BenEricson

This is really cool. So compact.

Can this do 60p or 48p at 10 bit in raw? I love the 5D3 Raw image, but something cheaper that I could throw on a tripod would be awesome. 

4 hours ago, AaronChicago said:

There's a new featurette available showing BTS.

http://nofilmschool.com/2017/06/dp-roger-deakins-reveals-blade-runner-2049-tech-challenges-jaw-dropping-new-bts-featurette

Which Canon camera is this that they're flying?

 

 

1Dxii or 1DC.

4 minutes ago, Andrew Reid said:

Don't think Canon has a colour advantage any more. I am getting often superior results with EOSHD Pro Color on the A99 II, and the GH5's 10bit is something else.

Superior to the c300ii? ? 

I'm mainly talking about the Fs5 and Fs7, since they are similar in features. 

On 6/20/2017 at 7:58 AM, Oliver Daniel said:

Today I graded some footage from the FS5 in 4k ProRes from the Inferno, and it looks great. I don't see a great need to switch to a C200, it's just a bit of geeky curiosity. 

Color and autofocus.

First and Third are Sigma 18-35 1.8 - The second shot is with the 70-200 at 2.8. ISO 1000. First take, nails focus the entire path.

The Sony FS5/FS7 can look nice, but this horribly lit hospital would be pretty tough. This is C300ii.

1 hour ago, jgharding said:

the fuzzy-motion noise reduction, not great low-light, all kinds of little quirks and issues... they do need a dedicated b-cam, but they're too afraid of losing sale.

Yes, the XC10 is ALMOST so good. The stabilizer is really great. I love the color you can get, but the image is a bit unreliable. In the right setting however, it looks amazing.

3 hours ago, Mattias Burling said:

Matching cameras isn't that much work if its important and no work for when it doesn't matter.

A "match" is also subjective. 

The C200 does do 10bit/422 to a recorder, so there's that. Throw a video assist or a 200 dollar ninja on top and you're good. The 10 bit/422 images out of the C300ii look like alexa, so I am sure the C200 will look absolutely amazing. Clean images. 

I wish the C300ii had the low bit rate 4k codec the C200 has. I shoot a lot of projects in 1080 because of the space requirements. Shooting a full day of b roll and interviews is an insane amount of CF card space. 

10 hours ago, Catnapp said:

Is it the same sensor as it was 5 years ago?

C300ii sensor. No.

1 hour ago, Liam said:

If going the festival route, should I pretend I made them a year apart? That would be kind of relieving, like I'm already accomplished into the future a little. But it kinda killed me waiting for a year last time, especially since I mostly got rejections, and this is obviously.. twice that.

Is it weird or ill advised to go around with two films at the same time?

I like the Vimeo only route more than I expected, but I still have a feeling maybe really good luck at a festival - networking etc - is better than really good luck online.

Just kind of a weird problem, wanted some opinions.

Less is more. I would push them out at separate times, probably the better one first. 

11 minutes ago, Ed_David said:

looks great

 

The micro has more dynamic range and can go to 800 ASA easily.  the digital bolex has at least one or two stops less in the highlights and really can't go past 400 ISO without looking super noisy. 

but it has nice colors.

also I don't own those cameras.  Already had a micro camera.

Thanks. Gotcha. Come to think of it, most of the nice Digital Bolex stuff I have seen avoid those scenarios... It was overcast but well lit, pretty much optimal for the limitations you're describing. 

For some reason I thought you were shooting a doc or narrative with this setup, just remembered that was the Ursa Mini. 

On 6/5/2017 at 7:00 AM, Ed_David said:

Shot with the Blackmagic MIcro Cinema Camera with the Angeniuex 12-120mm 16mm lens, a cameflex mount modified to micro 4/3rds.  For color, I brought into Da Vinci resolve and used Filmconvert with a Fuji Eterna film stock and softened it even more to Super16mm softness.  Added a tiny bit of grain and that gave me a great starting point to harken back to a more organic look.

 

I zoomed in digitally mostly around 20% - and it still was too sharp of an image.

Why not shoot it anamorphic instead?   Well, I am in love with documentaries of the 60s and 70s like Grey Gardens, etc. And they used this lens I think, and it has a certain feel to it that’s pretty beautiful. 

Let me know what you guys think of this.

 

This has so much nice texture to it. 

Curious why you decided to go with the Micro rather than a digital bolex? I know they're cheaper and you get 60p with the micro, but the Digital Bolex is pretty special.

Shot this 3 years ago. The movement you get on Super 16mm zoom lenses is one of my favorite things ever. 

Svitar 26mm 1.1 C Mount Lens and a Som Berthiot 17-85 f3.8 Compact Zoom Lens. I really recommend the 26. Razor sharp at 2.8 and on, but a really cool look if you shoot a 1.1 wide open. 

3 minutes ago, TheRenaissanceMan said:

A more modern sensor would be nice, as all its competitors are rocking new (ish) designs. I'd just settle for something that looks nice; I haven't seen a pretty video out if the FS5 yet. 

Back on topic, I had a play with the MP4 files from the C200. When graded, it did break quickly. I also noted that 100fps was noticeably soft. 50fps looked a bit better, and would be my preferred limit.

Looks like you need to shoot Raw to get a high end image...shame, because the price for a full day's worth of CFast cards is almost as much as the camera itself. 

I agree with the fs5. I don't think bit rates really matter when a baked mode on the 5d3 produces a better image. That sensor is also real noisy. 

You could shoot 1080/422 interviews to a recorder and shoot your b roll in raw. Raw seems like such a bonus to me, this camera is closer to the fs5 in price but way ahead in the quality of images it will produce. 

6 minutes ago, Jaime Valles said:

Looks great, but I need Dual Pixel Auto Focus with touchscreen like the C200. That's the only thing that keeps me from getting the EVA1.

It also doesn't look like there's a viewfinder?

Is the official price under 8k then? 7995.00? 

1 minute ago, rndmtsk said:

Yeah well at least it has a nice middle ground codec, where most people are gonna use it. The C200 doesn't even let you output that. And they said they're currently working with recorder makers to support it. Hence the "future" part.

Well, to be fair the Canon will probably have their updates out before the this camera is even in officially released. C200 preorder is Monday? 

Im really curious about the color and how clean the 240p is.

1 minute ago, Cassius McGowan said:

Did he say not internal???

It will be able to output 5.7 raw is what I heard. I don't think there are any recorders currently that even offer that.

5 minutes ago, Cassius McGowan said:

Too hell with Canon after seeing this lol. 5.7k raw

"In the future," also not internal. Are there even any recorders currently that can capture higher than 4k?

EF Lens mount. 

Screen looks so similar to the C200 or FS5. No viewfinder.

6 minutes ago, Elagabalus said:

Can we now add Sony to the fight?

 

http://www.sonyalpharumors.com/sony-will-announce-pmw-f5-successor-tomorrow-6-cet-time/

That'll be a 18k camera though.

2 hours ago, Dimitris Stasinos said:

In the shots above the guy used warp stabilizer, you must totally hate coffee to achieve shots like these with IS only, & beyond 70 mm it's impossible while Pana's IBIS have been proven effective at extreme focal lengths. 

That's not true... You can shoot handheld with a 70-200 2.8 IS on a Super 35mm Canon C300 and get those results easily. A bigger heavier camera will help you a bit, but the IS on those lenses is incredible. 

21 minutes ago, Chrad said:

So throw in more processing power. From a user standpoint it makes no sense to have to choose between 8 bit 4:2:0 and RAW with no reasonable in-between option included.

Not that I am defending Canon's decisions, but the 8bit 420 4k will look better than 10bit/422 from the Sony FS5. 

16 minutes ago, AaronChicago said:

Why no in between? I would disagree that CLog doesn't need 10 bit. That was my biggest complaint with the C100mkII is the weak codec.

Having used the XC10, the 4k version of that codec is much better. But yeah, a bit of a bummer. 

2 minutes ago, ade towell said:

no 4k 10 bit out by the looks of it, bummer

 

Well UHD, which is good enough for me since almost everything is 16:9 deliver anyway...

Looks like it is HDMI 2 - 10 bit/422 out. I haven't heard if you need a license or anything. 

43 minutes ago, Mattias Burling said:

After using the Canon 4K 4:2:2 8-bit from the xc10 I dont see any need for it to be 10-bit. For that there is Raw.

Exactly. C-Log is really really good. I couldn't get my FS700/7Q 10 bit 4k files to look as good as the XC10 did. The only thing holding it back was the lens options.

I can't any info on this. Does the camera output 10bit/422 1080 and 4k/10bit/422? Is there a 60p out of the SDI or HDMI?

I'm buying one.

21 hours ago, andrgl said:

And here I thought content and editing were the priority. I never realized the difference a 1/4 stop of highlight rolloff could make.  Man am I naive.

The Social Network would've been shit if it was captured on the GH5.

Most of the people here do paid work, commercial, corporate, doc work. If you have a paid shoot tomorrow with a small crew and you're forced to blow a window or some clouds, you'll want the highlight roll off to be clean and smooth, not budget dslr looking... 

The Gh5 is great but that is certainly a very noticeable weakness. A lot of little differences add up to a big difference. 

On 5/25/2017 at 7:21 PM, Fritz Pierre said:

the first RED had at least 2 to 2.5 stops less DR than the GH5, and I don't know the DR on The 5D but I presume it's at least a stop North of the GH5...maybe more?

Yeah, but the RED and even the 5d have much prettier highlights. The gh5 clips hard. This makes a huge difference when comparing the range of an image. 

56 minutes ago, TheRenaissanceMan said:

Ugh, I know! Even internally the camera is great, but part of me knows I'm not getting everything I can out of it. What are the biggest things you notice jumping up to external 10-bit? Just a lot more robust in the grade?

Nice to hear the recorder is no fuss. I should invest in one or two of those d-tap Sony batts; battery life on the assist sounds irritatingly short. Not sure why they went with LP-E6 over Sony NP-F. 

Got a link to the batts you use?

They probably went with the LP-6 due to weight and size? The micro cinema always uses those batteries... Which also sucks. 

You know what, I couldn't tell you because I have never used the internal recording. I do like to over expose a stop or two at times to get clean shadows, I would image this is more of a problem with the low bitrate. It is seriously difficult to get the F3 to fall apart. I will say that I use the C300ii quite a bit and the image on the F3 is pretty similar, (besides crummy indoor lighting, where Canon does so well at staying bright and colorful.) I do think it has one of the best 1080p images available. You do need to know that unless you have upgraded to the 444 version of the F3, you will not be able to get 60p with the video assist. You can with the 7Q without the upgrade, but that is much more expensive and a lot bigger/heavier. Also, for whatever reason there is a bug that causes the bottom pixel to flicker when using the video assist and capturing 60p/3g.

I buy directly from SWIT. These guys are really good about shipping. I ordered Monday at 4pm and they shipped it out the same day and I will have it tomorrow. I currently own a 63w but just purchased that bigger one because it was on sale. I'll probably buy another if it works out. These are seriously convenient. http://www.swit.us/dv-batteries.html

I have been using Canon LUTS and I am really happy with the results. I am working on a longer project that will be graded professionally, very excited to see how far we can push the files. I attached a couple stills. I think in almost all of these, I am exposing ETTR. I am really happy with how much saturation is held when over exposing. 

I have the F3 rigged right now but no photos... This is a very minimal low footprint setup, could be used on a monopod or something.