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I own one still, used to have three. here's some things I shot on it: It's a really great camera, has built in XLRs, I really like slog1 and sgamut - and man for the price, it's a great deal. Is it better than the canon 1dx which is probably now cheaper at the same price? Or the blackmagic MCC or pocket? That's where you need to do some testing. Check motion, color, etc. I think at this point a rigged out BMPCC with a nice monitor maybe a good alternative too. If you need the extra resolution. Anyway it's any interesting time to be alive.

Some graded screen grabs from the 1DC. Shooting on Leica R glass.

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor . I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode ) Natural profile saturation -5 contrast -5 dont go over 800 iso light your sets for about f2.8 or f2 max G7 focus assis is great it has 2 settings I use H I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance yes use the internal camera audio as I guide track and ADR it all in post All the above is how I shot the feature film Pandora

The Rangefinder is in. Here's the link so people can see the auction. Buy it now for EU 500,- and get loads of EOSHD karma points extra. http://link.marktplaats.nl/m1073137645

So I just found out that Magix acquired sony Vegas Pro with the whole Sony Creative Suite, and just announced a new version that will launch in September. But what they seem to highlight as the newest feature beside a redesign along with 4k and HEVC Hardware Acceleration support, is the native ProRes capabilities and support. So will this be the go to Prores editing software for Windows users ? They also lowered the price from $600 to $200 and are giving Vegas Pro 14 for free if you purchase the 13 !! Thoughts ? Here is the offer link http://www.magix.com/us/specials/vegas/exclusive-welcome-offer/

Sorry to butt-in, but looping all of the dialog for your web series might not be such a great idea. You shouldn't really need to do so, unless there is some constant, uncontrollable, overbearing noise on set. It takes a lot more time and additional resources for all of that overdubbing than it does to merely get the audio right when shooting. If you are paying your actors, looping your entire show could add 25% in cast expenditure. Add to that the cost of time and kit rental (and recording booth) of the post sound person. Plus, your director has to work the entire ADR session. Furthermore, there will likely be moments at which the overdub will sound/look fake. With the the many excellent, inexpensive audio recorders out there, one can easily obtain nice, clean, genuine dialog sound on set. Your BM Video assist might make a nice audio recorder. In addition, using one of the recent NLE audio sync plug-ins makes it almost effortless to get that separate sound placed precisely on the timeline. Audio is 1/2 of your show. If you are not knowledgeable and experienced with audio, it might be wise to hire a separate audio professional to handle that department.

From what you posted I prefer it to what I've seen from the 1dx/1dc and bmpcc/bmmcc, but hard to know how muchof that is just your mad skillz.

Or maybe 5dc.

when people are new to producing, im like "Shit is going to happen that you do not plan for" ? good work on keepin it goth. glad everybodys ok!!

Personally, I would not mess with the FS700. I shot with that a lot and the colors and skin tones are just off. Not too sure about the FS5, but I think an F3 is like 1/3 the price and the savings could be spent on glass rental... I bought an F3 a month ago, maybe my favorite camera I have owned. The color you can pull from the camera is just so nice. Excited to be working with it. It reminds of the BMCC or the pocket, with NDs, really nice battery life, and the reliability you expect from a camera in that class. Attached a couple stills. There's tons of F3 footage online, but just wanted to give that camera an up vote. I would get the F3 and a the 7Q recorder used. The whole package should be under 3 grand.

Why resurrect an old already answered thread? Also why would anybody use some crapware instead of RockyMountains Movie Converter

http://photorumors.com/2016/07/26/deal-of-the-day-canon-eos-1d-c-camera-is-now-3000-off/ I hope this somehow translates to the 1Dx-II getting Canon Log, or 1Dc-II being announced at IBC.

The sensor tends to be a bit bright. I usually shoot exposure lock -1/4 to 1/2. That exposes C-log pretty well. If it's not too bright I use -1/4, If it's bright I use -1/2 but either is pretty forgiving. If you can keep your highs below 80 IRE in C Log you're going to get pretty good exposure in most cases. I just shot this yesterday with C log at -1/2 mostly---very, very bright in Texas now and 100 plus. I allow zebras at 70 IRE--it's just an indication you're getting close to over exposing in log. See if you can get the Canon C300 Mk II LUTS from this site. They work great for grading XC10 Clog.

Dave, this is effin beautiful!!! Was this 4K or 1080p? C-Log?

Would love to see it. And give you some tips on how to improve with what you already have.

The image is different in my opinion though. Something about the 1DC looks different than C300mkii, IDXii... I guess with the 1DXii it could be the lack of C-Log, but even the Cx00 lineup has a different looking image, with C-Log.

Even at $5k, you have to ask if it makes sense to forego the features that the 1DX Mkii bring to the table.

0-255 all my cameras are set to this I would use both the G7 and GH4 and shoot 2 cameras all the time shoot a mid at 35mm and a tight head shot at 70mm at the same time .

many thanks Sanveer!

Well, let me start by saying, I really liked the G7... but so far, I love the XC10... but I miss interchangeable lenses. But this is a long story for me... and it may be boring for you... Last year around this time I had just my eos-m, then the lure of 4K and a ridiculously cheap price tag brought me to pick up an NX500. I had a love hate relationship with the camera. By the time I started finding it's sweet spot, the G7 went on sale. Since I had a small collection of c-mount lenses, and the bundle came with a Rode VideoMic Pro I jumped on it. The NX500 was a little sharper and shot in Cinema 4K, but the ease of use and external mic plug in led me to use the G7 way more than the NX500... so I sold the Samsung. Shortly after that I decided to pick up the FZ300 for family stuff and I liked a lot of the features... I loved that camera. Without a doubt it was the most fun camera to go out and shoot with, but the IQ just wasn't there. Still happy with my G7, and my lenses, I just went on writing some shorts and planning some shoots. One of the shorts I wrote required some slow motion. I had read that the Nikon D5500 had really nice and clean 1080p both in 24p and 60p... all of the videos I saw online confirmed that. And since I had a small collection of Nikkor lenses, i thought it would be the perfect option... it was out for over a year and I figured the price would be well below $500 for a body only... even if it was grey market. Well it wasn't... the cheapest I could find at the time was refurbished for $600... which was a little more than I wanted to spend for a camera I would probably only use for one short and then I realized the BMMCC had come out and was getting glowing reviews for it's 60p... Once again I was lured in by the promise of natively shooting ProRes and Raw, so I sold a few things and bought one. For the first month I loved the camera... I was able to use old Kern Paillard lenses and the Raw image is just stunning... as is the ProRes... but it is literally the most unenjoyable camera to shoot with. I prefer to shoot handheld or with a monopod and the form factor of the BMMCC is not suited for handheld once you rig the camera up with even just the bare essentials. And the battery life is simply horrible. You cannot leave a battery attached to the camera, because it will drain almost as fast with the camera off as it does with the camera on in standby and the batteries take 2+ hours to charge, so you really have to prep your kit the morning before a shoot, so you can charge half a dozen batteries... But the image is just damn gorgeous. After a while I just got burnt out using it. It wasn't any fun rigging it up every time I went out to shoot... or break it down if I was moving to a different location. Since I consider myself a run and gun shooter, all spontaneity ran out the door because it was such a hassle to quickly reset shots... for me. Other shooters who are more used to rigs and the proper way of shooting narratives are probably fine with it... but for me... it's just not an option any more. Then one day I was reading eos hd and I came upon Andrew's review of the XC10. Now mind you, I was in love with this camera when it was released... I may have been the only one. Over time, every negative I had about the camera faded away as more and more footage emerged. Basically my buying and selling of cameras and lenses over the past year put me in a unique position to afford the XC10 this year. So, after a little more research, I jumped in head first last week. I have only shot with it for a couple hours, but I enjoyed every second of it. I have been mostly shooting with the 1080p C-Log, but the couple test shots I did do in 4K... I was pretty impressed. Now I just have to learn how to expose C-Log properly... I'm starting to get the hang of it and how to grade it properly... I'll probably never get the hang of it. Finally, I originally intended to keep the micro and use it for really small, contained shorts. I have a few short film ideas that are only a couple minutes long. But after using the XC10, I don't think I could go back to the Micro, I think I would feel stifled. This leaves me without an interchangeable lens camera... Hmm? I love my lenses and I know eventually I will want to use them again. If I had to purchase another camera today... which I won't... I am leaning towards either the GX85 or maybe I'll stay with the Canon family and pick up a used C100... I actually bid on one the day after I used C-Log for the first time, but I didn't win it... maybe next time. Sorry for the long post. Basically, 5-axis ibis and IQ trumps the G7... even with the ability to change lenses. I also think the internal 4k to 1080 downscale, of the XC10 is better, to my eyes, than the internal 4K of the G7, with post downscale to 1080p. The G7 wins in the shallow depth category and with that in the lowlight category. The GX85 seems to have a better image than the G7 and it has 5-axis... but no mic input. It seems like there is no perfect camera out there, but the XC10 is the closest i have come to thus far. It seems like the GX80/85 owners feel the same about that camera... if it had the mic input, I may have chosen that over the XC10. Again sorry for the long, and boring, post but these things are so subjective, I wanted to give the history of how I got here... which may help people understand why I inevitably chose the XC10 over the G7, GX85 and BMMCC.

good call , the fs700 is another interesting option. test test test before you buy if you can or just scour vimeo and youtube for clips

I saw an fs700 with 4k firmware go for £1800 on ebay the other day.. If you had another £1k for an external recorder you could have a solid 4k HFR camera under £3k. I'd buy an F3 as a B or C camera, but not as a main camera these days. Wouldn't go higher than a £1k for it.

Thanks. I’m using DaVinci Resolve on my desktop and AE 5.5 on my laptop. ‘Binoculars’ was graded in Resolve and ‘ungraded C-log’ in AE, but the setup I use is the same and could be used in any NLE. In AE I use Adjustment layers, as if I had the nodes you can find in Resolve. First three nodes are my basic setup, second set of nodes I use to color grade. The middle node of the first set is always the curve of the profile the footage was shot in. The two other nodes are used to balance low middle high. From Left-to-Right: 02, 01 C-log2_180, 03 ACABADABRA… the middle node could probably just as well be a simple S-curve or something, but for some reason when I use the 180 degrees rotated curve of the profile the footage was shot with, the first and third node curve “keep close” to their initial shape. Come to think of it, al those curves have more or less the same shape (C-log2 and CineD are almost identical (if you fit them in a square)) so no wonder it fits my workflow First node (04) second set is usually just the red and blue curve adjusted to my likings in the lower left corner in this case I manipulated middle and top as well. Second node (05) is a correction on the previous node. Dragging those curves can make you do over the top things. My favorite tool for this is the RGB mixer or Channel mixer (in AE). I start with the Blue-Blue channel. Just touching it makes you aware if there is any need to shift in the blues. I then do the same with the Red-Red, if it looks weird you know you don’t have to use that channel. I hardly ever touch Green-Green, but I realize now that I hardly ever touch the green curve in the previous node , there might be some correlation. When the “masters” are done I continue with the minions, Blue-Red Blue-Green etc. By this time I’m completely colorblind and tend to look at some other picture on my HD to compare with what I have done so far. In this case I added a third node to add some contrast, I then called it a day. However you can go crazy and keep adding nodes as there is no end to color grading.

I suspect that the the 5DC will be a repackaged 1DC and thats why they are trying to empty the inventory of the 1DC. And a price drop makes just as much sense. Then they can also add C-log to the 1DXII and the Canon world will make sense again.

Here you go... There is some macro blocking in the sky

4K Auto focus demo http://videopress.com/v/pA7H5WoU http://videopress.com/v/xYwOUfSU

I sense log will soon be an option for the 1DX Mkii

I wonder if this will drive used prices below $3000. If so, I can see a lot of people jumping on them...including me!

Sorry, Sanveer, took it down since then since I started sending to festivals. I could PM you the new private link if you'd like

Maybe 1Dc mii

I'd be more inclined to rent Angie DP Rouge's - I freaking love those lenses! Again, don't underestimate the importance of glass - say what you will about Sony, but shooting F5 or F3 with Angie's or Ultra Primes is magic. Mine has the full upgrade, and I can confirm that you can do 50/60p 10-bit 422 over single HD-SDI. Can't attest to whether it would need dual-link without.

$4,999 today http://photorumors.com/2016/07/26/deal-of-the-day-canon-eos-1d-c-camera-is-now-3000-off/

Yes they are basically the same size, the 18-100 is the newer design of the same lens. It is a little bit sharper, so I am told, and considered a better lens but it goes for around $9000-$10000. I believe the 20-100 is about 14" long, has a 144mm front and weighs about 10.5 lbs. It has a min focus of a little over 2 feet so it can be used for closups on the long end. It is decently fast and has a slot for rear filters if you find one that still has the filter holder. It is a fantastic lens, if you can handle the size.

Oops, just realised I put a pic of a Cooke Varotal 18-100 T3, but it seems the one you're referring to is a similar size anyway?

True but the difference in price is marginal and doesn't it also allow for 60P 10bit 422 over a single SDI as well where it would require dual link without?

Take a deep look into what people are doing with the FS7 and LC709a, such as over on dvxuser and other places. Give great images from it, Arri like. Also, this:

Yes it is big and fairly heavy but not as heavy as I thought it was going to be. I own one that I use with my F35, beautiful lens but definately not run and gunning with it. It also has a interchangeable mount design so it can be easily changed from PL to EF, etc...

Not 100% essential, but important to look out for anyway. However there was a free s-log upgrade available which you can get if you don't have the paid version, and that allows you to have s-log 10bit 422. Just you miss out on 444, but the gain there is marginal in most use cases. I used to have a big bulky set up (using V mount batteries even!). But my set up now with the Samauri Blade and a 24-70mm f2.8 is quite a nice compact set up, can even be usable for run and gun shooting with my Sony F3. Yes! Shows even $500 cameras now can do amazing work. This thread:

Why the obsession with so called "FF"?? Most of the blockbosters are shot with S35/APS-C, it is the standard, not FF.

Maybe you missed focus on the wide shots as it wasn't properly calibrated for infinity focus??? Seems strange for RED 4K wide shots to be thought of as too soft?! And shooting 4K for 2K delivery to give "more options in post" doesn't come with pitfalls, you'll need to be spot on with your focus, and the crop will mean deeper DoF than if you'd shot it originally with a longer lens without cropping. Plus 4K means heavier demands on data storage during production and in post. All of these can of course be overcome, but shouldn't be ignored casually. Even just 1080 10bit 422 will chew up a lot of space over a feature! Is what I'll be doing on my next feature. Maybe for my feature after that we'll have the budget to use 4K 10bit 422 cameras for the whole thing. (as would like to use a Sony FS700 with FSraw down converted to 4K ProRes HQ on the fly with an Atomos Shogun, but that would stretch our budget too far So Sony F3 it is! If we do get any spare budget at all, it will be to buy a second Sony F3 so we can shoot with two at once) Yeah the director Colin Trevorrow shot his first narrative feature film on an F3: "Safety Not Guaranteed". Note however, I believe this was shot with a pre-S-log camera and all internal. Or in other words, you now in 2016 using the F3's S-log and 10bit external would be getting a much much better camera than the version of F3 which shot "Safety Not Guaranteed"! Colin Trevorrow went on to make Jurassic Park (4th highest grossing film of all time!) and will next be making Star Wars: Episode IX. Oh wow, a Cooke 20-100mm T3.1, that sounds like a handy and great zoom range with a fast enough T-stop, all this with the Cooke name for $4K? Can't afford it now, or even probably next year, but sounds like something I could aspire to own in the medium term future! But then I looked up what the lenses looks like on an F3..... WHOA!! That seriously pushes the limits for me for an "everyday" lens to shoot a feature on. Hmmm....

I have a Panasonic G6 too! :D Often times when a lightweight easy to use G6 is preferable. And for multicam shoots such as weddings using my G6 to roam around for sniper shots along with a few GH1 bodies locked off on tripods, makes for an effective and very low budget set up. You can now find the F3 at US$1500ish prices without too much trouble, I would never pay US$3000 for one! Heck I paid just US$1.2K for mine, and that was over a year ago when prices were higher then on average than they are now. https://www.maoritelevision.com/tv/shows/reset/S01E003/reset-series-1-episode-3 The entire water fountain scene at @1:23 was pick up shots I did using my F3 with ProRes HQ. The rest of the episode I was DoP for & shot with a Sony FS7. Great deals on the battle test Kinefinity KiniMini 4K on their website! US$3K I think? Or get the Kinefinity Terra 5K for $5K. I'm not such a big fan of renting even glass on extremely low budget productions. You can go far with a set of zooms: Tokina 11-20mm f2.8 + Tokina 28-70mm f2.8 + Tokina 80-200mm f2.8 (and throw in the Nikon 50mm F1.8D, too cheap to not include!). This entire set of lenses can be got for just over a thousand bucks (and half the cost is just for the 11-20mm UWA!). Or get a set of Rokinon Cine DS lenses: http://ironfilm.co.nz/rokinon-cine-lenses/

WOW! :-o I see you used other cameras than just the 1D C on this, what else were those?

Good workflow. Thanks. I always find it very helpful to see before and afters and then the modus operandi. I have a lot of similar shots in a short I am working on. I am not that proficient with color, so these little tips are priceless. Thanks again.

Hi Cojocaru, I'm currently testing another positioning of the lens near to the sensor. that allows me to gain a few millimeters to distance to the camera lens. The first tests are very encouraging and I hope to have the lens pre-series ready for August.

Just wrapped our music video shoot with the 1DC using Leica R glass. I directed and had an amazing DP here in Nashville shoot it. He never used the camera before and wasn't used to the full frameish image and got too close to our actor while she was swinging an axe and it put a gash on his head. Blood spewed everywhere but he was ok. Paramedics took him to the hospital and thankfully he only needed a few stitches and was fine. We still were able to finish up the shoot with me operating and having our gaffer also be a DP today. Excited to show you guys the final product. Lots of VFX in this one so it'll be a while in post. 1DC was a champ with the exception of one of the duclos modded lenses (the 24mm). The lens element went too far back and would jam the mirror on the 1dc which caused an error. An issue never faced with an actual "video" camera. Basically we had to take the lens off, then turn on the camera, then go into live view mode... Then put on the lens. Other than that the camera worked great. Plus the weather sealing really helped protect the camera from all the blood! ............. some images from our shoot below: Here is all the blood on the camera. Here is all the blood after I wiped it up this morning...

So I had a good run with the camera today and I am pretty pleased with it. The 5-Axis is almost steady cam level... Not quite because I don't want to over play it, but I was able to track with my actor pretty darn well. Here's my first attempt at trying to color some c-log... And here is my graded version.

Every discussion between the two cameras have people falsely stating the a7 R 2 is unusable in full frame, when it really is not. It makes people reading threads think that they shooting full frame on the a7r 2 is not even an option.