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Everything posted by Michi

  1. I thought you were joking but itβ€˜s true. No 30p in UHD on the M200 but indeed 24p and (at least on european model) 25p. Crazy
  2. While this is true for every sensor that does not oversample, so far I have never experienced much aliasing in the C200 image and I'd assume there's no sharpening at all done in camera. At least the XF-AVC files are in no way sharper than the RAW files, quite contrary... But anyway, I don't deny the oversampled HD of the C100 looks great and that this principle is valid for higher resolutions too. But regardless of that, for me the C200 still has a nice image straight out of camera πŸ˜‰
  3. from the cinema5d-video it seems at least 25p will also be possible just not 30p and higher (but it's 8bit not 12bit)...
  4. I so hope this camera will come out as good as it sounds. In the Cinema5D-Interview the Sigma-CEO said they still plan a 2019 release. And since Mr. Smith said they're interested in our feedback: please please please don't wait to long to implement a Log-format for those shoots where the mov-format is sufficient. And please don't limit recordings to 30min. (if the battery even holds that long in this little beast).
  5. Hey ghostwind While I don't agree with your statement that the C200 doesn't do 4k very well at all (opinions vary and that's ok), I sincerely hope you'll enjoy shooting with the C100. It's a fine little Cine-Camera and been my workhorse for years. Have never regretted the investment. And it seems you have weighted your pros and cons carefully. Happy shooting!
  6. Hey Ghostwind A bit late to the discussion but I owned a C100 Mark 1 for five years and replaced it with a C200 about a year ago. From my POV some additional factors worth considering: - If you spend several thousand bucks on a Camera for professional use in 2019 I'd consider 4k mandatory. If you plan to use this Camera for several years to come, not having 4k will eventually become a disadvantage. And it brings benefits for HD delivery too. If 4k slows you down in post now you'll soon need better hardware and/or software anyway. - I get the impression Audio is a crucial factor for what you do. It is so much better in the C200. Once you have a Microphone and Audio-Reciever on your C100 it gets front-heavy because the XLRs are on the handle. C200 also has 4 channel recording so you can have lower leveled backup tracks of your XLR-feeds in case audio clips for some reason. Having audio controls on the back and not on the handle is a big advantage in fast shooting scenarios too. - The C200s touch to focus can be very helpful for documentary work, I'd assume for sports too but have no experience in that field. Compared to the C100 the monitor is way more flexible and can be mounted to different points. For longer handheld shoots I found the position of the C100-monitor annoying and too close to your chest. It forces you to hold the camera further away which makes it heavier. - RAW might be a hassle now but I'd expect it to only get easier and less expensive to handle in the years to come. Having the possibility to record RAW might give your camera a longer lifespan. No doubt the C200 will also have a better resell value in the years to come so from my POV is a better professional investment in 2019. - Are you sure you want to rely on an external recorder for all of your shoots? From my experience they are pain in the ass to work with on one man shoots. It takes longer to rig the camera up and they somehow constantly need to be repositioned. Plus you need more batteries, cables, cards... - In general I find the C200 is more thought-out and easier to use in uncontrolled shooting scenarios that require fast reactions. Just some additional food for thought... Cheers
  7. I think if you choose the second latest xml-version there should be no compatibility issues. I’d assume the option to export in older xml-versions is there for that scenario you have to manage now. I hope it works out well..
  8. You could just export the whole library as xml but might have to choose the xml-version 1.7 instead of 1.8 (or 1.6 instead of 1.7) in the export window. I dont know why youβ€˜d need to edit anything in textedit. Or am I missing something?
  9. - Battery Life - ND-Filters - 4 Channel Audio-Recording - 3 Audio-Inputs - DPAF - Service-Centers all around the World - (maybe) Reliability Of course this does not affect every user the same way, but for some – like me – this things matter...
  10. I tended to be benevolent to Canon because I still think they have great lenses and IQ, great Cinema-Cameras and great Customer Services. But this release is just very disappointing for anybody that isn't solely interested in stills... And the lack of 24p for me isn't even the major letdown. I find the 30 minute recording cap and the lack of C-Log (or any other Picture Profile for filmmakers) even more frustrating. For what I need, Canon doesn't even have an alternative that earns them more money. Maybe I'm an exception, but I have lots of EF-S glass and no intention to go Fullframe anytime soon. I'd love to replace my M50 as a B-Cam to the C200 with something that has better battery life, doesn't have the need to press stopp and start every 30 minutes and doesn't turn an 18mm lens into a 50mm lens when shooting UHD. I was sure the 90D would be that replacement, but they messed it. Disappointing, just very disappointing...
  11. πŸ˜‚ This post was a genuinely funny read. Adequate tone for the decision made by Canon (if it really gets confirmed in the next few days). Way more healthy to just laugh at this. And I say that as a Canon shooter who hoped to replace the M50 with one of these... Hope dies last, but it dies... πŸ˜‚
  12. Couldn't have said it better! 24p was in the 60D, 70D and 80D. Removing it now is just a silly and unnecessary move. While I also haven't shot in 24p for years lots of people do. And it would just be nice to have that option in this camera too.
  13. I had to laugh out loud reading this. But anyway, there's no reason to skip 24p in this camera when they had it in any other of their xxDs and even the M cameras. No argument. Licence fees? I don't buy that.
  14. I'd say it either means pixel binning or line skipping...
  15. Relax. Not saying 24p is for "film wannabes" only, that was somebody else. I just said that I never shoot 24p. But I have absolutely no problem with people shooting 24p. Edit: Ok, I get it now. My sarcasm-detector was off when I quoted ntblowz... Yet I still shoot all my stuff in 25p. Nothing wrong with that in Europe from my POV.
  16. While I never shoot 24p either – it's just silly if they're really leaving out 24p again. As if they'd want to give their critics a valuable argument by purpose. But there's still hope they just listed the highest fps in PAL and NTSC modes in the 90D video and 24p is in there nonetheless...
  17. I think you are way to critical, and I mean that in a good way. Watching without knowledge about what camera etc. was used for me was a good experience, kind of like looking mor freely at the videography... And yours looked nothing short of good to my eyes. So for me this competition was also a reminder that filming is a craft first. And that good craftsmen and -woman can work with every tool. πŸ‘
  18. Hey TrueIndigo Thanks for the explanation. I had no idea octagonal photosites even existed... I assume there are less issues with moire on that sensor, if any at all? Very cool!
  19. In all honesty: I would have paid off the winner of the competition the amount 60Ds go on Ebay right now rather than handing over mine if I lost. This is the first camera I bought with my own money so it has some emotional value for me and will remain on my shelf πŸ˜‰
  20. Congrats to @PannySVHS and @Framed_By_Dan and to all other participants as well! Some very exotic camera choices and lenses already revealed. Now I'm particularly curious to see what camera @TrueIndigo has used. I liked the colours of that one the most. And of course which lens created that unusual bokeh in the contribution of @Wronzoff. My choice was very boring and unspectacular, as I used what I already owned: Canon 60D and 60mm Macro with some cheap 0.9 ND (EOS standard colour profile without any grading).
  21. You can export up to UHD in the free version of resolve. 4K DCI and above only in the studio-version. Not sure about any other limitations.
  22. The self-hosted Video looks better in Safari than anything I have seen on Vimeo and YouTube so far – good job Mr. Reid! But in Chrome the Thumbnail remains visible after pressing play while sound is playing fine (iMac 5K, 2017). Is that only happening on my Computer? And yes – great IQ on the S1! Impressive
  23. Good old 4:3. The colors look quite good for me. Did you need to import from tape to edit this? If this camera really is native 4:3, I bet you had to pay quite a lot to own one back then. Good job Edit: since there seems to be only an auto-mode to shoot video, I assume this could just as well be shot with one of the better video capable DSLRs in the early days of digital imaging.
  24. Very interesting, unusual Bokeh on this shot (for my eyes at least). I wonder what lens created that... Nice grading too!
  25. I absolutely agree with you. But I donβ€˜t think this contradicts what I said . My point is that putting better video specs into Cameras with stills oriented form and ergonomics will not compensate for the sales lost to smartphones. The cake got bigger, but the slice for MILCs and DSLRs is getting proportionally smaller. And from my POV it’s not because of technical reasons. Just like offering 96kHz 24bit WAVE support could not turn around the decline in sales of portable music players (not the best comparsion but you get my Point).
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