BenEricson
-
Posts
765 -
Joined
-
Last visited
Content Type
Profiles
Forums
Articles
Posts posted by BenEricson
-
-
7 hours ago, SteveV4D said:
It was also shot on the R5, so its hard to judge the C70 on this video. I'm not sure which clip is which, when watching on via YouTube on my phone. Some colours look great, others less so. Some handle highlights better than others.
I posted some frames above. The one in the middle is the R5. I am almost certain. The color is more accurate and the skin tones pop without the need to shift everything towards red/pink. (look at the dress.)
7 hours ago, Mmmbeats said:I keep getting a bit worried/distracted/obsessed by the highlight rendition with this camera. The wedding film, above, doesn't look as nice overall as the previous stills. Don't get me wrong, it's a nice piece, and I'm sure the families will be delighted, but the highlights do look quite abruptly clipped in places, and it does lend it a bit of a DSLR-y feel.
Am I being paranoid?
No. I notice the exact same issue with the C300 Mk3 as well. (same sensor.)
I though this example was pretty nice. The skin tones look very clean. That being said, there is something about all of the examples that have this very video looking feel. If you don't know what I mean, watch some Komodo footage.
-
I had a pretty bad experience with the P4K. If I did it again, I would probably buy the 6k for the native S35 sensor, eliminating the need for the expensive speed booster. I also would skip the SSD and just bite the bullet and buy c-fast cards. I had a gnarly situation where the SSD lost connection and took me a few minutes to get it back up and running. A few minutes feel like an eternity when the camera won’t respond...
On top of that, the Metabones adapter and external hard drive eat though battery. I was forced to use an external power source, which adds more cable clutter and the need for mounting solutions.
In my opinion, interviews, docs, and everything that you list sounds like you’d be way better off with a c200 or some sort of all in one cinema camera. I don’t absolutely love Sony images, but a used Sony FS5 is probably a steal right now and very well suited for the type of work you describe.
I’ve used the C300 Mk2 for years on projects like those and couldn’t imagine having to carry ND filters, a clumsy mounted hot shoe shotgun mic, Lav Mics, while having to control audio through a menu based system.
I know any camera is capable, but cameras that are designed to allow solo operators to work reliably and quickly, while improving the quality of the production and reduce the chance for error are a beautiful thing. There is a reason docs are shot on the FS7 / C300 (tiger king,) and not a Black Magic camera. Ease of use and reliability. Auto Focus, 5 hours off a single BP60 and dual slot recording 4K beats the SSD hanging of a BM4K and a “fair amount of LP-6s.”
All of the Black Magic cameras will produce great images. They all have quirks but at the end of the day produce amazing images for the price point. They’re certainly not run and gun doc cameras out of the box, but with the proper rig and the experience, I am sure you can make great looking images.
-
52 minutes ago, Oliver Daniel said:
Just had an email to say my C70 will be delivered by tomorrow!
That's awesome! I would love to see some shots with EOS Standard or maybe just Wide DR to get an idea of what the the image looks like straight out of the camera.
For instance, the color of the dress in this example jumps around dramatically. I think I am likely seeing the difference between maybe Log-2 on the C70 and the original C-Log on the R5?
If I had to guess, I would suspect the R5 is producing the more golden looking skin tone, while the C70 looks a bit more red/orange. The saturation is a little crazy on the second frame, but the color looks more true / balanced to my eyes.
Source: https://www.youtube.com/watch?v=nEO2DHysE6k
-
2 hours ago, Mmmbeats said:
Some very encouraging grading demos here:
(if you find the guy super annoying, jump to the very worthwhile grading stuff at 5:30 😉)
Man, I just don't see it. I love the specs, but a lot of this footage just reminds me of cheap DSLR footage with a poor attempt at a "film look."
The C300ii or older canon footage, (pre DGO sensor,) looks dynamic and beautiful with very accurate and balanced color.
I do believe that you can a get a more neutral / classic look with this camera, but curious why a lot of the videos have a similar look. Maybe trying to grade a C-LOG2 file from scratch?
I've heard multiple people mention they love the IQ and the reviewer above is raving about it. The specs and size are great, and the images have a low noise floor, but do these images really knock people off their feet? All the praise over these images makes it sounds like we're all talking about the Komodo or something.
https://vimeo.com/472141764 / More C70
https://youtu.be/ohTfU1trOIo / Random C300 Mk2 video
-
-
6 hours ago, Josue Nunez said:
I did it guys. I went back to the Sony F3! Finally found a descent deal on it. 2.1k for all this. Since I don't need the 4k I was between this, a canon c300, c100, Sony fs5 and fs700.
The F3 with 444 has 850hrs and the pix e5 came with 960gbs of storage.
Awesome. That’s a great deal. You made the best choice. This looks a lot like my old setup, same batteries powering the recorder and everything.
-
My bmmcc rig. Powered from the SWIT batteries. It actually hasn't been getting enough use lately so I am selling the whole package if anyone is interested.
-
3 hours ago, TheRenaissanceMan said:
No, it's the same sensor as the F55 with a lower end CFA array, slightly different color science, and no global shutter. A really nice image and good workhorse, but the price puts it out of casual purchase territory. As a business investment, it's a little long in the tooth to make your ROI back in a timely manner. Personally, I would reach for other Sony bodies.
I was told it was the same sensor as the FS7? I guess they were misinformed.
I kinda think something like a C300 Mk2 Or C200 might make sense at that price point. (Unless you want all the high speed stuff.)
I haven’t seen another model of Sony camera that has the magical quality of the F3, besides the F35.
-
-
9 hours ago, Kisaha said:
Amazing video and great script for a commercial. Is this yours?
No, a friend of mine was on the (very small) crew and mentioned they used the P6K.
-
23 minutes ago, zerocool22 said:
I think chivo earned a pretty penny for this one.
I guess the camera does actually matter! 😬
- MicahMahaffey and zerocool22
-
2
-
-
13 hours ago, tupp said:
Certainly, there are other digital cameras with 16 and S16 crops, and most of them have been mentioned in this thread. The Digital Bolex and the Ikonoskop A-cam dII are probably the closest digital camera to a 16mm film camera, because not only do they shoot s16, raw/uncompressed with a higher bit depth, but they both utilize a CCD sensor.
Yeah, the OG pocket cam is S16 and also has a similarity in the highlight sensitivity. Ergonomically though, beyond terrible, any of those cameras mentioned are like Fisher Price toys compared to the Eclair. Nobody ever even bothered to create a modern zoom lens that could compete with the old S16 ones. Maybe the Canon 18 - 80 on a C300?
-
7 hours ago, kye said:
However, if you're talking about mimicking film then it was a very short period in history where you might shoot on film but process digitally, so you should also take into account the print film positive that would have been used to turn the negative into something you could actually watch.
Fair enough. I didn't realize you were talking about reversal film or film prints. Reversal was extremely popular at that time. The Dark Knight was shot negative but done with a traditional film print work flow and saying it has poor dynamic range and is comparable to ML is a tough sell. The roll off on highlights is just so damn pretty!
From my experience with color negative film, the amount of range and especially highlight detail far exceeds what you would ever need to pull out in post. An exposure needs to be set in the grade, but like you said, you have a ton of leeway. It is quite remarkable what you can pull from even a 16mm negative film.
I am definitely interested in that book. It was written in 2006 and the scanning technology we have now didn't even exist back then, but I am interested in that more classical style of shooting and finishing contrast than the DI style grading. Thanks for the recommendation.
-
On 4/18/2020 at 5:36 PM, BenEricson said:
This dude shot a feature length doc with the bmpcc and the bmmcc. I think it had a festival release in 2018, but now available online. The colors out of the original bmpcc and micro have a point like quality and texture. Really beautiful.
Just going to bump this and mention you can watch this for free if you happen to be subscribed to HBO max. The bmpcc still delivering. Looked great streaming on my TV.
-
5 hours ago, HockeyFan12 said:
I keep going back to the $30 cowboy studio stabilizer, which somehow distributes weight evenly even with a front-heavy camera by clamping around your back. For 2-4 pound prosumer cameras and cameras without IBIS, I've found it preferable to a shoulder rig.
That rig works way better than it should. I haven’t used it in years but had great results with the OG black magic packet.
- tupp and John Matthews
-
2
-
On 10/8/2020 at 4:02 PM, kye said:
Canon / ML setups are similar to film in that they both likely have:
- poor DR
Not sure where you read this, but you're misinformed.
I would echo what others say and mention the C300 or FS7 as their modern say replacement. The NPR is very much a single operator camera, just like the C300 or FS7.
The comparison in image quality is probably not worth mentioning... It was the film stock flying through the gate that and the glass that determined the look, not the mechanics of the camera. It didn't matter if you had a Bolex or a SR3, both can look great with the right glass.
I'm still curious how someone could think a EOSM is comparable in any way...Have you guys actually watched something shot on 16mm? Bizarre comparison.
-
2 hours ago, ghostwind said:
Agreed. This thread is mostly about codecs, but to me the ergonomics are just as important. Having named it the C70, that leaves some hope that perhaps they will have a C100MKIII at some point, full XLR, BNC?, larger/modular form factor/ etc. for $2K more. Dunno. Many are saying this IS the C100MKIII, but then they would have called it that no?
Yeah but that is literally the C300 Mk3 and the price is 6k more.
-
1 minute ago, IronFilm said:
I bet the C70 is going to be Canon's best selling C Series camera since the C100 itself!
I think just the fact that the baked in profiles on the Canon looks so damn good, is a huge selling point. No fuss image. You're getting the image from the 11 thousand dollar C300 Mk3 sensor for around half the price in a small form factor.
I do wish it had an EVF and full sized XLR. There are way to work around those, but you gotta wonder if the C100 or C300 would sell as well as it did with no EVF. The answer is most likely no.
-
Kodak. The Gold Standard.
-
I'm guessing 4500USD. Does it have a rear screen?
-
On 9/14/2020 at 3:11 PM, TennisGuy said:
I'm obviously late seeing this thread (only about 3 years:)), but thanks for your post @HockeyFan12- very helpful info. I have a Canon C100 mark i and have to shoot some handheld tennis footage and looking for a lens that's relatively light with fairly quiet and fast AF & IS. Are you still a fan of the STMs? Good to hear you especially like the IS on the 55-250 STM since I'm looking at that one, though I'll be shooting some stuff behind players on the court so may need something wider. I'm also looking at the EF 24-105 f/4 L IS II though I'm not sure if the IS & AF are as good/quiet as on the STMs or whether the image is significantly better to justify the higher price. If there's a lens suggestion that springs to mind for what I'm doing, I'd love to hear your thoughts.
These are my favorites. 35mm F2 IS, 24-105 4 IS, 70-200 F2.8 or F4 IS, 100mm 2.8 Macro IS.
-
-
On 9/10/2020 at 7:47 AM, PannySVHS said:
Sizewise I think Ben Ericsons setup with the 5inch BM video assist had the perfect size. He powered it through a SWIFT battery via DTap from the F3. Your recorder provides beautiful 444 but looks to be a bit on the bulky side.:) Is it your recommended PiX E5? @Geoff CB Anyway, we need to see some footage from you and your thoughts on F3 vs S1! Your beautiful screenshots are too beautiful to not to want some moving images!
Just to be clear, the Video Assist only does ProRes HQ 422. The benefit of the 444 model when using the video assist is to get 60p through one single SDI cable.
If I still owned it, I would get one of these low profile mounts to make it even cleaner.
https://www.bhphotovideo.com/c/product/1570342-REG/smallrig_bse2346b_swivel_and_tilt_monitor.html
How reliable is the BMPCC 4k actually?
In: Cameras
Posted
Another example. There are tons of hidden costs and not even Black Magic documents issues like the IR pollution.
True, but all of those cameras are ergonomically beautifully designed. Even a simple Bolex has a view finder, drop in NDs (which Canon just now is utilizing 60 years later,) and 50d stock that make shooting in daylight actually possible at a reasonable shutter speed without NDs. For better or for worse, the Black Magic pocket cameras are very much a stripped down sensor in a box. If it had NDs, XLR, a flip screen, and a view finder, it would cost just as much as the C200.
This sounds like I am anti Black Magic. I'm not. I own the Micro and the original pocket. Both are beautiful cameras, but have lots of flaws and quirks that took me a while to adapt to. The studio I work for has two C300 Mk2s and they're about 100x easier to setup and operate.