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independent

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  1. It’s technological progress. All cameras today have hot chips and fishy algorithms in them too. The iPhones will continue to devastate consumer photo cameras, but that’s a problem for manufacturers. Regardless, pro video is currently too far ahead for too many reasons. If anything, I see this accelerating innovation and features in the pro market, and I welcome whatever makes the job easier. I do look forward to better TikTok videos.
  2. Taken aback by the patina in your voice. Several octaves lower than expected too.
  3. It depends on 1) what your projects needs are and 2) how you like to shoot. I really liked the Sigma 18-35mm so the 15-35mm RF feels very comfortable (shooting oversampled crop mode on the R5). So I'd recommend the RF 15-35mm for the C70 over the 24-70mm, which I'd prefer for full frame. Why not speedboosted w/ EF? Because of Nano USM, which makes the on-top mic far more usable instead of just relegated to scratch mic. EF is dead to me.
  4. The C70 and C300iii have a completely different sensor and image processing than the c300ii's--or any other camera's. The Dual Gain Output is the key technological advantage. Gerald Undone, Dave May, and Jake Ratcliffe from CVP all clearly showed how the DGO helps retain color and pull detail from the shadows or "underexposed" images, without the artifacts seen in other cameras. Even the new Sony a7s iii, while amazing for its high ISO sensitivity, is surprisingly noisy in the shadows, as noted by Brandon Li BTS/review. And internal NDs aren't absolutely necessary, but It certainly s
  5. It's the same sensor. The magic is a dual gain output, like Arri. But not the same; Canon's advantage is in the shadows while Arri's is in the highlights. So you should still protect the highlights w/ the C300iii or C70
  6. Oh believe me, it was a joke about people overreacting about cameras. Read it again. But if you have to explain a joke to a cunt, well, I guess that's on me.
  7. Ironically, you missed the irony and the joke. And the irony. As well as the joke.
  8. There's no video camera right now that checks off as many boxes as does the C70. That doesn't meant it's the right camera for everybody. However, it is amazing to see how many people require a built-in EVF, SDI-port, and RAW. And must let the world know the tragedy of their unmet needs. We all know you twits shoot on iPhones. The C70 has portrait mode too you cunts
  9. Green screen/vfx. Unpredictable lighting. "Artists." R3d users. Me and my R5
  10. The C70 is an interesting intermediate option during this critical turning point in lens mount. RF lenses, and the RF mount, are clearly the future; Canon is not making any more EF lenses. Also, technically the RF L lenses are superior, which matters. I've tested the EF 50 1.2 v RF 50 1.2, and the resolving power of the RF is significantly superior. For static shots, you will immediately notice the difference (shot in 8K raw, viewed on 5K monitor). Also, for some lenses, there's not a huge price difference between EF and RF (24-105 F4 retails for the same, RF 15-35mm v EF 16-35mm is $200
  11. More flexibility. You can still push the color grade much more w/ 12-bit raw. And with some post work, de-noising, you can probably get it to look closer to the shootouts. But the c70/c300iii 10-bit 422 XFAVC looks great straight out of the camera if you don't screw up too badly with exposure, white balance, etc. Faster turnaround, you don't have to spend as much time in post.
  12. They will. But it'll be in the Canon C500 III.
  13. An EVF is a great thing to have, but I've primarily used the LCD for the touchscreen focus on the R5, even in daylight - I just change the viewing angle. I've also used the Ninja V on top of the R5, which was quite good during daylight too. The availability of even higher nit monitors somewhat mitigates the issue. To be honest, I never liked the EVF placement on any of the Canon cinema cameras, and I've either owned or operated almost every single one of them (not the C700). It's not very ergonomic to hold the camera in that position. The EVF is best placed on the side of the camera, for
  14. Codecs are efficient, practical, professional, broadcast-ready codec that you don't need to clean up in post. Following the c300iii, the shadows will be noise-free under ISO 25600, SOOC. True, you don't have all the flexibility of raw if you want to do heavy color grading, but you also have great color because of the the parallel readout of RGGB rather than debayer process. Also, due to the efficient codec, you save a lot of cash on media and storage. If you're a one-man shooter who shoots fast, all this helps.
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