over 60-whatever-p any time. And now we can finally have 10bit log in those tiny cameras. A bare minimum for real log. I find this the most exciting thing back from the Red One days.

But the question is - did they change the color of the ND selector? If not, FS5II is a much better option. 

Well I will say this thread is pretty awesome: a budget full frame camera, undertakers, professional sport photography, cinematic mojo, academy award winners and even astronauts. The only thing that beats a good old canon back and forth is a Leica one.

I've got the eos m50 which has slightly sharper hd than the usual Canon dslr mush but still looks very soft when I cut with the c100, and the limited dr and lack of c-log or wdr, zebras and waveform is frustrating. Would be happy with an updated version of the m50 - bit sharper and with c-log, am ok with crop camera for stills 

I've got the eos m50 which has slightly sharper hd than the usual Canon dslr mush but still looks very soft when I cut with the c100, and the limited dr and lack of c-log or wdr, zebras and waveform is frustrating. Would be happy with an updated version of the m50 - bit sharper and with c-log, am ok with crop camera for stills 

Yay I've got a Canon camera - I'm a winner

No it's totally about the story. Nobody cares if one image has slightly nicer colour than another if the story isn't compelling. I haven't seen any of them but I bet all those nominated documentaries have good stories. That's what makes them successful

It should also be noted that many of these documentaries took 2-3 years to produce, shoot, edit, and release - and then another year or so to be nominated for an Oscar. So, this is not a reflection on what cameras documentaries are shot on in 2019, but rather what people wanted to shoot on in 2014 to 2016. That doesn't mean that three years from now, all docs will be shot on Sonys, but just a point that it's not really about what is released now.
With that said, even in 2019, Canon has the nicest looking image and the most reliable products in the doc-budget space. I wouldn't be surprised if the next few years many doc films are still shot on Canon cameras.
However, they need to be careful because many people in the doc space want to shoot on Netflix-approved cameras just in case Netflix wants their film - low budget or not. So crippling cameras to not have 10-bit 422 could cost them in a few years in the awards space. On my last 3-4 shoots, the client requested 422 10-bit 4K - which I use an EVA-1 for. All Canon has is the C300II and it's an amazingly lovely image, but the design is terrible and the general specifications are starting to get a bit old.
Canon just needs to understand that the C300II should die, release a souped-up C300 III and charge as much as they want for it, while also simultaneously releasing a compact C100 III with the 4K 10-bit 24-30fps that documentaries want and sometimes are required to have - anywhere under $7k.
I WANT to use Canon but have been using the EVA-1 and FS7 more on shoots because it's required. As a filmmaker/DP, it is frustrating to like a specific image (like Canon) and not be able to use it because it doesn't have the required specs. 
--
Canon's Lineup Should Be:
C300 Mark III (THE BEAST) - 8K upgradeable sensor, 60-96fps in 4K, internal raw, 10-12 bit at all resolutions - $15,000
For: Anyone who wants the highest quality Canon image. 
C200 (THE RAW CAMERA) - An affordable internal raw camera. Great B-Cam to C300 productions that need a camera on gimbal at all times - $7500
For: short docs, music videos, commercial producers. 
C100 Mark III (THE DOC/BROADCAST CAMERA) - 4K 10-bit 422 in HD and 4K. 120fps 10-bit in HD. 30-60fps in 4K. - $5499
For: One-man band crews, documentary filmmakers, owner-operators. 
--
Seems fairly obvious to me. Yes, the C300II will die, but if they don't let it die than I think they're going to lose out once Panasonic, Black Magic, and Sony release their next generation EVA, Ursa Mini, FS5, and FS7. ANY cinema/video camera released without 10-bit 4K from this point forward is a complete oversight. 
 

I wouldn't say the c300 II is perfect for run n gun - like all the cXXX cameras (I have the c100) they only work well handheld if you use it completely barebones, just lens and either use the viewfinder or cradle it. They are horrible cameras ergonomically to set up for shoulder use, they are too high and unwieldly, the c300 II being the worst of the bunch especially with where the audio ports are. The c200 is a little better but still. I wish they would (and this goes for all the other manufacturers too) create a camera with a lower centre of gravity like some of the old 16mm film cameras that would work better for on the shoulder work. It would also eradicate such a reliance on lenses with IS. Actually the c700 is better in that regard but is obviously aimed at a different market

Hello!
I have new stills from a recent shot I was DPing. It's another theme, Kinda of game of thrones thing ?. I think this is a good point of reference to see how color look in this type of forest/swamp with those costumes and production design. Here i used some old vintage Takumar lenses because of the organic look they have, i think they help to sell the fantasy theme.
I use the same procedure I always do, and my style of grade using GHa Daylight to LogC. And diffusion LOT of diffusion!

It must be my limited English skills, but why use "sterile digital look", thus giving a pejorative tint ?! I have always enjoyed your tests, but since you circled back to canon, I feel you are quite negative toward other stuff, including stuff you have tested and liked recently. If I recall, each of those cameras you have tested the last months (quite a lot !) , received a high "score" in your posts : gh5s, xt3, z6... Of course, you compare them to your C200, but every time, when the cameras were in your hands since several days, you were nothing but positively surprise by the quality. I might be wrong, but I wouldn't be surprise if in the next months, you try a panasonic S1, a future A7siii, a Xh2, and jump from one camera to another, the newest erasing the qualities you have found in the previous. I don't want to critic, or sound like and ass, but it's my feeling, reading you on a lot of posts.
Concerning the cinematic aspect of the imagery, and the Canon special sauce attached to it, seriously, the only camera that match this so called magic, to me, is the 1DC (5d iii ML raw excluded !). But my tastes and my eyes must be crap ; I'm open to that conclusion ! The image out of a 1Dxii is seriously good, with a "je ne sais quoi" (yeah, the only words I can write without making a mistake ? ), that you may called organic, but not close to the 1DC. In fact, we can argue that Canon got a special mojo, given by the motion cadence or whatever technical stuff, but I've seen a massive amount of shitty video shot with Canon, 5div, 1dxii etc. I have also watch beautiful cinematic footages shot on a GH5, which seems, for some persons, to be the opposite of Canon in  cinematic, organic etc. terms.
I'm a newbie in video, but not in photo, and I can say that we ear the same from old photo snobs, that describe the Canon mojo as the pinnacle of image quality, thus throwing away everything else. Too bad, nowadays, the majority of photos and videos are ruined by presets sold buy the instagram influencers and luts by youtube stars, so, whatever magic those cameras got, it will be crushed ?  

IMO because it is above understandable for mortal, uninitiated mind. Obviously you have yet to learn most profound true - cinematic image is just that coming from Canon, and although it may have some subsidiary following attributes as "fat" or "natural", all of that is actually misguiding attempt to express something inexpressible that belongs only to especially gifted perception. Personally,  after struggling to understand and carefully reading perpetual states - in almost every thread - frome most passionate gurus of that question, I have found logical peace in such formulation: where the specs stops begin cinematic image, exclusive companion of uber-specs Canon.

Hey!
I'm back again with another BTS look at lighting. This time with a scene from a short film I shot a while back.
I hope we can get as good a discussion as we got going with the last post, so if you have any questions at all - just ask away and let's start a conversation!
Link to the lighting breakdown

C5D test the DR on S1
with HLG it got 12.2 stops, Cine-D got 10.8 stops, so hopefully with full vlog it get 14dr
 
https://***URL not allowed***/panasonic-lumix-s1-review/
 
 

Or we don't want to be limited to minuscule and rather bland selection of Canon-compatible IS lenses.
There are dozens, maybe hundreds, of different aesthetics available from the different lens designs, materials, coatings, and manufacturers throughout the history of photography.  I personally think that the ability of mirrorless to adapt every SLR lens ever made is potentially the biggest advantage of taking out the mirror.  The fact that IBIS gives IS to every lens ever made is a real game changer for those who don't (or can't) always shoot on tripods or larger rigs.

...that's because it isn't FF anymore...

It isn't really that simple.
Canon uses two types of lens motors STM & USM. 
On legacy EF glass, STM will give smoother & more silent AF results for video.
With RF USM they use a new nano-USM tech that gives STM like smooth & silent video AF performance. 
Now from my legacy glass adapted on EOS R experience, USM EF glass is louder & a bit less responsive than on a Canon DSLR. (YMMV depending on lens).
STM EF is about the same.
 

probably why the IBIS on Sony cameras is not very good 

I had a play with a friends EOS-r and the RS is bad in 4k, and I could see it just from normal handheld no need for whip pans as you keep on saying - reminded me of the a6300 I used to have, am sensitive to RS and I'm not alone. No need to defend what is an obvious drawback with the EOS-r. I find that hard to stomach on a £2300 camera - if this new cheaper camera is $1300 with clog and less of a crop then I may be willing to put up with the issue

I had a play with a friends EOS-r and the RS is bad in 4k, and I could see it just from normal handheld no need for whip pans as you keep on saying - reminded me of the a6300 I used to have, am sensitive to RS and I'm not alone. No need to defend what is an obvious drawback with the EOS-r. I find that hard to stomach on a £2300 camera - if this new cheaper camera is $1300 with clog and less of a crop then I may be willing to put up with the issue

probably why the IBIS on Sony cameras is not very good 

probably why the IBIS on Sony cameras is not very good 

The point being that he has gone out there and made a 'good enough' looking film with an older generation hybrid whilst you're wishing and waiting for a camera that has to all intents and purposes (as far as 99.9% of the audience is concerned) been available for quite some time.
Whether that film is worth watching will come down to the script, acting, sound etc - it won't be the camera that is holding it back

Hello everyone!
I'm been working in several projects lately, here i wanted to to show some still of a new short film i shot last week. The final look will be in black & white, but here i will put some stills in color with V3 and my grade. Also some Vlog stills. 

Vlog:

There are awesome resources for colour grading and Resolve techniques out there, but they're scattered around the place, and are hard to find.  Please post anything awesome you find.
(Note: for those that are new to Resolve or colour grading, there are lots of YT "colourists" who have very little actual knowledge.  These people provide a steady stream of bad habits, misleading and flat-out wrong information.  There are exceptions, but on the whole you should be very suspicious of people selling LUTs and pumping out video after video - most of these people are professional LUT salespeople and/or YouTubers and not professional colourists!)
Juan Melara is excellent.  If you watch all the below you'll get a sense of how he uses Resolve, especially the Colour Space Transform plugin and which tools in Resolve are designed to work in which colour spaces.