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Matt James Smith ?

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Everything posted by Matt James Smith ?

  1. Poll: Which manufacturer generally delivers the most pleasing images - focusing on sensor 'mojo', colour science, etc ... disregarding lens mount, usability, etc. Choose as many as you want. If I haven't listed a manufacturer you'd like to see, mention it in the comments. Might do a poll on specific models if this one is popular. Suggestions of favourite models welcomed (in the comments).
  2. If I had to guess I'd say this has a fixed DSLR style grip, but it's not clear. Would be great if it was a rotating grip. Much more appealing to me if so. Also, is this the first stills-form-factor camera with built-in ND's? Significant if so. Finally, I'd say that the speed booster rumour makes more sense now too. Keeps all that Canon FF EF glass relevant?
  3. No EVF by the look of it. I wonder if they'll go with the weird XC10 style clip-on loupe? It actually works OK and isn't actually any different to the FS7 approach to an EVF. Alternatively will there be a custom EVF that mounts to the hot shoe? Or will Zacuto become synonymous with Canon video once again? It's clearly a professional camera, so needs some kind of EVF solution. With no IBIS and the small size, it needs it. Canon is not Blackmagic - they make tools that are reliable for run and gun. Clearly they're segmenting the RF Cinema line so it runs alongside the EF Cinema line as a tool for a different kind of user. Too many EF Cine lenses and high end EF Cine cameras to ditch cinema EF in the near future. Perhaps their long term roadmap is to allow the RF Cinema and stills lines meet and combine eventually. This would make sense: 8K as a headline feature in the R stills flagship, stills form factor as the headline feature in the RF cine lineup. As 8K becomes more standard for video acquisition, and competitors inevitably continue to merge stills/cine cameras (S1H etc), Canon will one day have to join them. One of these C70's with 8K and an EVF has no reason not to be a stellar stills camera too. Just a theory but it makes sense.
  4. Active cooling removes weather sealing. It’s a photo camera first and weather sealing is top priority for pros. Canon also make cinema cameras if a fan is what’s needed. S1H is a video camera first - hence fans. No perfect hybrid exists.
  5. No I own two cinema cameras and three hybrids. As I say it’s irrelevant. I use the tool that works best for the job. For interviews it needs to be something that doesn’t crash after 30 min. Did I make that point already?
  6. I think perhaps we’re missing the point. Just like their previous “hybrids” it’s a stills camera first and foremost. The difference now is that instead of video being an afterthought thrown on in case photographers *must* shoot a few clips, it is now “video for photographers.” What I mean by that is the 8K video mode is basically a 30fps burst mode to pull stills from. It’s the first stills camera in what is probably going to be the near future of photography - no distinction between stills and video. 8K RAW is the first video mode that can really claim the image quality of a frame is equal to high-end photography (especially in combination with Canon’s AF making every frame perfect). I’m surprised they’re not offering an open gate mode to be honest.
  7. I’m currently very much enjoying using an Instax Wide 300. It’s not great for interviews but probably on par with an R5.
  8. My experience is that bitrate impacts motion artefacts in IPB footage (higher=better, obvs). 170mbps in h265 is pretty high. Almost up there with the C300mkII 10bit ALL-I 4K (about 400mbps in h264 I believe). I’d be quite hopeful it’s going to be decent IPB, and I’d choose IPB a lot anyway, if I had the choice, simply to keep file size down. A Ninja V can be used if Intra frame is really needed. Hell, the C200 can’t even do 10bit external 4K. It’s not a disaster for me. Rolling shutter and overhearing remain the big question marks.
  9. How is this a response to what I said? You're trying to talk yourself out of a nonsense position. I don't see any value in continuing this conversation for either of us.
  10. You literally have no idea what you're talking about! I've already answered all your questions but you keep flogging a dead horse. You must have very little experience of shooting interviews. I have used all sorts of cameras for all sorts of different jobs - from tiny client work to feature films to short docs for VICE - from crappy DSLR's to cinema cameras. Whatever the job calls for. That's why I know what is needed for interviews. If you are focussing on "what camera I use" and think that's what makes a filmmaker, that confirms your naivety. It's a problem with a lot of talk on this forum - confusing technical camera knowledge for filmmaking.
  11. I always shoot interviews with 2 cameras. The exact issue remains. If you stop with one camera then you're reduced to one angle, which is no good. If you stop and start recording it makes it even more difficult, because when you're synching Multicam clips you have broken files to match up. Yes there are workarounds for hobbyists, but when you're turning over interviews day in, day out, these "little" workflow things are the difference between professionalism, happy clients, comfortable interviewees and stressful edits. I'd rather shoot a 1080p interview on a proper video camera than have to ditch a 4K camera after 30 min. What if the interviewee finally gets comfortable at around 25min (not uncommon in my experience), drops their guard and starts revealing some really compelling emotional story? Do you say "oh can you wait 10 min while my camera recovers"? Or do you accept that you'll just use the second angle - guaranteed to be the one that doesn't let the viewer see the emotion in their eyes, or the tension in their gestures? It's not about it not being right for me, it's about it being unsuitable for 4K capture of interviews.
  12. That’s why I want a clamp. Keep the wire from moving around in the port.
  13. This is nonsense. Shooting interviews is the backbone of my job and they regularly last longer than an hour. Especially the good ones. More importantly, you want the contributor to forget about the camera and you want to focus on the interviewing, not think about the gear. Stopping the interviewee mid-flow and asking them to start that question/sentence again can derail a well conducted interview. I assume recording time limit will be negated by an Atomos, so sorting a rock solid clamp for that shitty micro HDMI port will be priority #1 for me.
  14. Have to say I see the high data rate of the 4K 120fps as a positive. It's 4X the bitrate of 24p, which is exactly what it should be if it's going to look as good. I'd be complaining if it was less! When looking at the table, the data for 4 minutes of recording time looks huge but then that's actually 16+ minutes of footage. Personally I only shoot short clips in 120p anyway. Though the fact DPAF works in 120p means it'll be an absolute killer gimbal camera and that'll mean people wanting to do long takes.
  15. Micro HDMI is a big disappointment. Especially due to the 30min record time requiring an external recorder for interviews etc. Even more so if that's the only way to get intra frame files. Lack of ALL-I in 4K 24p was surely possible if it can shoot IPB in 60p. That's annoying. Though 170mbps h265 is a fairly beefy bitrate, even for 10bit, isn't it? Will have to wait and see what motion looks like on clips. As has been said the big test is going to be rolling shutter. In some situations the IBIS will help with this in comparison the the 1DXIII but it'll still look like shit if it's that bad. Oh and not recording video simultaneously to both cards defeats the purpose of dual slots for filmmakers! Hopefully SmallRig or someone will come out with a discreet little clamp that solves the Micro HDMI issue.
  16. It's still just an XC10 with an XLR plug - i.e. a 1st gen attempt at something completely new that needs a lot of usability improvements.You can get perfectly good audio via 3.5mm these days anyway. A rode wireless go and/or Videomic NTG easily takes the audio to the same level as the image from that camera. If you need better audio than that, you probably also need a better camera. I'd far rather an EVF, a stronger ND, a shorter constant-aperture lens or an improved UI (ability to change ISO, aperture, audio levels, etc. easily) than the XLR jack of the XC15. It's a fantastic concept of a camera, I hope they continue the line.
  17. Decided to part with my beloved XC10 if anyone is interested, let me know. UK buyer preferred. Will put a post with photos and price in the Gear for sale thread later.
  18. Sounds a lot like Canon playing their crippling non-cinema cameras games again. I realise mine is a specific use case - so this is not a defence of Canon at all - but if the R5 turns out to be the same and rolling shutter is decent in crop mode (assuming it has a decent 1.5/1.6 crop mode) I would actually consider it in place of a C200. Most of my glass is S35 EF mount (Sigma Art zooms, 17-55mm 2.8, etc). So with the ND filter EF adapter, the EOS R in crop mode will *potentially* be a simple move for me. Weird I know, but for me it may work.
  19. So ... rolling shutter is defo just as bad in crop mode on the 1DX3?
  20. I guess V-log may well be worth a try if your'e using it with the HD intra codec, or via HDMI. Beefy bitrate doesn't get enough credit IMO. It can make a massive difference. The GH2 was vastly improved with the hack. The EOS M video is great in h264 if you use the ML bitrate hack.The C100 is much nicer with prores external recording, even though it remains 8 bit. Even the XC10 image is noticeably superior at 305mbps vs the lighter 205mbps option. The reduction of motion artefacts and finer noise always makes for way more organic image. I'd be interested to see some FZ2000 HD intra footage - imagine I may prefer it to the 4K.
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