mercer

Dang, good idea, and I already have a K-1 in storage.

Honestly, I didn’t even know who James Gunn was prior to this. I saw the first Guardians of the Galaxy and thought it was a fun movie. I don’t know if I would call Gunn a great talent, but he seemed to be a competent writer/director. For me, this is clearly about Disney’s rights as a private corporation to hire/fire anybody they please based upon their brand. Look at your brand, when Cantsin posted a video that intentionally tried to make you look bad and inflict harm on your reputation, both publicly and privately, you did the only thing you could, ban him. What he insinuated was despicable, not only to you but also to actual Holocaust survivors. You were actually a lot more cordial, and mature, about it than I would have been in that instance. Either way, interesting discussion and crazy times we are living in.

I work in the trade show industry and when I see a videographer on the show floor, 6 out of 10 times they have a Canon DSLR. 3 out of 10 times they have a C100 and once in a while you see a Sony. I did see a shooter with a BMPCC once. But if 1080p Canon footage is good enough for Fortune 500 companies, surely 1080p, downscaled from 4K, in the C100 is plenty good enough for some real estate videos. But I can see how the market is trending that way and 4K will probably be more important for the lower end since the target audience is yearning for content to watch on their shiny new TVs. But I don’t want to make a career out of this, I’m just looking to make some extra cash to fund some short films and a week down the shore. Hahaha, maybe I should start looking for a broken Alexa then. With some Alexa conversion LUTS and the GH5 innards, I could shoot some Hollywood films.

Yup, I’m in a similar situation with a DSLR vs a C100. For only a little more I can get the C100 and although it’s probably overkill for the jobs I am looking to get, in the long run, it should be easier to market myself with it.

Hey, I am the first person to agree with you. Your house, your rules... I’m just a guest here. But I cannot imagine the irony of the bans stemming from the original article is lost on you?

90% of this forum probably want Kidz, Squig, Axel, JCS and Damphouse reinstated, doesn’t mean it will happen.

Well my comment about the C200 wasn’t meant as a suggestion to replace anything on network television. I merely was stating that according to advertised specs, Savannah Miller was wrong when he/she stated that the Ursa has more dynamic range. Honestly, the fact that we’re even discussing sub $10,000 cameras on a network television show is amazing. And the fact that JB can illustrate to his directors and producers that an Ursa Pro and BMMCC are viable tools against an Alexa Mini is a credit to what BM has done. There’s also the story about the director of Lights Out sneaking off set, at lunch, with an actor to get some pick up shots with his BMPCC. In the editing room, the editor had no idea those shots weren’t from an Alexa. With that being said, I would assume the vast majority of Ursa Pro users aren’t shooting network television or Hollywood movies with it. So at the price point, there are other options that may be more suitable and preferable to those shooters. I’d choose a C200 over an Ursa Pro for the type of stuff I do. But I’d also choose a 5D3 over the P4K and in all honesty, since I don’t need the 4K, I’d choose the Micro over the P4K as well. I originally thought the M4/3 sensor was a huge benefit, but since I don’t use a speedbooster, I’d rather have the option to shoot with vintage c-mount lenses that I already own.

I’m sure you could do wonders with a C200. Your work with the E-M5 Mark II was inspiring, so the C200 and one of your Zeiss’s would probably be pretty epic. Plus, Canon Log 2 has a very similar curve as LogC with middle grey both at around 40. Granted, I get your point and agree it’s not for every job and wouldn’t suit your needs. But without a doubt, a lot of indie, micro filmmakers could make a gorgeous calling card short with it.

Raw in the C200 is advertised at 15 stops. CLog3 is 13-14. So same or better. With that being said, the Ursa Pro, C200, and EVA1 are all fine cameras. I assume the P4K will follow suit and be an amazing tool for any low/Micro budget filmmaker and most likely will continue with the moniker as a baby Alexa. So pick your poison and go and tell a great story, they’re all capable tools.

Somebody should tell the guy who hired you that the C200 has XLR inputs with good preamps and he can get by with just a boom operator... ?

Looks great and I love Tilly Finnilly... you’re niece is very talented. I could see her in Hollywood comedies or on SNL.

@jonpais did you twitch a little bit as you wrote that? ?

I did a quick google search and found this video... there’s just something about a Sony with a cheap Fujian 35mm 1.7 lens. Of course, it seems like an a6000 with the Neutral Profile could yield similar results in a much smaller form factor.

Thanks, I’m looking for a simple gun stock rig I can use in conjunction with a strap to get an extra point of contact... but most importantly something compact that I can either fold up or take on or off the camera quickly and stow away. Any ideas? To keep my comment on point, is the EVF on the FS100 removable? If so, it doesn’t seem to big from the photos. But I’ve never seen one in real life, so what do I know. I have seen a few videos recently and I really do like the output and IQ. And the price seems right. Of course, I still think I’d rather have a C100...

Yeah, that doesn’t seem too big. Want to sell me that Zacuto rig, or just give it to a fellow filmmaker in need? Lol. Btw, what model is that Zacuto?

Umm yeah... those images are gorgeous... I particularly love the bottom 4. Are Glencairn’s G Log settings transferable to the newer sLog2/3 capable cameras? I love these kind of posts, so thanks for sharing. After 5 years of hobby shooting, I find myself way more interested in older cameras I couldn’t afford then than the modern 4K cams available today. I know gear and tech marches forward but it seems like there was better looking footage from those cameras than what is floating around now. I guess the pool of shooters was smaller back then, so there is more muck to sort through. Hell, I alone have 50 or so horrible videos clogging up searches... lol.

Sorry, just saw this. For the longest time, the 1DC was my dream camera, so paint me jealous. Although, I MAY be able to afford a 1DC or 5D4, I like the idea of using the original C100. The image is still good enough for small jobs, if I decide to go that route, plus the obvious benefits of a cinema camera. It won’t be a competing camera in my toolbox, it will be a different tool for a different job... be it paid work or my short films... and I love the price. But more than likely, I’ll wait to see what Canon’s FF mirrorless will look like and the upcoming M5ii. I prefer to delineate cameras for different jobs, so my 5D3 will be for Raw video. And any other camera would be for stills (I really need a casual grab and go camera for family stuff) and possibly another for quick turnaround video (hence the C100). I could decide to go with a hybrid and I guess with what’s out today, I would choose the 5D4 or the Fuji XH1.

Maybe Atomos is planning on getting into the cinema camera business and ProRes Raw is an essential ingredient since they are one of the earliest adopters of it.

I may be in the market for a hybrid in the next few months. I loved my D5500. If this camera had an F mount, I’d jump on it. Since it won’t, I’ll wait to see what Canon does. Hopefully, there’s will have an EF mount.

Also, what lenses did you use and did you notice any variation with DPAF performance based on the lens you used?

@521photo Thanks a lot for all of that info. You actually already answered some of my follow up questions. I shoot ML Raw, so I’m not afraid of large file sizes. I’d probably get the C Log version if I decide to go that route, but as of now, I think the C100 is winning. Do you have a link to your film?

Wow... a couple of the most helpful and talented members (squig and kidzrevil) banned within a few days of one another for having an opinion... that’s a shame.

Well they would probably make the same either way at the box office, except they’d have 20 marketing campaigns to pay for instead of one. They’d need larger staffs to perform those jobs. They’d need 20 times the amount of prints to send around. The Hollywood studio blockbuster is a calculated investment. But I agree it is a shame there isn’t more of a mix.

It seems the EVA1 is really the only choice if you need the 240fps. As far as Canon goes... yeah I guess... the RawLite out of the C200 edits natively in both FCPX and Resolve. Sure it eats data, but I am seeing more and more shooters using the RawLite for wedding videos and they go through way more footage than you probably will... plus I believe you can use CFast2 to SSD adapters... or I vaguely remember reading that somewhere? And also remember that a lot of reviews have stated that the 8 bit 4K Canon Log files have more latitude in post than the 10bit files from the GH5. Anyway my point is that don’t disregard the C200 quite yet... I think you’ll find it offers a lot of what you want/need... except for the 240p... but almost no camera has that, so it’s kind of a bottleneck for your choices. Last thing about the C200 and then I’ll stop... a feature that goes unmentioned is that it exports 10bit 2K from it SDI port. So with an external recorder you can get some juicy 2K ProRes with it. Okay, I’m done. Good luck with whatever you choose.

I hope Canon doesn’t make the same mistake as Nikon and introduce a new mount on their FF mirrorless. Or if they do, maybe they’ll introduce a new and improved FD Mount.