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Kino

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Everything posted by Kino

  1. Exactly. The cheapest I've seen it is around $8-9K: https://www.lensauthority.com/products/canon-eos-c500-ef-camcorder?gclid=CJHT3o37qs0CFdgXgQod_FYDAQ If you really want a C500, it's best to buy it new for $10K and get the warranty and the Cinema EOS services. There are too many things that can go wrong with a high-end cinema camera. It's a huge investment that you will need to count on over the years.
  2. 1DX II colors and skin tones "straight out of the camera": Good example of smooth and creamy roll-off here. Those picture style settings have a significant affect on color and DR. The number of looks you can achieve with the 1DX II are endless.
  3. To be honest, the more footage I see from the 1DX II, the more I think it doesn't really need C-Log at all. There are a lot of excellent picture styles and post-processing looks out there already for every kind of filmic grade that you may want. Here are just a few examples that impressed me: Moreover, the 1DX II footage is some of the cleanest I have ever seen from a 4K camera, let alone anything that Canon has produced in its Cinema EOS line: On 4K image alone, it is a threat to the C100 II (no 4K), C300 II (overpriced), C500 (n
  4. I'm very interested in your results with Marvels Cine Picture Style on the 1DX II specifically. Do you have any samples that you can post that demonstrate enhanced DR performance or roll-off relative to the standard or neutral profiles? All the Marvels samples online are with other Canon cameras. Also, I believe C-Log has access to RAW sensor data before the point at which picture profiles are ever involved. I guess only the Canon engineers know for sure. One thing we do know is that if the $6,000 1DX II had C-Log it would seriously threaten the entire Cinema EOS line. It may be that
  5. "The wind-surfing quite possibly suggests Dual-Pixel AF will play a big part of the new marketing campaign . . ." DPAF on the 5D! Nice, but still no MJPEG codec probably. 5D body is no match for 1D heat management, recording data rate, and processing power. At least Canon is working on new models. I hope the 1DC II is next, along with the C500 II or C200/C100 III.
  6. Is the Terra really "out this year" and how many? I have trouble believing such a small company will be able to ship in large numbers. The 6K also suffers from the worst rolling shutter you have ever seen unless you shoot it in "sport mode" and a lower resolution. And what about warranty service with Kinefinity. Does it have to go back to China every time something goes wrong? I'm certainly intrigued by the Terra 5K with its switchable global shutter. I currently have a Raven on order (which I might switch to the Scarlet-W for the 5K). The only thing that would make me reconsider is if Ki
  7. Thanks for the review. I look forward to your findings with 4K going to the Odyssey as well as how you intend to setup your rig. I do love the image from the C500, even though it may not have the same DR as some other cinema cameras. It's also one of the best low-light performers out there as you mention. I think there is a good reason for that. It has a larger than average 35mm sensor (26.2 x 13.8mm) with huge photosites (6.4 µm) compared with competing cinema cameras from RED, Sony and Blackmagic. It simply collects more light and can provide a better signal-to-noise ratio than many of these
  8. I thought that C-Log must be shot at ISO 400 or above to avoid banding on the 1DC. ISO 800 was probably chosen for what they thought may be the best performance, but it does seem slightly odd considering the fact that they had to use different apertures. As for the rolling shutter, they claim the 1DX II achieves an incredible number: 14ms. I do agree that the Xyla test is questionable considering everything we have seen from these two cameras. It also does not demonstrate the highlight roll-off of the cameras and is more informative for what is going on in the shadows (where C-Log is also
  9. That is awesome. Thanks for posting. It's obvious those first four bars are clipped on standard gamma, whereas only two are clipped on C-Log. The distribution of the stops is also very different: C-Log provides a much greater "usable" range (10 stops vs. 8 stops). Again, for me the 1DC footage looks like it came from a high-end cinema camera (and is often used alongside such cameras), whereas the 1DX II just has too much contrast to cut with such cameras.
  10. I agree that in the footage we have seen thus far, the 1DX II has much more contrast and has nowhere near the same highlight roll-off as the 1DC. At the end of the day, I don't care about Xyla tests as much so I have no idea why the DR is exactly the same here: the 1DC just has a very different and much more appealing look to me. As you suggest, the results may be due to a flawed testing methodology. I just want to see 1DX II footage that demonstrates the DR results in this Cinema5d test because I'm not seeing it in the 1DX II videos. Perhaps it has to do with the way the DR is distribute
  11. I posted this amazing Xyla on the other thread not knowing you had already posted it here. Anyway, the reason for the different apertures is because the 1DX II has better ISO performance and thus the 1DC needs to open up for more light on the Xyla test. Moreover, ISO 800 is chosen to maximize the DR performance on both cameras. With Technicolor Cinestyle, the 1DX II is thus achieving the exact same DR as the 1DC with C-Log. If I can see some Cinestyle footage from the 1DX II that demonstrates this, it will have saved me thousands of dollars as the 1DX II is also far superior to the 1DC fo
  12. Thanks for posting that Cinema5d review. It's really informative. With Technicolor Cinestyle installed on the 1DX II, he achieves the exact same DR as the 1DC with C-Log (those final stops look much darker but they are there indeed: note that the 1DC is shooting at f5.6 while the 1DX II is at f11): Of course, I'd love to see footage that demonstrates this in a side-by-side (like the one on the other thread). Honestly, I would not have believed it based on most of the 1DX II footage I have seen, but this is concrete proof. Is no one else shooting with Technicolor Cinestyle
  13. Wholly color gamut Batman! Whenever someone complains about 8 bit color, point them to 01:45-02:40 of this video. Only Canon can make 8 bit color look more rich and accurate than 12 bit color from competing cameras. Bravo to the filmmaker as well as the engineers behind this camera.
  14. First of all, what is a "5DC"? I've never heard of such a thing from Canon corporate. Canon won't even give you the features you have listed in the $6000 1DX II. Do you really think they will give them to you for under $3000 and in a 5D body within the Cinema EOS line? 4K 4:2:2 10 bit internal would be a stretch for the 1D body, with its far superior heat management, recording data rate, and processing power relative to the 5D cameras. It would simply be impossible in a 5D form factor with current sensor and heat sink technology. Here is what you are going to get in any future 5
  15. The 1D cameras are not mass produced and sold in the millions like iPhones or iPads. 1D cameras are marketed to photo and video professionals and "prosumers" with sales only in the thousands. One can and should have different expectations about consumer products that retail for $800 and professional products that retail for $8000 and come with a greater level of customer support. With so much competition in the $5000-10,000 4K video camera sector, Canon has really fallen behind and lost many customers to Sony, BMD, and even RED. But, of course, as I mentioned Canon doesn't care about what
  16. "21st century"? Actually these trends started decades ago. And no one is saying Apple doesn't do it, but Sony and Canon were around long before Apple. At least with the iPhone, the most expensive and latest model, the 6S Plus, has all the best features. Not so with Canon and Sony on the 1DX II and A7SII, respectively, so the comparison doesn't hold in this case. Apple doesn't make you buy two different versions of the same thing just to have the different features and iPhones don't cost $6,000-8,000. As for my suggestion to wait for the 1DC II as the perfect marriage of the two 1D lines,
  17. Surely, Sony isn't "crazy enough" to sell old sensor technology (A7SII) at almost the same price as newer and much better sensor technology (A7RII)? But, yes, they are just that "crazy" because they have mastered the art of incremental product advancement. The A7RII has internal 4K, BSI, and IBIS, all of which was missing on the A7S. This newer model, the A7SII, has S-Log3, which the A7RII is lacking, thus providing a slight advantage to the newer camera in one particular area even though the A7RII offers a much higher resolution and is far more advanced in terms of sensor tech (sound familiar
  18. The lower production cost on the 1DX II enables a much cheaper 1DC II priced closer to the 1DX II. That is the "game changer" for the 1DC line. They are sister cameras after all and everything the 1DC II would need from a hardware perspective is already in the 1DX II body, with its amazing heat management, processing power, and recording data rate. You do realize that your 1DX II is capable of recording at the same data rate (100 MB/s) as the RED Raven and Scarlet-W cameras. That is simply incredible for a DSLR. I cannot imagine Canon would give up the chance for a 1DC II with everything
  19. I expect Canon to keep the 1DC model around and to release updates just like any other camera model that they currently have in production. Of course, Canon may want to discontinue the 1DC entirely and bring out a C200/C100 III with internal 4K so as to compete more effectively with the Sony FS7 in that $8,000 price range. That is certainly possible. The 1DC II is pure speculation at this point, but seems likely to me based on the several important factors: 1) intentionally withheld cinema features on the 1DX II 2) lower production/retail cost on the 1DX II ($6,000) vs. the ori
  20. The 1DC did not sell well because it was way overpriced on release. If anything, the 1DX II demonstrates that Canon can deliver roughly the same tech (or even better) for half the price. Then again, there are key features missing from the camera. These two facts, reduced production/retail costs and withheld cinema features on the 1DX II, combine to make a 1DC II even more of a possibility. If Canon could sell the camera for the current 1DC price of $8,000, it would do much better than last time.
  21. Yes, let's stick to facts as opposed to fanciful ideas on Canon firmware upgrades for adding C-Log to the 1DX II that have no chance or history of occurring and that belong to a different product line and division.
  22. That was Roger Machin of Canon, South Africa, and it was an off-the-cuff remark. I would not take that too seriously as a much higher spokesman from Canon has confirmed that these are two separate "lines." The most telling aspect of this is that the 1DC retails for $2,000 USD more than the 1DX II and will continue in production, at least until it is replaced by the 1DC II. The number to call is actually 1 855-CINE-EOS.
  23. Guesswork or not, one could have said the same thing about every Canon camera that currently has a mark II or III next to it. Standard procedure for Canon would entail a 1DC II to follow the 1DC and based on the 1DX II platform. It's not like we are picking camera models out of the sky. By withholding those key cinema features (C-Log, Super 35mm mode, unlimited record time [which raises the EU taxes]) from the 1DX II, they are even telling you that a more expensive and capable 1D video DSLR is on the way. It's pretty much telegraphed at this point. Of course, they cannot yet announce the
  24. The point is that Canon segments the photo and cinema/video divisions through clear price points. The 1DX II is priced relative to competing DSLRs (Nikon D5) and other Canon DSLRs (7D, 5D, etc.). The 1DX II is not priced relative to the Cinema EOS line, where features such as 4K internal, C-Log, Super 35mm mode, and unlimited record time have a particular price attached to them. While getting 4K internal, 4K60p, and DPAF is a great coup for a Canon DSLR such as the 1DX II, for Canon to add those missing features such as C-Log through a free/paid firmware upgrade and turn the 1DX II into a "new
  25. Canon cannot possibly put C-Log into the 1DX II. There are many reasons for this, most of which have to do with segmentation and price point. The 1DX II is priced at $6,000 USD so as to compete effectively with the Nikon D5 at $6,500. That very fact means that it cannot have C-Log, as it would annihilate the C100 II as well as the 1DC and disrupt any plans for a 1DC II or even a C200/C100 III with 4K. Having intentionally withheld C-Log and Super 35mm mode from the 1DX II, the most logical thing for Canon is to release the 1DC II, which I would expect in the next year or two. That is far more
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