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mrtreve

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  1. I do think this is real. When I see RED images I always think they look so thicc (sometimes not in an entirely pleasing way, but thicc nonetheless). Perhaps this comes form the trend in flat grades that came about with the widespread adoption of log in digital cameras. Then you couple that with the poor 8 bit codecs that break when you put contrast back in past a certain point, meaning people with Sony A7's etc got used to putting out thin or muddy looking images. Then I think you can lump in camera inertia, rolling shutter & motion cadence. I think these can add/subtract the fee
  2. I did notice that the C200 raw had less artifacts than the C300II X-AVC. I would shoot them side by side when I owned both and the CRL codec is much cleaner when you really dig about in Resolve. However the performance of the CRL codec in Premiere was always pretty bad. I'd always end up transcoding so I could work smoothly. I used my C200 for the first time in ages last week and my new Mac Pro still struggled . I'm guessing this is an Adobe thing? The main thing I like about the Canon RAW is that if you're happy to transcode, it's more or less writing a fat prores file to the card
  3. I understand why the lack of raw is a downer for enthusiasts who really want to tinker, but I have to admit the C70 is pretty compelling work tool. You could load a backpack with the camera, 2 BPA-60s, some SD Cards and a couple of lenses and you could go shoot a job and make it look easy. You've got inexpensive media, decently compressed codecs and a battery that lasts 400 minutes. For a lot of projects, that's worth more than the gains from shooting raw. The best way forward (for me at least) is to delineate the two needs by owning a cinema camera and a video camera. Then you're no
  4. It looks like the Sharp Viewcam from the 90s
  5. If this rumour is true we'll see a bunch more adapters. I'm guessing these are sturdier versions aimed at video use compared to the existing $99 version? I'd personally take the 4K DGO sensor over the transplanted R5 sensor in this... but then I do have a S35 CNE-18-80 gathering dust. That combo would be a pretty good no nonsense 'shot-getter' for corporate work. You could then chuck the PL mount on for more cinematic projects.. If you really want FF then put the speedbooster on. Having something that flexible would be great. For me the days of owning 4 different cameras (e
  6. Something like external prores raw @ 60fps FF, somewhere between 4k and 6k, with a low rolling shutter would get my attention. Sounds doable based on what they're currently doing... they just also need to do a good job on the included monitor and choice of media.
  7. I wonder if they're also developing new high-end Varicam models... the Varicam 35 & LT are a bit dated now. I do have a soft spot for Panasonic as I started on a DVX100 and even went through a period shooting on the HPX3700 before large sensors took over. A full frame L mount would be fun though. If they can come up with a good sensor, the Leica SL lenses would be interesting see on there. That would also be something unique.
  8. Even with a soft box on each the light will be relatively hard as the size of the source is small. You could get a cheap 5-in-1 reflector off Amazon. Use the translucent one and arrange a few of your lights to spread out over the whole surface. Or alternatively use the white one and bounce them. Basically just do whatever you can to spread the light out over a larger area. If you want even softer, try combining both ideas by making a book light (bounce off white, then diffuse). You'll need to be working at low light levels for that to work though as it'll kill the output.
  9. This looks great as a gimbal / travel camera. Load it into a backpack with a couple of zooms and you're good to go. In typical Canon Cinema EOS style is about £2k more than you'd like to spend, but then you reach for it every time over something cheaper or more convoluted (e.g. a Z-cam rig). I'll likely get one to replace my C200 for straight-forward video jobs. It'll also probably cut in fine as a b-cam on higher end jobs.
  10. Ah yes, that makes sense. It's one of those things where being more mobile might make for a better looking end result over the bump in absolute image quality. I've absolutely over-rigged cameras in the past and in a doc situation the first thing you end up doing is take all the extra stuff off again ha.
  11. Vimeo review for work-in-progress. Dropbox for final delivery. Usually h264 and prores. I do tend to deliver in 4k as standard even if they don't request it. You never know where and how they might be presenting it... could be on a huge screen in their boardroom with their CEO watching. It also means that I've got higher quality masters for my reel etc.
  12. I would 100% just go with prores 422 for a doc destined for Youtube. Most of the time when you record raw you get increased noise (as it bypasses some of the camera's processing like NR). In a doc situation with less than ideal lighting you could really be making more work for yourself in terms of having to de-noise everything. Also slightly on a tangent - will a Ninja V work with your camera? Or do you need the Inferno to take the raw output? I think the Inferno is a bit large & heavy for a doc where it helps to be discreet. Also they chew through batteries which could be stress
  13. I'm not looking for an answer to all my prayers, more a good and easy b-cam for the Ronin-S. Perhaps the R6 and Ninja V are the way to go. Good autofocus and 4K 60P prores in c-log. With the R5 overheating, I'm not so worried about record times... it's more if I'm forced to shoot in the blazing sun, which happens. I've had my 3d printed focus gears fall off my lenses from heat expansion before I might get an R6 as a stopgap towards the Komodo. Very different cameras but both fulfil the brief for a Ronin-S cam.
  14. I could quite happily do a whole day on this lens for a lot of my jobs where I juggle between primes of 24/35/50/85. I believe it covers Mini LF in UHD mode but beyond that it needs the expander. Still, if it's around £5k then it doesn't really have any competition currently, so I might get one for jobs where I need to move quickly. Or maybe Sigma could release a FF 24-70 2.8 in a cine version that would also be good.
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