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How I would describe 1dc video quality


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After shooting the NX1 for a while and shooting a bunch yesterday with the 1dc, I would describe it best as high resolution 5d3 raw quality, without any quirks.  The footage is just magic.  I realize there are cameras out there with better options on paper, and while I love my NX1 for 120fps 1080 and casual shooting, the 1dc paired with the 16-35 F/4 IS is really an unbeatable combination.  Just stunning footage.

It's enough that I may not even look for anything else to shoot with for quite a while.

No idea why I'm posting this.  Just inspired.

Shawn

And I'm not even shooting C-log.  Just regular standard profile with the contrast, sharpness and saturation knocked down.  I don't even add sharpness in post (0 in camera) with this 16-35 @ F/8.  It's just really sharp 4k.

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Well gosh thanks a lot.  I thought I would get ridiculed off the boards for shooting family videos with a 1dc.  I'm just trying to get the best footage of my kids while they're young that I can afford

heh-heh...

Quick link.  I know this is simple home video type stuff, but to me I like the look. 4k 1dc file, built-in audio. https://drive.google.com/file/d/0B3W9u9cu-URWd2N4LWZzY2NkcXc/view?usp=sharing   4k f

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Yes it is 20 years of cutting edge modern colour know-how, the accumulation of 15 years of CMOS sensor development and the 1D X all rolled into one hell-of-a-cinematic beast.

It kicks the arse of the A7R II for colour.

Whenever I am handling the Sony material in post there is something I have to do to make it look better. Never spent so much time fiddling.

With the 1D C it just looks right on one of the standard image profiles and C-LOG takes about 5 seconds to grade.

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Just curious.  Why so wide?  Not typically cinematic at that short range.  Not knocking it, mind you, just wondering if you like that look better or if you're doing something wide-specific.

Well keep in mind in 4k it's the 1.3x APS-C crop, so that's like 21-45 FF equivalent....

Yes it is 20 years of cutting edge modern colour know-how, the accumulation of 15 years of CMOS sensor development and the 1D X all rolled into one hell-of-a-cinematic beast.

It kicks the arse of the A7R II for colour.

Whenever I am handling the Sony material in post there is something I have to do to make it look better. Never spent so much time fiddling.

With the 1D C it just looks right on one of the standard image profiles and C-LOG takes about 5 seconds to grade.

I just know when I hit that record button I don't have to worry about it overheating, the 29 minute time limit, adapters erroring out, or a 2nd body to shoot stills with.  Obviously far from perfect, but yesterday my kids went back to school and I shot some handheld video and no one thought I was shooting video.  Just the bare camera and glass.  I'll throw a 4k output up on my Google Drive here in a bit.

I'm different from probably many of you on here - while I have done paid work (wedding/documentary) I am not a budding cinematographer and I earn my living managing federal employees.  I shoot about 1/2 video and 1/2 stills (mostly my kids playing sports).  So I'm not the guy trying to shoot cinematic; I just like nice skin tones, some background blown out a bit and colors a tad contrast-y.  I have shot in C-log and think it's too much effort (for me) as the ISO is fixed - if I were shooting a scene pre-planned with fixed lighting it might be ok, but I'm generally shooting things with no lighting control.

 

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that's like 21-45 FF equivalent.

Still on the wide-side, but if it works for you, that's great.  I'd consider renting the 1dc in the future for certain jobs.  I'd love to see the used price come down a little more though --and maybe just buy it; depends on future work and how other camera models depreciate.  I lean to smaller gear and shoot a lot of stuff on m43, (talk about being unassuming when shooting video, try a GM1) but who knows...

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Doesn't seem that wide to me. Lubezki spends most of his time ultra-wide, Polanski was usually on the wide side of things (40mm anamorphic and 20mm anamorphic), Spielberg hovers around 28mm for the most part... Bay and Woo obviously go super long, too, but spend as much time super wide. 

No doubt.  Personally, I like standard and portrait.  That's just me.  Then again, I'm also enamored with Malick, so it's all good.

Do not talk to me about Bay.  I like to pretend he doesn't exist.

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Doesn't seem that wide to me. Lubezki spends most of his time ultra-wide, Polanski was usually on the wide side of things (40mm anamorphic and 20mm anamorphic), Spielberg hovers around 28mm for the most part... Bay and Woo obviously go super long, too, but spend as much time super wide. 

speiberg, orsen wells, scorsese, malick have all said 28mm is their favorite.

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Quick link.  I know this is simple home video type stuff, but to me I like the look.

4k 1dc file, built-in audio.

https://drive.google.com/file/d/0B3W9u9cu-URWd2N4LWZzY2NkcXc/view?usp=sharing

 

4k frame grab...

1DC_0699_joined.mp4_snapshot_00.17_[2015.08.20_20.44.08].jpg

I'll probably just get depressed if I download the footage (compared to the stuff I can produce), but even the framegrab is very impressive. I have started using the  4k photo mode on the panasonic lx100 a bit, and while it is impressively good as well, it doesn't look as good as this...

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speiberg, orsen wells, scorsese, malick have all said 28mm is their favorite.

Is this true? 28mm is right around the perfect normal.

Fincher shoots wide, too (usually wide open). 

I like everything but 50mm. I guess I am no Ozu.

The most sophisticated artists I know prefer 40mm and occasionally 65mm.

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I'll probably just get depressed if I download the footage (compared to the stuff I can produce), but even the framegrab is very impressive. I have started using the  4k photo mode on the panasonic lx100 a bit, and while it is impressively good as well, it doesn't look as good as this...

Well gosh thanks a lot.  I thought I would get ridiculed off the boards for shooting family videos with a 1dc.  I'm just trying to get the best footage of my kids while they're young that I can afford.  I shot the 5d3 raw for almost 2 years - I'd have stayed with it but I wanted the ability to crop with 4k plus the 12 FPS for sports.  Plus of course the non-hacked reliability.

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Well gosh thanks a lot.  I thought I would get ridiculed off the boards for shooting family videos with a 1dc.  I'm just trying to get the best footage of my kids while they're young that I can afford.  I shot the 5d3 raw for almost 2 years - I'd have stayed with it but I wanted the ability to crop with 4k plus the 12 FPS for sports.  Plus of course the non-hacked reliability.

No one is mad at you. At worst jealous. 1DC looks like a gem. 

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Is this true? 28mm is right around the perfect normal.

Fincher shoots wide, too (usually wide open). 

I like everything but 50mm. I guess I am no Ozu.

The most sophisticated artists I know prefer 40mm and occasionally 65mm.

Most of them are talking about 28mm spherical on S35, which is about a 40mm equivalent. It's Fincher's preferred wide, and shockingly enough, the widest lens Deakins used on No Country for Old Men. 

Apparently, the 50mm (70mm equivalent) was Hitchcock's favorite. I love it for medium close-ups, which are the meat of my films.

I personally don't like to go much wider than 40mm unless I'm going for a specific effect or my location demands it. Or for steadicam/gimbal shots, I suppose. 

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After shooting the NX1 for a while and shooting a bunch yesterday with the 1dc, I would describe it best as high resolution 5d3 raw quality, without any quirks.  The footage is just magic.  I realize there are cameras out there with better options on paper, and while I love my NX1 for 120fps 1080 and casual shooting, the 1dc paired with the 16-35 F/4 IS is really an unbeatable combination.  Just stunning footage.

It's enough that I may not even look for anything else to shoot with for quite a while.

No idea why I'm posting this.  Just inspired.

Shawn

And I'm not even shooting C-log.  Just regular standard profile with the contrast, sharpness and saturation knocked down.  I don't even add sharpness in post (0 in camera) with this 16-35 @ F/8.  It's just really sharp 4k.

Well are you going to post some footage or what? :)

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As an A7s and 1DC owner there really is something about the 1DC colour - particularly for me in C-Log - that just feels right. Without talking about magic and starting an argument about what exactly that is, the colour just feels right on an intuitive level - almost as if I'm looking through the optical viewfinder and not a recording on a screen. I can totally understand the importance of capturing a real feeling image when shooting your loved ones.

While the Sony image is much cleaner and can therefore be pushed more to higher ISOs and to an extent pushed around more in post without worrying about noise, I could never quite get the colour to the sweetspot of looking natural.

 

On the other hand the 1DC is physically a bit of a brute, has huge heavy batteries, requires an external monitor to expose and focus corectly, uses expensive CF cards, has no decent high frame rate mode and isn't exactly inconspicuous.

 

On balance I'd say they're both great in different ways. I was meaning to sell my A7s when I bought the 1DC but I've found I can't yet bring myself to do it.

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thanks a lot for posting this shawn

i downloaded your clip –– an astounding amount of true detail and rich color

pulled the frame grab into photoshop to add a bit of magenta and yellow in the color balance..... wow at those canon skintones i gotta say. if i can ever get slog2 to do this ima start a blog lol

the subtle modulation in the faces of the five children closest to the camera definitely reminds me of canon raw.... amazing

 

the colour just feels right on an intuitive level - almost as if I'm looking through the optical viewfinder and not a recording on a screen

205993-nuclear_explosions_053_super.jpg

 

color_1dc_4k.jpg

 

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