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Michi

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  1. Except there is no $5000 japanese camera that offers prores. There is the C700 for $30‘000 and the Varicam for $15‘000. I dont know of any other japanese camera that records to prores. So no, upselling is not the reason. Nobody says „Oh, the Sony A7 III/GH5/EOS R doesen’t offer ProRes? Then I‘ll get the C700 please.“ Even their Pro-Codecs XAVC and XF-AVC are just variations of h.264, right?
  2. I think this is the first time I agree with Mr Reid on 99 percent of what he writes. Especially in regards to the codec. Why isn’t ProRes an option on any of the japanese sub 15000$-Cameras? What is holding them back? Nobody is spending 3 times more only for a better codec. And with BMD you have it in Cams tha cost only 1000$. So why not implement it? Its like capturing all your stills as PDFs. Somehow you‘ll get it to work but why not just use jpg...?
  3. Many of us somehow absurdly get emotionally attached to the tools we use (I include myself to that group). And then we start heated discussions and some of us post memes with a user group shitting all over the place. So in order to continue the discussion run in circles let me add my few cents as a user of canon cameras and lenses: Sure, the canon tools loose most of the spec-wars. So like all other canon users I must be a fool to keep giving them my money? I entered the canon eco-system back in 2008 or 2009 when I bought a 60D. I added some lenses, batteries and other accessories and eventually stepped up to the C100 when I decided to create videos professionally. Yes, even in 2018 that good old C100 with its crappy 30 Mbs ACHD-codec produced beautiful images that payed my bills and made my customers happy. It would do so even in 2019, but in an ongoing project I have the need for 4K capture so I sold my C100 for a good price and replaced it with a C200 (I considered a switch to Panasonic but did not like the EVA1 too much and the Varicam LT was too expensive). As B-cameras I have used the 60D, the 80D and now use the M50. I do know there are better alternatives from other brands in that form factor. But the additional work to match colors in post, the need for other accessories and the time I'd need to learn and get used to a new system aren't worth those technical improvements for me. I know my tools in and out, I know what they can achieve and what not. And I know there's a service-facility 20 minutes away that will take care of any issue without the need to send the camera to another continent and wait for several weeks or even months. That for me are important factors... From my point of view bit depth, bitrate, color sampling, color science, crop factor (starting from MFT) and resolution (starting from FHD) determine maybe the last 5% of the quality of motion pictures. If we mess up all other aspects like focus, lightning, audio, camera movement, composition etc., the best specs in these 5% will not save our shots. So while it is fun to discuss these aspects of a camera and sometimes fight over them, I think all in all they are still negligible to a higher degree than most other factors. Maybe if I was younger and bought my first camera in the last 3 or 4 years I'd be all in on another brand. But here I am, a happy user of technically inferior cameras form that c-brand that sometimes tends to disagree with all the bashing these tools get in the WWW... We all tell stories with pictures. That's what we have in common no matter what brands we use. And frankly we live in the best of times to do that. Cheers Oh and by the way: Mr. Reids EOSHD C-Log is also one of the reasons I'm able to keep using the M50 as an acceptable B-Cam to the C200. So to a degree it's his fault I keep being a happy Canon-user 🙂
  4. https://www.newsshooter.com/2019/03/29/tuning-a-short-film-shot-on-the-panasonic-s1/ Some impressive shots from the S1 in this promo-short too. I find the colors remarkably nice. In the right hands, this seems to be an excellent tool.
  5. Could it be Red? They sued Sony over a compressed RAW format in F5/F55/F65 some years ago. Would be a strange move since the compressed versions of Cinema DNG are in Black Magic Cameras for several years already right?
  6. Well I'd say 30p and here in Europe 25p are the standard (normal) realtime framerates. Wouldn't you? 50p/60p is used mainly for slowmo. So unless you're shooting sports or maybe a musicvideo I see no merit in shooting everything 50p/60p. Quality should be more or less identical on the RP as the bitrate doubles: 30Mbs in 30p, 60Mbs in 60p. Higher framerate-modes have often degrading quality since many cameras record them in only slightly higher bitrates. Maybe I misunderstood you?
  7. How and when did they say this? Never took notice of any information like that. Canon did state in an Interview after the C200 release that they could not do a better recording option for technical reasons. But I believe that is just a lame excuse. The C200 has dual processors just like the C300 II, only it's the newer version (Digic DV6 vers. DV5 in the C300 II). So yeah, let's hope they have a moment of mercy and just level up the C200 once the C300 III is out...
  8. Oh, thanks for pointing out that new rumor. I wonder if the C300 III will already have an RF mount if it is announced at NAB. My hope is that Canon will give the C200 a better lower/middle ground recording option (XF-AVC 8bit422 or even 10bit422) once the C300 goes 8K or Full Frame or both (and yeah, I know that's wishful thinking too)...
  9. Not going to happen. You should know this company by now. No way Canon will release a successor to the C100 II with a better Codec than on the C200. Even Sony would't do that. What may will come one day is a C100 with 4k30p in 8bit 420 and no RAW. CanonRumors suggested the first RF-Cinema-Camera will not come before the end of 2019 and that it will be the C300 upgrade. So prepare to be disappointed...
  10. Haha, I too thought about that comparsion just this morning. Indeed, the critics sound somewhat similar. My main production tools are all from Canon and Apple – I must be a crazy dude for some
  11. I'm one of those I too make this observation. It's not often that I spot a video shooter that earns his or her living with a Canon DSLR or MILC. But on the other side there are numbers that contradict this subjective observations. With the M50 ans EOS R Canon has apparently taken the market lead for mirrorless cameras in Japan (Canon Rumors reported that some weeks ago). I don't know if that market is completely different from that in Europe and America but I take it as a sign that potential customers with need for good video specs still represent only a small minority of the whole market. Canon is a successful business, been so for many years. To say they don't know what they are doing (as many here apparently think) is simply naive. Specs aren't everything, reliability and support are just as important if you want to use these tools on a daily basis to earn a living. And Canon does have reliable products and very good support. Nonetheless that's no excuse for what Canon did with the Video-mode in the EOS RP.
  12. I think they the only justification is they don’t want video shooters to buy this camera instead of the EOS R. And I agree, it‘s an arrogant and greedy decision, even for Canon standards.
  13. What makes you think so? I'd have thought "normal" shooters would mainly use 30p...?
  14. Agree on that too. Only thing missing for me is 4K with DPAF on APS-C. I think a mirrorless 7D would have to offer that. I could even live with a crop as it would be my B-Cam for closer angles in Interviews or the wider angles in general shooting situations (with the Tokina 11-16 F2.8). 4K60 is nothing mandatory for me, already have that on the C200. So I hope you‘re right with the M5 II... Sure, that would work. For video it would even work without buying a FF Zoom. But in stills-mode I could only use one of my 8 lenses without compromise. Maybe I‘m a dying species but I just don‘t want to go full frame...
  15. Yes, I too think it‘s highly unlikely we‘ll ever see an EOS-M body that ticks all my boxes. But hope dies last (as you say in german). Maybe some day a mirrorless 7D equivalent will come, be it EOS-M or EOS-RF... And regarding the EOS R: in principle I could work well with what it offers. But I don‘t like the idea of investing 2000 bucks to use only half of that cameras potential. At the EOS RP price point, I‘d consider it (but would still be screwd when using it for stills). Im fully invested in S35/APS-C, no need and no intention to go FF...
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