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BenEricson

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  1. That looks like the Digital IS. Looks pretty similar to the result of applying warp stablizer to shaky footage shot with a 1/48 shutter.
  2. OG C300. Looks amazing. A C300 and a proper colorist / subject will give you much better results than a C70 or C300 Mk3 without.
  3. It really depends what people define the "film look" to be. The OG pocket gets close, but the Jello ain't it. The HPX and HVX will probably become more popular as the years go on. Especially for things like mixed medium etc. It has deep depth of field, but it has the caked on color look due to the CCD sensor. There's also nice look noise and really nice baked in looks. You can also just shoot film... There's more resources than there have been in the last 10 years. You can have processing and scans turned around in a few days.
  4. The motion is kind of all garbage on the C70. It might be the DGO. I don't know. It feels a little funky. There have also been advancements in sensors. For example, the C70 looks better in Long GOP @ 160 than the C300 Mk2 does in 400mbps. The new sensor is cleaner, sharper, with less artifacts, etc.
  5. There have certainly been advances in the last few years. The LONG GOP 4k @ 160mbps looks so damn good on the Canon C70s. It's pretty hard to tell the difference between the two.
  6. Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice. I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.
  7. I don't know what to tell you man! Acting like you're against shooting "eye level," when literally every still photograph, every piece of 16mm, Super 8 etc, is all shot from eye level. You seem to have issues with literally every practical solution! The "head on a swivel" type movements you can get with an EVF create much more interesting footage than swaying from the hip. I think you need to prioritize the stability of the camera over the exact camera height. The Bolex 16mm cameras ergonomically are far better than other cameras I use regularly. You can use your body to get lower for lower angles etc. To summarize, there's really only a few solutions that can solve your problem. The more you add, the smoother your footage will be. - More Weight - More Points of Contact (EVF / Pistol Grip.) - Wider Lens
  8. They use all kinds of things; Handheld rigs, Dolly's, Tripods, etc. It depends what type of visual language that you're trying to achieve with the movements. A steady cam doesn't replace the feel of a weighted camera with multiple points of contact. It's a different look entirely.
  9. You need more points of contact. https://www.bhphotovideo.com/c/product/1013082-REG/kinotehnik_lcdvfbm_blackmagic_pocket_2ea_mounting_plates_soft.html https://www.ebay.com/itm/384999943227?hash=item59a3c8ec3b:g:orkAAOSwsQ1iy1eq Or add weight. Gimbal is a different tool and creates a different look.
  10. Here in Seattle it is definitely Arri or Canon. That's about it. Nobody uses Sony. Red gets used more than Sony. I wouldn't ask an AC to really comment on purely image quality. I find that the Komodo looks way better than any Canon offering, yet an AC locally here would love to work with a C500 Mk2 over basically any RED. RED gets used in a lot of skate, snowboard, motocross, MTB, etc. Definitely more a "video" space that demands high resolution and some high FPS. Komodo is supposedly the most popular and most purchased RED camera ever. Film is king though.
  11. I think the main issue with these Canon cameras is still the post work flow. There is still no Cinema Gamut to REC.709 LUT. The conversion LUT from Log2 to Wide DR doesn't even match the baked in Wide DR profile. (I've tried. They don't match.) The Komodo for example, looks MUCH better right out of the gate with the standard RED provided LUT applied. There are 4 different LUTs with 4 different roll off curves for you to choose. You can preview whatever contrast level you want in camera, then apply the correct LUT in your NLE. It looks exactly like it does in camera. The LT raw footage played back pretty well for me. The other codecs work smoother though. I'm on an older Mac Pro. I don't really notice a difference in the footage though.
  12. Prime, okay boomer opportunity. I do think that Covid made VR, Microsoft Teams, Zoom, do damn tired. The last thing I want to do is stare at another screen or “hop on a zoom call.”
  13. I find that the Clog 3 / BT.709 profile is easier to color grade from scratch. That being said, I think Log2 is a better curve. I really liked log2 bt.709 tho. It looks a bit closer to Red or Arri Log footage. This was only available on the C300 Mkii. Maybe the c500ii? Not sure.
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