Jump to content


  • Posts

  • Joined

  • Last visited

Everything posted by ghostwind

  1. It really depends on what you will be shooting. You haven't said. Personal stuff? Commercial work? If so, what kind? Narrative, corporate, documentary, etc? That will determine what you should get. While I like the BMPCC 6K's image, I would never use it on a corporate shoot for example. For narrative projects, perhaps (again depends on the project). Same with the RED Komodo. For doc and corporate shoots, I would use Sony or Canon as they are more robust and reliable. I would always prefer to have two cameras instead of one, but I wouldn't mix brands, as matching them in post will be a nightmare. Budget is another thing to consider. What is your budget? For $10K, I would get a Sony FX6 and a Sony A7S3 for example. I think that's a great combo for many types of shooting scenarios. Both are full frame, easy to match, etc. My 2 cents with the little info you provided.
  2. While I agree with the sentiment of your post, it's important to point out that higher end cameras don't mess with the signal as much as consumer cameras do. Stuff like NR, sharpening, etc. Some that cannot be turned off, even when shooting "RAW". And this can be very important, as that determines your starting point.
  3. Same can be said about "Proud Mary", link below. Of course these are extreme examples, with multi-million dollar budgets that allow for big productions with very expensive lenses, rigs, lighting, crews, etc. Then you have access to the best coloring and grading in post. So while it's true that it can show what the Sony sensor can do, for people here, they won't be able to get there so easily. And that's when a larger camera like the FX6/FX9 will help, with more flexibility, more I/O, etc. I think the key is to focus on flexibility when you are a one man band or a small crew. Which camera will offer you the most flexibility and make it easier to get the end results you seek. Yes they can all get there, but choose a realistic path (e.g. not the "Possession of Hannah Grace" or "Proud Mary" paths), and that will lead to the best camera choice for you personally. https://britishcinematographer.co.uk/dan-laustsen-dff-asc-proud-mary/
  4. We'll see, I guess. H.264 was adopted a lot faster however. BTW, the FX6 doesn't do H.265, only the A7S3.
  5. In many ways, it seems like the wrong time upgrade to a 4K camera now and a more powerful computer. Canon is moving to RF, and for sure in 2021 will have better RF C90/etc, and Apple is making a huge hit with their new processors that just came out. A month ago I was ready to get a loaded Mac Pro and the C300MKIII, but now I'm not so sure. I may rent for any projects that need the 4K until next summer perhaps. Those Apple chips I had doubts about, but they are ridiculous it seems. Hmm..
  6. Need to upgrade to a 4K camera from my trusty C100MKII, and am a bit confused on codecs used and where things are headed. I understand HEVC/H.265 and how it's a better distribution codec as it has similar quality to H.264 but at lower bitrates (smaller files), but what I don't understand is why some cameras like the new R5 and A7SIII use it, while the C300MKIII for example does not. And what does the future hold? I ask because I will also need to upgrade my computer, and seems this H.265 is to be a pain to play back and edit on, requiring hardware decoding/acceleration, like the new Apple M1 chips have, the iPhones, iPads, etc., but none of the big name NVIDIA or AMD GPU cards have (at least not for 4:2:2 10bit H.265). What's the deal here? Are cinema cameras like the C300MKIII designed with the assumption that the "more pro" user is not as concerned with storage, so the smaller files/bitstreams allowed by H.265 are not as important in a workflow as they may be to a "less pro" user using a DSLR/prosumer camera like the R5 (or A7SIII)? Otherwise why not have it? It's not like the C300MKIII and the R5 were released years apart. I don't get it - I'm missing someting. Confused...
  7. Never owned anything Sony when it comes to cameras, but this could be a first. The Canon C70 looks nice, but at that small size and low weight it needs IBIS IMHO. That's my biggest concern with the C70 - handheld footage and no IBIS. The Sony A7S3 checks all the marks.
  8. True. Wishful thinking on my part. Perhaps there is room for something between the C70 and the C300MKIII. Just not a fan of the C70’s form factor.
  9. Agreed. This thread is mostly about codecs, but to me the ergonomics are just as important. Having named it the C70, that leaves some hope that perhaps they will have a C100MKIII at some point, full XLR, BNC?, larger/modular form factor/ etc. for $2K more. Dunno. Many are saying this IS the C100MKIII, but then they would have called it that no?
  10. Still using my C100MK2, in fact just wrapping up a corporate promo video this week, but need to go to 4K soon, so the C70 vs. C300M3 has got me thinking. While I do like the smaller form factor of the C70 (and of course the price), the one thing I do wonder is if a camera so small and light without proper IBIS will be more difficult to handhold and stabilize than a C300MK3. Weight gives better stability when handheld, but size does too, as it's easier to brace a larger camera (for me anyways). Any thoughts on this? Another thing I noticed that makes me a bit nervous are the exposed audio controls. The cinema cameras so far have a small plastic door to cover them. With the LCD open on the C70, can be possibly easier to change the input gain on the audio by mistake.
  11. Quick question. There's a setting (see screenshot attached) on my NINJA V which allows adjusting for any audio delay that the camera may have over HDMI to the NINJA. I'm using the C100MKII, and was wondering from people here if they know what the delay is for this camera. I know from reading, that some DSLR cameras, like Sonys or Panasonics may have 2-3 frames of delay, but not sure of the C100MKII. I of course tried it, and I can't objectively tell of any delay. So I had my Audio Delay setting at 0 on the NINJA. But then I though to go all the way to 5 and even 10 to see what the result would be, and the result is the same - no delay. So out of curiosity, I have 2 questions: 1. C100MKII owners that use the NINJA V, and delay you notice? 2. If no delay, like I'm subjectively seeing, then wouldn't setting it to 5 or 10 frames make it actually have the audio be 5 or 10 frames *before* the video? Curious about this. I tested with the onboard mic as well as a Sennheiser 416 XLR mic I'm planning to use. Again, comparing audio from internal cards to external NINJA files, I don't notice delay, no matter the setting.
  12. Yes, this is the key point (at least up to 30fps, not sure if you can record HQ external 60/120fps unlimited. So the only question I have is, as I've said above - is this intentional crippling by Canon for internal recording, or is the heat buildup happening just from the cards being in there and/or written to? If not, then a firmware should in theory fix this limit.
  13. I'm confused 🙂 Which video - I just looked and couldn't find him talking abbot that. Then the video after your reply, says it's indeed HQ out to Ninja (or no-HQ if you choose). So the only limitation seems to be it's HQ only up to 30fps? But yeah, my point is if it can do this externally, then a firmware should fix it internally too. Unless the fact that there are no cards is cooling the camera so much, something that's hard to believe, no?
  14. So then if it can record externally 4K30 HQ for 4 hours (with cards removed and whatever) does this mean there could be a firmware update to fix the internal recording. I guess I don't get why it would work for 4 hours externals to the Ninja, but overheat like crazy with the cards inside, unless not having cards is cooling it? Seems Canon will come out with a firmware to not cripple internal recording then?
  15. Not sure if anyone brought this video up, but somewhat interesting. https://www.canonwatch.com/canon-eos-r5-records-4-hours-4khq-at-30p-video-externally-with-some-simple-tricks/?fbclid=IwAR27M-11lKCRpAOQBV_4L9-Gi7W9nCTXPEyGsUMLKVdd_lzNK0cRuAxJtUI Not sure what to make of it. And does anyone know, is Canon sending HQ to the Ninja or line-skipped non-HQ, and how to tell? Ninja encodes in ProRes, how does one know?
  16. The lack of IBIS on the 1DXMKIII is killing me - literally. If it had it, it would be incredible. But yeah, then the R5 would have one less major advantage to tick in the comparison box. Urgh!
  17. Yep, which is why trying to emulate or imitate what Hollywood is doing, what I was saying in my posts, is a losing battle. Focus should be #1 on story and #2 on acting. If you have those 2 nailed, it doesn't matter if you shot it with an Alexa or a DSLR. Everyone agrees on story, but without good acting, you will not evoke emotions from your story. Way too many "pretty" movies out there from young, independent filmmakers with nice images, expensive cameras, great lighting, and even decent stories. But a lot of bad acting. It's not easy to have great acting on a small budget, but it should definitely be a priority over everything else IMHO. I believe this is overlooked at the expense of other items.
  18. We have never seen more mediocre and bad films that look so good since the advent of digital made filmmaking more affordable. As I said, it's an imitation game for most people for now. People making movies because they can, not because they have something to say. I see a lot of stuff shot on REDs or Arris that looks great, but feels like I'm back in college, watching aesthetics with no content, no message, no anything.
  19. I'm actually not that surprised. People need to fit in to get in. With digital photography people are still trying to emulate film stocks (among other things). It's still new, and an imitation game for now. It will take a while until people stop trying to copy and emulate the past with current tools, and use the current tools for what they have to offer instead - different and unique ways of looking at things (not just low light abilities, technical advantages, etc.). But it will happen once the romance with the past is gone. But my post was really more as it pertains to this thread - shoot for your audience - 6K -> 2K or even less. And the audience is more and more watching on phones. That means you need to change how you think, compose, expose, grade, etc. Wide, very detailed shots? Not so good on small phones. Shadow detail? Hmm..Same with photos. Vertical vs. 2x3 landscape. I can go on and on because I'm living it with my photography work somewhat. Reminds me of the cinematographer who shot that super-dark Game of Thrones episode - I forget the one. He was saying he was shooting it for a large "canvas" (he was shooting for HBO...), and that people should not be watching on phones, they should calibrate their OLED TVs, etc. I get it - he wants the best quality. But the reality is you have to shoot for your audience if you want your stuff seen and out there. Look at the legitimate backlash that guy got over that episode. And understandably so. I'm not saying shoot for crap, and compromise your vision or artistic integrity, but think differently if you want to stay relevant.
  20. I disagree it's a "mere gimmick". The phone is small, even rigged up and will allow for a different type of filmmaking and look. It's not just about being cheaper, but about allowing for a different look that will become more and more popular. It has AF, OIS, is very small, etc, etc. Blackmagic "Pocket"? Not so much "pocket"
  21. Some food for thought. I tend to agree. The future will be this on one end, and on the other end, very high end cameras/production to differentiate. The middle, for the most part, will diminish. https://noamkroll.com/why-iphones-are-now-the-inevitable-future-of-independent-filmmaking/
  22. 5.7K/6K sensors are really needed to output true 4K after the deBayering process required off the sensor. So to get true 4K, you need a 5.7K/6K sensor, as a 4K sensor after deBayering produces roughly a 2.7K image. The cameras with 4K sensors out there add sharpening that's not in the source (some more than others - e.g. Sony more than Canon) and aliasing. So yeah, for true 4K, you need the larger sensor. In terms of consumer, 4K is nice on my 65" OLED, but the HDR that comes with it is junk, so I don't watch 4K content for the most part. No consumer display can be calibrated for HDR REC.2020/P3, so the colors and black levels are all over the place and differ from display to display, as do mastering and display maximum nits. It's a total mess. 4K without HDR would have been perfect, but unless everyone had a 65" or greater, and the source was true 4K or scanned 4K film, nobody would be able to see a major difference worth investing in.
  23. @Michi Thanks! Perhaps I should have clarified or expanded on my statement. What I simply meant is that no 4K sensor does actual 4K, because of the deBayering required off the sensor. True 4K would require a 5.7K sensor for example, like the Panasonic EVA1 for has. A 4K sensor produces about a 2.7K image. Now some cameras do it better than others, but in the end you still end up with artificial sharpening that's not in the source and aliasing. This is why the Canon C200/300 4K is soft. They are less aggressive than Sony in processing, but in either case it's not real 4K. Does that matter? Yes and no. My comment was in the context that a 4K sensor (like in the C100MKII) can actually do a true 1080p, while no 4K sensor can do a true 4K on output (C200). So that's why the difference is actually not that much between 4K and 1080p. It's more like 2.7K vs 2K
  24. @Michi Thanks for the input, I appreciate it. But I'm ready to bite the bullet on a C100MKII and start shooting. I just think for me it makes the most sense given what I said in my last post (and initial post really). I think the C100MKII does 1080p extremely well, but I don't think the C200 does 4K very well at all, unless you shoot RAW, which I don't plan on doing for reasons stated. I do think RAW is the future on more and more <$10K cameras, as I've said, but I don't want to get into it yet and not with the single slot / Cfast card that is on the C200. 1080p isn't changing, it's proven/known, and it's still most of what's out there. So getting the best 1080p camera for relatively cheap (C100MKII) makes the most sense now, even if the camera is old. I'll wait for a <$10K proper 4K camera from Canon in the next 1-2 years. Until then, as I've said, if a client requires 4K, I'll rent. I do plan to use my DSLRs in conjunction with the C100MKII, and they can do 4K and HFR, gimbal, etc. So I have a good mix. C200 would overlap too much. The DPAF is very good, but my 1DXMKII is better I feel. And for when I need that, I can use the 1DXMKII in 4K. This would be mainly for sports, where I have to track an athlete for example, or other special cases. For most use, the DPAF in the C100MKII is plenty fine for me. I'll use a lot more MF anyways on the C100MKII / for video work, because well, it's nicer looking and I have total control. Yes, the C100's monitor is not in the best place, but at the same time it sort of is because I can tuck it away and be more compact. As I *do* plan on using the NINJA V most of the time, it makes sense. I know what you mean, but I cannot use any of these C100/200/300 LCD for critical focus, framing, bright light conditions, so yeah, I like the 5" NINJA. I'll put it on a small ballhead cold shoe mount and move it around as needed. I shot this way yesterday and loved it. Loved having the larger screen, brighter screen, with aspect ratio markers, focus peaking, waveform, etc. I can see people hating it, but to each his own. I can shoot in ProRes 422 HQ for like 12hours on a 1GB $340 SSD. And I'll have backup files to both SD slots too. And it will all be sensible in terms of file sizes but at very high quality on the ProRes side. This C100MKII can shoot forever and battery lasts long too. So I do understand and appreciate your points, but for me yeah, the C100MKII is a bit more special. More importantly, it's the right tool for me, now. I don't think I'll ever sell it. I think it's going to be one of those cameras that you keep. I still have my original 5D, my film 1V, and some others. Anyway, again, this thread has been super helpful and informative, even if we have different opinions. I did learn a lot, and will continue to. Thanks to all, especially @kye, @User, and @IronFilm!
  25. Guys (Tony Stark mainly), look, I truly appreciate all the replies and wanting to be helpful, but I'm not looking for advice on (or to talk about) framing, lighting, the history of cinematography, sound editing, pulling focus, video shooting 101, or whatever else you may assume I may or may not need to know before getting a decent cinema camera. I've discussed my background briefly and some other things early on in this thread as they pertain to the question I posted originally. I also discussed what I will be filming and plan/want to. I went over the fact that shooting with my DSLRs is a headache and described why. So no real need to keep at it, as it's not complicated really. Some of the analogies made don't quite work, but I don't need to go into details because it's pointless and time consuming. Yes, I'm "obsessing" a bit about the details, because as I've said, I like to do my research before investing in something. And I've learned a lot in the past few weeks since starting this thread. There are a lot of questions I don't need to ask, because I know the answer to them. The Canon 1080p threw me off, because although I've come to somewhat understand it, it should have been more clear. As you move on up the line, things should improve (which they do for the most part), and basic things should not get worse! Like I said in a prior post, I still use the single, AF point in SERVO mode for my sports photography (heck for ALL my photography), even with all the fancy AF modes the 1DXMKII has. For me it's the simplest way to work, and I'm glad Canon didn't remove it if you get my analogy. For what it's worth, I finally rented a C100MKII and a C200 yesterday morning and did a lot of testing. I shot in low light, in harsh and bright light, played around with all the settings, internal vs. external to a Ninja V, imported and played around in Premiere, etc. I spent about 10-12 hours doing all of this. Basically dedicated my entire day and night to it. I went to a track meet to see how the DPAF would work, and to have real things to film instead of brick walls, cats, and trees, etc. I wanted to see which camera would also feel best in my hands for a long period of time in terms of weight, ergonomics, etc. For the latter, I prefer the C100MKII. For 1080p, which was my big question, I was surprised that the C100MKII is pretty much up there with the C200 in terms of acuity and detail if not better in some cases. This is from external Ninja V ProRes 422 HQ. Internal to SD @ 24Mpbs is pretty damn good, but not as good in post as external to the Ninja - no surprise there I suppose. I wish the C100MKII would have more ND stops than 6, like the C200 does with the 8 & 10, but it's OK. For the C200 I compared internal UHD 420 8bit downconverted to 1080p in Premiere and also external 1080p 422 10bit to Ninja V. To be honest, it was hard to see a difference between the two methods - with the C100MKII it was more clear that external is the better way to go for IQ. I was also surprised that the 4K is kind of soft on the C200. In terms of the sensor, yeah, the C200 has more latitude for exposing, less high ISO noise, and a different color to the files (though I can't say it's better - just different). I did also shoot RAW for a bit out of curiosity, and yes, indeed that looks exceptional. For the other things, I don't think it's worth it over the C100MKII. So yeah, I confirmed a lot of what was said or what I thought - the C200 is great, but if you don't plan to shoot mostly in RAW, for me it's not worth 2x+ the cost over the C100MKII for the 1-1.5 stop more DR, less ISO noise, etc. And I suppose this should be obvious - it's meant for people that want to shoot RAW. I was just wanting to see if the C100MKII could do as good in 1080p. I didn't rent the C300MKII, but that's what I would use if someone wants to pay me extra for 4K shoot/delivery. Otherwise it's overkill for me now, and the C100MKII is the cheaper/safer bet until I wear it out. I was honestly surprised at just how good it really is, so many years later. EDIT: Oh yeah, I forgot to talk about the DPAF. Yes, on the C200 it's a lot better, but not worth it in the end for me. The screen is also nicer on the C200, as are the audio inputs on the body, etc. But since I'll be using the Ninja V most of the time (and not just for recording, but for having a larger screen to monitor, to see framing, focus, outdoors in bright light, etc.), the Canon screen is not critical. I actually like that I can move the C100's screen off to the side or even close it when shooting. Simpler and more compact.
  • Create New...