independent

C70 should have 13 stops of dynamic range, R5/R5c should have around 12 w/ log 2/3 (right?)

Raw is a great addition to the C70, but man, poor C300iii owners. Canon is reshuffling the deck, squeezing some more juice out of lower-end models that sell rather than protecting their pro cinema lines. 

But I guess C300iv RF, 6K S35? Gotta leave a little room for the C500iii RF 8K DGO. 

CVP shows that the dual iso also occurs in the R5. Strangely, the R5c has noticeable more chroma noise. Maybe they didn’t black balance.

Neither ND nor IBIS? That’s a misstep. Not sure I buy the omission due to heat; there’s a…fan.

Hmm, pro monitoring tools (false color, WF) are ostensibly absent in the leaked specs...not good.

They should be featured considering the R5C is a c-line cinema camera that needs to fit within a pro workflow. One of the dealbreakers of the Sony FX-3

Yeah, on the heels of a pretty good year, relatively speaking, I think Canon is frontrunning the supply shortages and the decline of the overall camera market

Canon will continue to make some newer EF lenses as long as there's demand, especially with holes in the RF lineup. I've had backorders come through in the past two months.

By the way, the 35mm 1.4 II is the finest EF lens ever...like a Zeiss Otus 35mm w/ AF. I'll be sad when the RF replacement comes, because I do prefer the aesthetics of EF lenses. Better finish, less prone to scuffing, and a nicer ergonomic design. The RF lenses feel like girthy unwashed street bangers in hand.

Not obsessed, I think it has a lot to do with the network effect of EF lenses, which are compatible with all Canon and Blackmagic cameras. Many upgrade or rent R-bodies to use with their existing EF lenses. 

It’s just cheaper and easier using EF than investing in a different system such as e-mount, despite some gems there. EF is ubiquitous at rental houses in NY.

Red’s strategy (and success) with the Komodo can be attributed at least partially to the RF mount. I own the Komodo and the R5, and I can use the same lenses with the c300iii/c500ii we rent.

I like the Fx3/fx6 but they don’t fit.  

On 9/15/2021 at 12:29 AM, Chrad said:

Mark my words: this won't happen. People aren't making TikToks instead of traditional film content because they were waiting for the right technology to roll around to decide it's worth doing. If the incredible democratization of filmmaking technology we've seen over the past couple of decades wasn't enough to get them involved already, they lacked the time, energy, or interest. The truth is we who are interested in traditional filmmaking are part of a shrinking demographic.

So much wrong with this. First of all, "this" IS happening. We are all witnessing a major shift on social media platforms from photography to video. Why? Simple: storytelling. 

Second, "waiting for the right technology" is missing the point. Human beings will mess around with things to create (See: 2001: A Space Odyssey). Apple is putting these filmmaking tools that nobody asked for into their iPhones and people WILL start using them. 

Intent doesn't matter. Steve Jobs didn't plan on iPhones revolutionizing the world through social media. Nobody intended phones to be used to disrupt the hegemony of traditional media corporations. But the technology was there. And out of a billion people, a good number will eventually start using them. Mess around enough, some kid from nowhereistan will make the best film of the year.

And you're mistaken about the democratization of filmmaking tech. First of all, traditional filmmaking is far, far still prohibitive for most people. You're still spending thousands - at least tens of thousands of dollars to make even a watchable short film. And by you, I mean you, trust fund kid who wants to make movies but have shit stories that doesn't resonate with any normal people.

So it is all about technology, in the same way that camera phones, inferior as they are, have disrupted the professional photography industry. 

And it's not just about the camera. It's about technologies (both hard and soft) that will reduce the need for gear and crew and any other prohibitive costs that have otherwise prevented billions of people on this planet from making their own movies, telling their own stories. Not cat videos, TikTok clips, or dick pics. But stories. That hasn't happened yet. But it will.

The obvious trajectory of this evolution is for ONE PERSON to tell a STORY, as we have always done for thousands of years. Except this time, millions will be gathered around the fire to hear the best ones.

Last year: Dolby Vision, LiDar, and IBIS.

This year:

Cinematic Mode: Continuous AF. Face-tracking. Auto-subject shifting. Rack Focusing. Changing focus/bokeh. 

These aren't consumer technologies, and most iPhone users will not use them (aside from touch-to-focus). Why bother?

Pros certainly won't use iPhones (not yet). But everybody else—in the near future. Apple is putting tremendous effort into laying the groundwork to crowdsource quality content. Offering these features that nobody asked for in the hands of millions? We are going to start seeing iPhone-generated narrative/reality/doc content (not TikTok videos) to hit the mainstream. Very soon.

For what? To sell more iPhones? Nah, that's a flatlined market. 

A capture-to-delivery scenario would likely be end game. Digital services, cloud, etc. is more important. I imagine there will be added incentives for users to deliver not to YouTube (google) but Apple TV. The ecosystem is more important. The Apple walled garden must grow, even if it be watered by your peasant blood.

Build it, and the mortal fools will come. This is the plot of 2001: A Space Odyssey. 

Atomos firmware for 8k prores raw was just released for the Canon R5. Looks like overheating is greatly diminished (not recording internally) and 5K raw modes available. Damn son

5 hours ago, herein2020 said:

I think its great, I use the XLR module with the S5 all the time for quick sound bites such as a real estate agent doing the intro voice over, modelling interviews, product reviews from YouTube content creators, etc. I almost never need more than one channel, two at the most and all of my higher quality mics are XLR.  I can also shoot long form such as speeches, conferences, etc and the whole setup is still more compact than my C200.

 

I have the MixPre6 and its a PITA, it needs another power source, just remembering how to set it up properly is a PITA since I rarely use it, and now you've got cables everywhere, etc.  I only use the MixPre when I need 32bit float, more than 2 channels, or multiple backup copies of the audio.

Try a mixpre 3 if you only need 2-3 channels; it would sit real nice on your cage. The 6 belongs in a bag. I do agree with the problem of "cables everywhere," which is why I think regardless of what mixer/recorder you have attached to your camera, more than a couple inputs ends up inescapably a mess. 

If it gets more complicated, it's more practical to focus on getting quality audio that can be effectively monitored and instead feed timecode or a sync track to the camera. 

Unless you're a one-man band live-streaming run-and-gun reality. Then ok, maybe

Not excited. Once you start adding more channels it become unwieldy, requiring a cage, then a handle, etc., then what are we doing here? Might as well go for a Sound Devices mixpre which offers more flexibility. 

I'd rather see Rode integrate the NTG w/ Wireless Go's

Outlawed? Good luck with regulation!

A more likely solution would be a combination of a few things:

• Platform verification and monitoring (Twitter does a good job)
• NFTs to secure authorship
• Education. Younger generations grow up w/ digital tech and are much more perceptive and discriminating. The gullible boomers are on the wrong side of disruptive technologies, but this too shall pass

Anyways, there's also a creative and productive element. Why can't a creator choose to express in a different voice? 

This will be in the new flagship phone

Compared to the R5, fewer pixels, bigger body. Maybe they'll go crazy and add a dab of thermal paste. Throw in a copper heatsink and your R3 will run forever and mine bitcoin too

iPhone 12 Pro Max 

There’s no overheating in the 1dx iii for 5.5k raw. I’d be surprised if the r3 we’re different.  

No free lunch. 

On 6/27/2021 at 8:14 PM, Video Hummus said:

C-Log 2 is kinda included when shooting internal RAW video. Even on the R5, the RAW has more detail in the shadows. There is noise there but it can be cleaned up and an extra stop or so achieved.

R5 with C-Log 3 is great. No complaints here.

Depends.

If you can't shoot raw and need more reach into the shadows, clog2 for compressed codecs would be a major feature. 

Like the R5, prob no clog 2 in the compressed codecs. Left for the cinema cameras. 

Andrew, don't you have the R5? I'm surprised you didn't compare its internal raw w/ these compressed codecs. 

You'd really have to add the Atomos Ninja to the R5 at least to make it somewhat of an equal comparison

According to cineD, Alexa has a 1-stop increase in dynamic range over the c500ii or c300iii. 

What is everybody crying about? First, what are you doing, shooting the sun all day? 

Second, your audience almost certainly won’t see major differences between these cameras in properly shot scenes. If you see horrible clipping, that’s an exposure error. Or a poor creative decision. Somebody is getting fired.

Some of you think if you only had an Alexa, everything you shoot would look like roger deakins’ work. Sorry, a major reason why Alexa footage looks so good is that professionals know how to light and expose - for any camera. 

This is why we use dimmers on practicals, sheers on windows, and use lighting to control levels and contrast.

The differences among arri, red, and the best Sony and canon cameras are quite small on set. Yes, currently Arri’s highlight roll off is a bit nicer and has a bit more reach in the highlights, but nothing really changes the way we shoot with any of those cameras.

The truth is most of the current top cameras look very similar - properly exposed. Sure, you can stress test some cameras to show weaknesses - arri and red included, which would struggle in extreme low light. This is why these aren’t common for run-and-gun documentaries. 

If Canon produces new technologies (very possible) that ends up capturing more dynamic range than the Arri, I wouldn’t be surprised. Also, I wouldn’t consider the Arri trash for having a stop less of dynamic range. 
 

Right, "gradation in highlights" = better highlight rolloff. 

That's the purpose of the clog3 gamma curve, to allocate data across another stop (or so). Clog has a steeper curve in the highlights, so you don't get as smooth of a transition. But clog3 has a penalty in the shadows though.