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Matt James Smith ?

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Everything posted by Matt James Smith ?

  1. Not to belittle the FZ2000 but the thing that sets the XC10 image apart is a 305mbps 4:2:2 ALL-I 4K codec with C-log. C-log is the best 8bit log there is. V-log just never really worked in 8bit - esp at 100mbps 4:2:0 inter frame. Banding is pretty horrendous and colours mushy in my experience (I had V-log on my GH4). But of course I’m biased! Just saying there’s a reason the XC10 image is special.
  2. Here's another shot entirely on the XC10. It doesn't show the camera at its best image quality wise, but it's the perfect use-case for it's strengths. Last year I shot the Miner's Gala with a C100ii and the difference in lugging that around all day in huge crowds, with less focal length versatility, is night-and-day. Keep your eye out for Ken Loach sticking it to the man, and Jeremy Corbyn trying to do the YMCA!
  3. I'm sure you once said you shot a load of XC10 stuff in Italy ages ago. I was looking forward to a video of that stuff!
  4. It’s just an XC10 with a plug for the C300mkii’s XLR unit. Otherwise it’s basically the same camera.
  5. Agree with most of that Andrew (see my post above covering some of what you said). It’s not up to 2020 standards. Matthias Burling pointed out the internal ND is only really to compensate for the fact the aperture only drops down to f11. I always use a vari ND too. Disagree about 1080 though - it gets really mushy if you push it at all. There may still be a sequel though - Canon has some interesting patents out there. I’m not technical enough to explain it but the XC10 image reminds me a lot of the Fuji’s. Compared to other Canon’s it has quite a filmic look, but not as much colour separation. It’s a flawed camera but very unique and the image can be lovely.
  6. This is all XC10. Most of it on a Ronin S. Just a home movie but it gives an idea of image quality.
  7. Might sell it soon, along with my C100MkII (another under-appreciated camera that still holds up today IMO). Waiting for R5 reviews before I decide between switching to an R5 or a C200. Hard choice.
  8. I’ve been shooting with mine consistently since 2016. It’s a fantastic camera when you know it’s quirks and limitations. No good for low light or for matching with shallow DOF footage, but the codec is rock solid, it grades beautifully and the colours pop. Slap a bit of film concert on XC10 footage and it looks very S16- like. The IS is incredible - steady handheld footage at 480mm (in 2x crop mode)! - and it’s form factor is great. Canon Rumors has suggested a few times Xanon is working on an interchangeable lens version. Canon even filed a patent for an XC10 body with a custom speedbooster! Is it possible this will be the first RF-mount cinema camera??
  9. It is a camcorder, really, and it's stills mode is abysmal, but it is marketed as a hybrid, does have a dedicated stills mode (and taller sensor in stills mode). It's in a weird category of its own really. While it has a lot of issues, its 4:2:2 305mbps C-log 4K is a bit special IMO: the venerable XC10/XC15!
  10. This is a good point about security, actually. For many journalists, privacy is an issue even with current cameras, as files aren’t/can’t be encrypted in camera.
  11. Amazing - didn’t know about that. Again though for me it’s about the simplified workflow and potential of 3rd party developers to integrate their own services directly in camera.
  12. It’s very boring of me, but what I want is for the major manufacturers to get to this point soon. I’m a doc filmmaker so I need the reliability and ease of use of Cinema EOS etc. A sandboxed OS with an App Store like iOS might be limiting in some ways but it ensures 3rd party interventions are safe and accountable. Plus it would mean mainstream developers would get on board. Imagine a Frame.io app that allows you to mark a specific moment in a clip (as you shoot?!) and send it to an editor direct from your camera. A Vimeo app that lets you throw a LUT on log footage and upload. Google drive, Dropbox, WeTransfer. An Instagram app that lets you post direct from the camera. Not to mention the obvious technical possibilities of apps like FilmicPro, a stable Magic Lantern type thing, etc, etc.
  13. In many ways you’ve got more creative control with an EOSM and Magic Lantern, or an iPhone with FilmicPro, than you have with most ‘professional’ cameras. Hurry up with the EOS App Store!
  14. Not sure why autocorrect put “strongwomen” into my post above. It should’ve just said “strong”
  15. Here's the footage I shot (and threw a load of film emulation effects on top of). It's not edited into anything interesting it's just 20min of stuff ... so skim through and find the bits you like. Some other nice stuff posted here folks - nice to see! The main tips I'd give are: 1. Be aware of the horrific aliasing - tree branches against a bright sky look just horrific. I've added a strongwomen Tiffen Digital Diffusion or HDTVFX filter to the front of the already soft 6mm lens, which suits the consumer 8mm look I'm going for and deals with most of the aliasing. Adding grain in post helps diffuse it too. 2. Rolling shutter. It's awful. Put the strap on the camera and pull it taught around your neck (or use a loupe) to avoid jitters. A pistol grip handle helps too as the EOSM is not an easy camera to hold steady. Then stabilise the footage and correct the rolling shutter in post as best you can (I use Lock & Load). Here's the vid. I'm pretty pleased with it as a Super 8 simulation. Pw: S8mm
  16. Sorry, didn't get a notification for this and forgot I'd posted here I made some more EOSM S8 "film" I'll post later.
  17. Tiffen Digital Diffusion or HDTVFX filters function pretty well as a poor-man’s anti aliasing filter. They also contribute to a more old school film look. You have to hack a filter adapter on to some c mount lenses (I cut a hole in the lens cap and superglued a 37mm to 52mm thread adapter to it!)? I’ve shot some more Super 8 footage - I’ll try to make a short edit and post it later if I get a chance.
  18. I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. For the video below I used the following setup. 6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus) Tiffen Digital Diffusion 5 filter (reduces moire artefacts) EOSM with latest ML build 18fps override (exact) 5x zoom 12bit lossless RAW 4:3 aspect 1440 x 1080 i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8. This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
  19. The XC10 spits out real 10-bit 422 via HDMI
  20. That link is at the top of page one if you search Canon C200 RAW FCPX. Install that plugin and you’re away. Maybe gratitude rather than taking issue? By the way “RAW” is not a codec in itself - every RAW is different. If you’re talking about the new support for Prores RAW in FCPX, that’s not the RAW the C200 uses.
  21. https://www.canon.co.uk/support/consumer_products/products/digital_cinema/digital_cinema_camera/eos_c200.aspx?type=download&softwaredetailid=tcm:14-1665830 Google is your friend, friend.
  22. Is anyone else getting pink in blown highlights when shooting RAW on EOSM? I use MlRAWviewer to open and convert to DNG but hilight rolloff is awful and all blown areas get filled with bright, flat pink colour.
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