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Bought the Canon 1DC


FilmMan

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Much like aliasing/moire on a 5DII or BMCC..... You just need to test the situations that create banding and try to avoid them or use a different setting to minimize it.

 

For 99% of your shots though, you should be fine shooting C-Log. It has a great look and is surprisingly gradable for 8bit (if it works like a C300).

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I turned to the Dark Side.  Darth FilmMan.  I got stupid last week.  Let me rephrase that.  I got dumber than usual.  I was talking to a sales guy about the Canon 1DC.  I said, "sharpen your pencil, a

Here's  a few seconds from one shot from today (it is one of the less gross shots).   50 mm lens.  Neutral style.  Played with the colors then uploaded. http://www.youtube.com/watch?v=73zdOAM-n7I&amp

There's no thought behind it as far as i can see, they didn't decide not to include it cos it's "more pro" to have fewer options on-board. The bloody Arri Alexa has peaking. some use it, some don't. I

I've found that even when you have some banding in the source, one you denoise and add film grain in a 32-bit you're usually eliminating it.

 

If you keep sky tones closer together when recording, they won't be so banded in the source, then pull them back apart in a 32-bit space and it's making the new values - a 32-bit space does not look at 8-bit source and snap adjustments to 8-bit values - it's making new ones. In AE you are working with a floating point in RGB, it's agood fix.

 

But enough maths! Those who haven't, try it out.

 

Even those who have purchased this camera though, can surely agree that 8-bit for so much money is just taking the piss. There's absolutely no technical reason to limit it so much. To be honest, I can't even see the marketing reason...

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I hope so....

 

S35, 12+ stops and 10bit/4:2:2 internal and I will be very happy. I'm not putting my hand in my pocket until those 3 specs are met or bettered, under $10k.

 

I have a gut feeling that Panasonic will come out punching at NAB.... They are never scared to bring pro features to a prosumer price bracket.

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Unless something changed in the last month, you can't order one unless you are in China and there is zero worldwide customer support.

 

It's not a camera that is on the market, as far as i'm concerned. Also "only" 11.5 stop, more than workable, but i've always thought that 12+ is the magic number.

 

Looks interesting though, especially the mini.

 

BMCC and the speed booster might be an interesting combo too

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Yea, the F3 is a beauty and very, very tempting. Coupled with a hyperdeck, it is a hell of alot of bang for $. Certainly worthy of a feature.

 

I just really wanted to give up on external recorders and big rigs though. I was an early user of the HVX200/s35 combo and the huge tripod to go with it.... I hoped those days were over.... lugging that setup around Iceland in winter was not fun!

 

If i was in a studio environment though, the F3 would be at the top of the list.

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It is a bit bulky, but considering the way the internet exploded when the Red One went to $4k, this F3 price should be hailed. It is easily small enough for a 1 man rig.

 

10bit, 4:4:4, S-Log is pretty amazing, and the F3 (S-Log) gets 13-14 stops and can be graded very heavily... Other than the ISO and white balance, it is very much like raw.

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Updates coming for the 1DC?  From Canon rumors.  I'd wish they open up the camera to 10 bit. 

http://www.canonrumors.com/

The EOS-1D C broken down a bit more.
A reader sent in some information about the EOS-1D C.

1) A 25P firmware is coming next week.

2) Canon is aware that high iso, high motion doesn’t mix well with 4K aggressively compressed to MJPEG. So my little experience of doing 4K framegrab is mixed. Quality is amazing in natural daylight portrait, but is less interesting in action high iso scene. They are aware of that and the “limit is the card writting speed” at 100Mb/s.

Interestingly the buffer looks to be well over 380 Mb/s and almost 3Gb large. So basically, the camera could run small sequence with lower compression in 4K or even in 8K for 3 to 6 second on the buffer, and then move that to the card when done a little bit ala phantom.

They say they will “investigate in this direction”.

3) The twin Digic V in the 1Dc are slightly over clocked compared to the one in the 1Dx therefore this is why there is a need for better cooling.

4) The C500 with its slightly lower pixel density and higher pixel size, is for now the king of the hill when it comes to high iso and low light when filming in 4K.

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It's such a colossal waste. It's debayering 14-bit images off the sensor, then encoding to 8-bit JPEG and wrapping up in MJPEG.

 

So why not encode to 10-bit? Silly Canon...

 

Of course, these pull 16-bit off the sensor at medium-format size. Sexy... http://www.bhphotovideo.com/c/product/893196-REG/Hasselblad_3013666_H5D_200MS_Medium_Format_Digital.html

 

As an aside, here's what 80 megapixels looks like, from the PhaseOne IQ180 medium format. Looking at stills always makes most video look like a bucket of dicks: http://upload.wikimedia.org/wikipedia/commons/2/29/JacquelineMegaw.jpg

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I'm no technical expert... but my guess is that most DSLRs have two internal pathways.

 

raw, 14 bit... off the sensor, buffered, then onto the card.

 

jpg, 8bit... off the sensor, buffered, processed, then onto the card.

 

The pathway is all 8bit once it is in the processing board. It would cost more to make the internal processing 10bit... this is not just some firmware fix or bottleneck at the writing to card part. It needs to be 10bit the moment it is processed off the sensor.

 

Would still shooters pay extra for 10bit video?.... No, they would be up in arms.

 

Obviously, you could argue that the 1D-C is aimed at videographers and should have had new boards that have a 10 bit path.... and I would agree.... But I think they rushed it to market and used the 8 bit circuitry that is already in place.

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