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mrtreve

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  1. I would wager that the original Mini will hold on to its value slightly longer due to its form factor. I think the reason that people are offloading Alexa Classics for cheap is because of the size/weight and the fact they don't fit into the new paradigm of flexible rigging, gimbal use etc. Whereas with the Mini, the image will be good enough and the camera small enough. So I'd say 5+ years. The market would first have to saturate with the new S35 Mini first and that might take some time especially with the global slowdown we're heading towards.
  2. It does look a bit underexposed. It's best to fill up the waveform as much as you can without clipping to get clean results. I've had good results by lighting the green screen at about 60% IRE (in a rec709 profile). If you have to turn up the gain in Keylight it starts to eat into the rest of the image and makes things grainy. I think those strings are going to be touch either way as they're quite thin and with sort of blend in with the green. So if you do reshoot - It might actually be worth shooting this in 4K. You can pull good keys with 422 material. You could also up the shutter speed a bit to get less motion blur. Maybe one thing you could try is to transcode to prores in case AE is having a problem with the codec. I used to own a C300II and can vaguely remember some occasional issues with the 444 codec in Adobe. I think it's an RGB file instead of YUV so maybe it's something to do with that.
  3. I tried the 1DX III at BSC today and the rolling shutter was pretty bad imo... it's one downside to consider. There was a GFX100 at the Fujinon booth which had a Premista zoom on there and the footage looked nice on the monitor. I love the ratio of the sensor for stills too. Weirdly though as a product it kind of felt like the Fuji would seem dated sooner... could be the boxy product design. Perhaps the next version in that line might feel better in the hand. The 1DX feels so nice in terms of all the buttons and dials.
  4. I shot a quick test this morning with my FD lenses on the Mini LF. It's dogs instead of cows. Not exactly what you guys are after but happy to share for what its worth... it's quite a nice DR test at least. I cut this in Resolve an exported without any adjustments. https://www.dropbox.com/s/lo9myfc9gbqh9ku/MILF_PARK.mov?dl=0 Format: Prores4444, 4.5k, LF 2.39:1, ISO 800, 60fps Canon FD: 28/2, 100/2 I wouldn't expect too much from the Alexa in low light. The highest ISO you can set is 3200 (there isn't even the option to go above this) and there is some noise present. So I will test at some point though.
  5. I think the C500II will do very will with high end docs. It will no doubt have a suitable look and good usability/reliability. Having owned a C300II and C200 (which I think are very good cameras) I think fundamentally the look doesn't translate all that well to narrative. We'll have to see if the C500II can do it. The specs are impressive, but if this just translates to the same Canon feel at higher resolution, I can't see it catching on in that world. I'd love to be proved wrong though. I think for TV/content production in the UK, Sony will continue to dominate due to the lower cost and the fact there are so many FS7s out there. You can put together a multi-camera shoot with owner-operators with relative ease and mix together FS7 and FX9 without too many headaches in post.
  6. If you def need dual slots then C300II is your boy. I can't speak for the 1080 on the C200 but on the C300II it's definitely sharp. You should test it.
  7. Well yes I suppose work out the recording time you'd need and go from there. The Alexa Mini has but one card slot & I've never had a cfast card fail from a Canon camera, so one card slot isn't as risky as the Youtubers would have you believe. Also unless you want to spend 2X on cards, you're unlikely to ever do dual recording anyway! In regards to C100/C300 having superior 1080p, I suggest you test them against the newer cameras to see for yourself. The newer chips have better DR and colour for sure. Even though I loved the C300II, I would hardly call it future proof as its almost EOL. I mean it'll make nice pictures for years, but on a technology front it's on its way out. I sold mine earlier this year because I believe the CRL is lowkey the best development Canon have made for a while... hence why its in the new C500II.
  8. Hi there, I've owned both C300 MKII and C200 so can give you my advice for what its worth. I know that the spec boys will have their opinions, but this is based mainly on real-world use. I would almost certainly go for the C200. The C300II's 12bit mode has no off-speed option (I think max 30fps?), so you may not really be able to use it that much if you record slo-mo regularly. One workflow I use a bit is to treat the internal raw as an intermediate and transcode all of my rushes to 2k prores 4444. I find that Resolve does an excellent job at this and is very quick. Leave it going overnight after your shoot and away you go. You could potentially delete your CRM files to free up hard drive space. I usually keep them so I can re-link for the grade. Most of my work involves short takes so I use raw almost exclusively. However the 8 bit mp4 are very good and I would definitely use these if recording long interviews or events. I'd say if you're jobs are half stills/half video then 2 or 3 256GB cfast cards should get you through. They're very quick to download if you have an external SSD hooked up to your laptop, so you should be able to cycle through them fairly easily. I've also noticed less banding/artefacts in the C200 raw than in the C300II footage. The reason to go for the C300II would be features like genlock & timecode as well as the broadcast ready codec - which doesn't sound relevant for your work. I wouldn't consider the C100 line unless you're strapped for cash. The newer generation of Cinema EOS are just a league above IMO.
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