BenEricson

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.

OG C300. Looks amazing. A C300 and a proper colorist / subject will give you much better results than a C70 or C300 Mk3 without.

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.

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.

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.

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.

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

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.

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.

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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.

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.

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.”

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.

Vimeo is still the go to pro portfolio site. YouTube can’t cut it with ads / related videos you get. I can’t have someone watching an ad before a video. on top of that, the quality is just better. YouTube goes to mush. Especially fine details in film, grain, noise, etc. Even you know that is an exaggerated statement. I guess we can all agree that YouTube is camera reviews and covid conspiracies. 🙂

Yeah, it’s crazy. I brought 10 rolls of 250d right when BH stocked it. (I have the notifications on.) They emailed me the next day saying they could only send me 4. I agree with you on the 250d. 50d is almost too clean but has its place for sure. 250d is just so nice.

Black Magic Pocket for sure. Komodo feels good. Canon cinema cameras have a ton of noise reduction and lack the texture of those two cameras for sure. Film is the absolute best though. No contest. The amount of life even a static shot has when shooting 16mm is unbelievable. The perfect amount of grain, detail, and color.

Make sure your output is set to VF-LCD-HDMI/SDI. Default is LCD/VF.

Agreed. They nailed it with that camera. The electronic EF mount works really well. I really really wish it did internal ProRes. I wouldn’t have sold mine.

The C70 is a great image. In the right setting, it definitely looks great. Arri beat it in skin texture, color detail in the shadows, over exposure, color separation, etc. I’ve shot very consistently with the Canon C300 Mk2 for the last 5 years. The C70 is such a close image. I’m sure the OG C300ii would feel very close to the Alexa as well. The DGO sensor is great and all, but the C300 Mk3 / C70 is also 5 years newer than the C300 Mk2. I’m honestly a bit underwhelmed if anything. It’s just so similar. Cleaner... but again, it’s 5 years newer. Things like false color, better auto focus, long GOP, cleaner C-Log2, 4K/60p are all things that impress me more than the DGO sensor. I’ve shot projects where I used the C70 and C300ii next to each other for interviews. For better or for worse, I very much doubt anyone could tell the difference, even when looking at the raw source material. The highlights are great on the C70, but anything pointed into the sun sucks. You get the clipping blob in really bright sources or the sun. Once you see it, you know what to look for and it is always there. Pocket 6K probably does it worse. Komodo a little better. Film handles it by far the best. Ive said this before... but the Long GOP 4k codec on the C70 is so great. You get a cleaner, sharper image than the older generation Canon cameras and it looks really great. The files are also almost 3x as small. I’m interested to see what effect the CRL files will have on the image. If the files are even a little sharper and just a bit noisier / textured, that would be great.

Maybe it has to do with the high resolution / noise reduction / skin softening. I just get iPhone vibes with the whole color pallet and texture.

It actually is only 640mbps vs 410mbps. (I think that's the rate spec.) Pretty hopeful it'll do okay on the M1 laptops.

I completely agree. I can tell the difference by the way shots settle on the Komodo or Film. It just looks different. The sway is different. I'm just saying, the jello goes beyond the average "motion cadence" discussion. This was an artifact I have never seen on the bigger Canon Cinema cameras. This was either due to the weight, or the Long GOP compression... Or maybe both. Reminded me of the t2i. It would be fun to shoot a high motion scene on both cameras and look at the differences. Maybe I will do that sometime.

Pretty positive this is due to noise reduction. If raw has "more noise," then there will certainly be more texture and gradation. The Komodo can be REALLY noisy if exposed poorly, but it also has more detail and color. The benefit of the Canon is that it is basically dummy proof. It looks good in 95 percent of situations. You certainly don't need any post noise reduction. I'm not completely sure what this means. Maybe this is a way to get the noise reduction fully removed from the camera. Record in the raw and just use the 10 bit files without the NR? Exactly. Or 1DC.