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Django

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Django last won the day on May 10 2019

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About Django

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  • My cameras and kit
    C100, C200, EOS R, FS7

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  1. Maybe this site should be renamed ANTI-EOSHD? While Netflix is technically TV, Canon was all over the Oscars documentary category last year: https://www.cinema5d.com/oscars-2019-all-nominated-documentaries-shot-on-canon-cameras/ And in this years 2020 nominees, one of the most talked about docu, American Factory (first film out of Obama's production company) was shot on... a 2014 C100 mk2: ..ironically it was picked up by Netflix at Sundance (and is currently streaming on the platform). So while many seem to obsess over "Netflix approved" cameras, this seems to prove that shooting great content will always trump camera specs.
  2. Who cares about what T&C uses? Since when have they been an authority on videography..or even photography? They use what they see fit for their needs. Like most people. Sony has had a long head start on FF mirrorless. Chances are if you've made the switch to Sony before CaNikon entered the market, you're going to stick with it. Main reason EOS R has been so successful with Youtubers is because it has a flip screen, DPAF.. and solid CS SOOC. Sony is in a coma though concerning video specs in 2020, I think we all agree. Same codec/resolution for the last 5 years. Still WB/CS issues. It's quite mind-blowing considering how competitive the FF mirrorless market has become. They seem to have totally abandoned the video side!
  3. It’s no secret RED & ARRI share the spotlight in high-end filmmaking production. That ranking has more to do with budget and industry standards than anything else. When you’re on a high budget and can rent anything you’re going to go for that latest RED or ARRI. Maybe a Venice or Varicam if you’re going for a different look. The C300 II is by far the cheapest camera on that list. It came out in 2015. The fact that it’s even on that list is to me a testament of its long lasting appeal. It certainly isn’t a flop in other filmmaking scenes like docu where it usually comes up on top. BTW I don’t see Ursa Mini, EVA1 or FS7 on that list at all. All Netflix approved cameras that came out around or after C300 II. What does that make of them?
  4. Agreed. I’m also based in Paris and that sounds like a total stretch.. especially the 5D4 part lol. I don’t work with TV that much but it so happens I was just on set of a major docu TV shows here and it was shot with three C300 mkII’s. One being handheld with the 17-55mm F2.8 IS. That actually surprised me so yeah Canon is definitely still popular. I could definitely see how a 1DX3 could be used for maybe gimbal work, B-cam as its currently the only Canon camera under 10K that can shoot broadcast 10-bit 422. But I don’t see too many production companies dumping the C-line / FS7s for a 1DX3.
  5. Well Sony hasn't had a video-centric camera since A7S2 came out.. that was 5 years ago in 2015!! A7III was hardly an improvement over that (same codec/resolution, oversampling but with massive NR). So they are seriously lagging while the competition has never been so strong in the FF mirrorless sector. As for BMD, they are imo the people's champ and the reason why we're seeing RAW & ProRes RAW in other consumer cams. BRAW is also quite an accomplishment & even the fact they bundle DaVinci is a very strong incentive to get switch to their system. What I find interesting is how few have adopted S1/S1R/S1H despite Panny being #1 overall. Another interesting poll idea would be what lenses people use (focal length, brand, prime/zoom/cine etc).
  6. iPhone/smartphones should be in the list, even though I understand why they aren’t
  7. Panasonic fanboys will tell ya: Real Men don’t use AF. Canon fanboys will say: FF is overrated, crop brings you closer to S35 ciné standards. Sony fanboys over any criticism: My favorite company is #1. Na-na-nana-na.
  8. Holy crap that ain’t looking right.. and nowhere near 1DX2’s 14ms RS. Hopefully crop mode will fare better for those action shots that may require acceptable RS.
  9. No need to be condescending or romanticize the camera as some kind of elite DOP members only unit. FS7 is a tool. A damn good one but the fact remains like on most Sony’s the SOOC color science and WB is shit. If it weren’t why does Sony make such a big deal about its successor FX9 having much improved CS, skin tones etc? In Cine EI mode, arguably the FS7’s most interesting mode to shoot in.. you only get 3 WB temp settings! Madness, and another thing the FX9 fixes. Fortunately, it is the very high bit rate 10-bit 422 that saves you in post to adjust the WB & color match your footage accurately because all the color info is kept there. And again in camera LUT support means you can easily import your favorite look and have decent CS SOOC if you so desire.
  10. Not really. great thing about the FS7 is that in 10-bit Cine EI mode you got all the necessary flexibility, and with in-camera LUT support u can basically get Venice CS SOOC..
  11. Truth. I had two gigs in Asia last year (Tokyo & Beijing) and the clients insisted we bring our cine cams. It was kinda clear it was more for appearance reasons than anything else! I travelled across the globe for those two aforementioned gigs with a TSA/cabin approved Think Tank. Fit FS7, A7III, Atomos V, Lenses, Macbook, Batteries etc. Best purchase I made. But obviously a cine cam isn't as practical to run around with than a DSLR/MILC. I just don't know if I'm ready to trade cine cam ergo & features for a DSLR.. feels like a step back in a few ways! Will definitely wait for more extensive 1DX3 video reviews. Nah. See the above!
  12. Well I'm a C200/5D/EOS R owner and although this setup covers every scenario and allows multi-cam setups with one set of lens, I can't help but drool over this 1DX3 and it's 10-bit internal, 5.4K RAW & sports photo specs. It could potentially replace all 3 of my Canon cams. C200 is the toughest to let go of because its my favourite cine cam ever as far as workflow, ease of use etc. It makes everything else feel like a PITA (including my FS7). CRAW Lite is also a breeze to use in DavinCi with simple drag n drop of the CRM. It looks from the Canon videos you'll need a friggin utility to convert the CRM to a TIF with 1DX3 RAW (that could obviously change) and the crazy file sizes of course. 1DX3 remains tempting. Trying to resist the urge.
  13. Regular CLog only but RAW may potentially allow Clog2/Clog3. Too early to tell though.
  14. You guys seem to omit the fact most pros will be upgrading from their current gear (most likely in this case a 1DX2). Here in Europe, second hand 1DX2 ranges from 3 to 4.5K euros. So the upgrade really only is going to cost around half the retail price. But hey if you can't afford it, you can't afford it lol. Nobody is forcing anyone to buy/upgrade.
  15. well I do maintain that if you are a successful pro and this camera suits your needs/requirements, an upgrade could be a worthy investment. the main target for 1DX3 is.. 1DX2 owners, and so it has been since the first 1D camera (same for Nikon D series). the 4 year cycle (timed for the olympics) being a pretty reasonable time frame as far as ROI. on a related note it's interesting to see how many 1DX2s have popped up in my local classifieds since the announcement on Monday. nows also a good time to pick up nice deals on 1DX2s if 1DX3 price tag is out of reach.
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