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Mmmbeats

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  1. Mmmbeats

    Canon EOS C90

    I might go wild in the country with this myself when it comes out.
  2. It was the interiors that got me excited, but you are correct, it's hard to tell how hard the highlights are being pushed. Part of that was just my brain going -'Sunlight! Nice tones!'.
  3. These are the best I've seen the camera handle highlights so far. Shot on H.265, which as I've been saying, may turn out to be the best codec option. Also at only 135Mbps apparently. Very promising.
  4. Question - how is the external video from the C70 likely to perform compared to the internal codecs? How does it work? Is the external signal uncompressed prior to encoding by the recorder? Is there likely to be an image-quality improvement? I realise that I don't really know how this all works. For example - what is the theoretical maximum bitrate? Is that even a well-worded question?
  5. Some footage that is new to me (apologies if it's been posted before) : Looks nice enough, but doesn't really address any of my concerns / areas of interest.
  6. Okay - I'm gonna say it... Can we please move this thread back on topic?
  7. The places where cinema cameras tend to differentiate themselves well from lower end cameras is dynamic range and highlight roll-off. Obviously these are somewhat related, but it occurs to me that while the C70 seems to have big advantages over say, the C200, in shadow detail, it seems (from the limited footage available so far) to be less capable in the highlights. That's what I'm seeing in the side-by-side tests (CVP and Giannis Saroukos tests). Also, the highlight rendition in the footage so far is not stellar. But it's hard to judge because most footage is either not very highlight
  8. By the way, I wasn't being sarcastic, I really will take heed - particularly about unplugging the mini-XLR adapters. That's a useful heads-up.
  9. I notice he uses the H.265 mostly. Possibly briefed to do that by Canon. I reckon it might turn out to be the best codec for acquisition. Better than the All-I even,
  10. Not sure about that. That's 3 bits of colour-tainted polarised glass before the light even hits the front of the lens. I'm not keen!
  11. Yep. Was going to post similar. I've had the step up ring from the outgoing lens stay stuck on the VND a few times during a change. I've been in a VND vs lens cap conundrum a few times. Also, there's no zero ND option with VND; you have to keep screwing the thing on and off. Annoying. Plus internal ND is closer to fixed ND than variable ND (complicated by the 'extended range' thing you get with Canon). From what I see the colour rendition is fantastic. I wonder if they are able to further tweak the internal filters knowing that they are optimising for just one sensor? For exa
  12. For quick changing frames it's a disaster. I was shooting tightly framed footage of a moving carriage (from the side). There were massive blocky compression artifacts. Here's a funny thing - I was quite stressed out about this, because it was clearly a mistake on my part, and something I had anticipated but forgot to compensate for. The shot, which was acquired vertically funnily enough, was part of a large-scale museum installation. As is, I'm assuming, general practice, I sent a low-quality file to the client for approval. To my horror, this low-quality file was progra
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