BenEricson

Better color. This is tech. Pros care about this more than hobbyists. You can bake in color that will look better than most footage you see shot s-log and graded. There are good examples but there a lot more bad examples.

Unless you go Ursa Mini Pro, the headaches of external NDs is still a factor to consider. Canon color is really nice. It depends what you're shooting I guess. This is one reliable setup though, professionally used for years and years. You also can shoot that lovely Canon baked in color...

Yikes.

Haha. Sounds about right.

Can vouch for this boom pole. I have used this on probably 100 interview shoots. It is very compact and reliable. Make sure you get a bag for it.

I own the pocket, it has aliasing, really bad IR, batteries run out super quick. It is a hassle in a lot of ways in its own right. I do like the images, just such a pain to work with. The bolex does a lot of things the bolex cannot, 64fps, long exposures, no rolling shutter. The F3 however is awesome.

Honestly, 16mm is really underrated. I'm working on a few Bolex 16mm/Super 16mm projects right now. I have been getting 4K scans and I am super happy with the results. You get the color everyone wants but you also get the character of the film stock and lenses of that era. Really been loving the Kern 18-100. The first few frames are with the Kern zoom. I'll post up the projects when they get done. I really love the F3 and C300ii but cannot stand the FS700. There's a lot of green in washington state, and the FS700 just doesn't render green right. Canon nails it. F3 nails it. Film obviously does as well.

Looks nice, but his style of color grading makes almost every camera he tests look the same.

If I owned a C100ii and was doing well freelancing with that, I would probably buy a 1DXii. You can advertise to your clients that you shoot 4k, plus you get a really nice stills camera. Just a thought. People rave about the 1DC as well. You're right though, the market that you're talking about favors the FS5, FS7 right now. The C300ii is overkill and the C100 isn't enough anymore.

5D MKIII Raw.

The problem with the FS5 is that when you're asked to shoot a 1080p interview, the footage will look worse than the camera you upgraded from. Of course there are a ton of awesome features with the FS5/FS7, but image color and skin tone is a step down. The FS5 weight and body size is pretty awesome, color just doesn't do it for me. The built in XLR on the FS5 is seriously awesome though. You can strip the body way down and still get great audio.

Just needed the smallest possible kit. You can strip it down to just the body and a powered mic with a stabilized lens. A couple stills from a Microsoft piece I shot over the summer in Houston. Run and gun interviews and b-roll.

It is a joy to use. Thinking about using it makes me happy. I stripped it down for a shoot the other day, just the C300ii and a rode mic on top. Really easy to run around and grab shots. The image never looks cheap, colors always look right. ˙

Film just looks better. Red is the trend.

This is another case where a c100 in a lot of situations is just going to look better. It will be just as sharp in 1080 and render better skin tones and overall scene colors. Don't get me wrong, I pre-ordered one and I am excited about it, but it seems like every clip still has that GH4 look.

In poor/mixed lighting, hard to beat. There's always nice skin saturation. Looking forward to your tests.

Shot an interview this morning 1080/12 bit. Man the 12 bit out of that camera is just lovely.

I agree, a C100/C300/F3/FS5 with a fitted pelican case will take away a lot of the stress. At my work we have a fitted case for the 4 Light Panels, and 2x 300ii. This makes it extremely difficult to forget or misplace items. 3.5 is maybe fine for wild sound or some cheap doc work, but not if the client is paying you a good day rate and expecting quality. Always boom the subject as well, wireless mics are great but a boom is always more solid. Depending on how many interviews you shoot, the C100/C300 could be a game changer for you. I couldn't imagine doing the amount of interviews I do on shoots without the tools and features that the C300ii offers. I know that you can get great images with smaller cameras. I love the pocket camera, one of my favorite images ever, but the amount of work it takes to build it up is just too risky and too much of a headache. The right camera for the job. Interviews. Canon C series is hard to beat.

No way? That is huge. Does that work for the micro as well?

I've shot with the pocket a lot. It is true, very filmic image, but if you mess up it can easily look really bad. Any moire or IR pollution and the image is instantly ruined. The F3 reminds me a lot of the pocket, but the larger sensor gives you less noise. I've never shot with the digital bolex but it really has that caked on color look that film gives you. So much richness in the saturation. Pocket would have trouble getting a look like this. I've seen good pocket footage, but nothing quite this good. The frame shutter is huge, so motion is much different. Depends on what you're shooting, but that alone makes a huge difference.

Jackie, shot on 16mm is also looking really really nice. More muted in comparison but not that dead muted Sony look everyone tries to defend. Looks so smooth.

The Light Panel Astra is expensive, but I think is currently the highest light output available. I was recommended the Dracast lights. They have been fine, but I compared them to some of the V1 and V1.5 light panels at work and the color shift is much worse in comparison. I haven't seen a comparison of the Astra, but they seem to the current industry standard... When does the daylight version ship?

No kidding. That white balance is perfect. What beautiful colors.

Agree with all of this. The footage looks so nice, but the IR pollution is a nightmare, the moire is a bummer as well. The XC10 is a really nice camera to just grab and go.

Thank you. I would recommend doing as many tests as possible. Kidzrevil has been doing a ton of tests with different profiles, he seems to be making a lot of progress in finding the correct profile for each situation. C-LOG is really really nice in my opinion, but probably not ideal for lowlight. You need to work with seeing how much you can push it. If you keep the shadows lit enough, you can really avoid macro blocking and noise. The camera is temperamental. Does weird things sometimes. You really need to work with the strengths and learn to avoid exploiting the weaknesses. My biggest advice would be to not shoot over F11. Try to between 2.8 and 8, favor the shallower more open apertures when possible.