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Looks like the FX30 is a lot cheaper than we thought!

Just got the Kolari VND filter and can confirm that it fits the official Canon drop-in adapter perfectly with no issues I can see so far.

Hey all, Based on your individual experiences, how would you get accurate WB/Color Match across cameras if you had an R5C shooting in Clog 3 (which has the same quick custom WB button as the C300s etc), a 1DC shooting in original CLog, a 5D MK III using Magic Lantern, a Sekonic C-800 color meter (which I got for really cheap at an auction a while back), an X-rite color checker and a grey card? To be clear, I know how to WB with all these tools and color matching has been totally fine using Resolve - just curious how others might approach it with the aforementioned tools? Thanks in advance!

I don't know which method is more "accurate" in matching the cameras to the reading on your meter or in matching the cameras to each other. I would guess that the difference is minor, but it would be interesting to see a comparison of the two methods. I know that merely using the custom white balance on each camera without a color meter will get a close enough color temp match, and it is quick, easy and consistent. Either way, you will still be tweaking sliders (or clicking eyedroppers) in post to get the final correction. By the way, it is generally a good idea to avoid mixing light sources of different colors on the same side of the subject, especially on a person's face. Also, you might try leaving a slight difference between the color temperature of the exterior light and that of the interior lights. I usually keep the interior key light neutral. If a window is visible in frame and if only skylight is streaming through it, I tend to keep it around 1/4 CTB -1/2 CTB from neutral. If direct sunlight is visible in the background, I sometimes keep it at neutral -1/4 CTO.

@tupp thanks for the perspective. I've been in talking head interview scenarios where the lighting is a mix of LEDs and natural light in a space with big windows south and east facing. And so I've been setting up lights and cameras first, and then been using the Sekonic C-800 to: (i) get an initial read of the color temp of the natural light hitting the grey card and color checker located in the central area that the talent will be sitting (it's a lot of natural light so not at all too low) and using that as my base color temp reading. (ii) get my bicolor Litepanel Astras as close to that natural light base reading as possible using the C-800's multi-light color match function and manually tweaking each LED. (iii) I then get the overall LED lighting levels roughly set with respect to recommended IRE levels for each cam via my monitor. (iv) calibrate WB of each camera individually Now here's my question. At this point should I calibrate each camera using their individual custom WB functions or by inputting the initial base temp I got via the Sekonic C-800? I ask because I've gone the route of calibrating WB using each cameras custom WB and noticed that in the case of the R5C (which actually displays the color temp reading) that the color temp reading is way off from the Sekonic C-800 base reading. And while I know the WB calibrations from each camera will be off from each other to some degree - I wonder whether using the base color temp of the C-800 will result in the cams being off by the least degrees. Hope this makes sense. At the end of the day it's not like I've had to struggle much to match colors for my needs - but it would be good to know which approaches might give the best results.

If you are doing a multi-camera shoot, first put the grey/white card and color chart together, lit by the dominant full-spectrum light source of the scene/event. Flag other light sources from hitting card and chart. To avoid glare, the light source should be at about 45 degrees (or less) to the plane formed by the card and chart. Position all the cameras side-by-side as close as possible to each other, about 6-8 feet directly in front of the card and chart, and perform a custom white balance on each camera. Then, record about five seconds of footage of the card and chart with each camera. If the dominant light source of the scene/event is intentionally not full-spectrum, perform the above procedure using a separate full spectrum source with a color balance that is close to color of the dominant source of the event/scene. If you are shooting at separate times/locations with each camera (not a multi-camera session), do the same procedure above at each time/location with the one camera. Of course, if you are shooting raw, the white balance will not affect the captured image, but having a custom white balance should provide a decent starting point for your NLE and for color grading software. The footage of the charts will help in more finely "dialing-in" the color correction in post.

Not exactly 120fps but anything faster than 100fps, when there's no genlock devices, does the trick... : ) Once synched can be conformed to 25fps @post. GoPro's small form factor coupled to 10-bit offers the remainder part of the quotient :- )

It's not really snobbery, it's the reality of a certain bubble "cine" world. That of ARRI/RED/VENICE. Ironically, the very few theatrical releases I've done were shot with 5D3 (ML), C300mk2, BlackMagic Production Camera, FS7... albeit all low-budget documentaries/cinema vérité/art/festival films. And paradoxically, all my RED/ARRI shoots were for high-end commercials, TV, fashion/music videos. It's all relative. That's my reality. To give further context, at Cannes this year films made with these cameras entered the competition: C500mk2, S1H, A7S2, FX3, FX6, FX9 , A7III & iPhone 11X Pro (!). https://ymcinema.com/2022/06/13/the-cameras-behind-cannes-2022-alexa-mini-still-dominates/ Mostly as B-cams & for documentaries but that is an interesting evolution. While the Mini still "dominates" those entries are the most surprising/interesting to me. Budget, crew, clients pretty much drive what I'm going to use. The whole "cinema camera" term isn't really that relevant to me anymore personally. Yes, ARRI is the gold standard. But if an FX6, FX3, FX30 or iPhone better suits the project/budget then that's what will get used. I am attached to certain "cine" specs though.. shutter angle, DCI, I/Os, codecs, resolution, DR, rolling shutter etc. Luckily we're getting a lot of those in affordable bodies. Finally, "cinematic" image quality wouldn't be anything without lenses. The focus on these forums seems to be so tilted towards camera body brands, specs, sensor size etc.. but lenses can't be dissociated from the equation. It's really what may tie you to an eco system or a sensor size. Seems like the big boy cine cam discussion has sort of turned into Alexa Mini/35 vs LF/VENICE. If you look at the above camera Cannes list, or Oscar list or Emmy list.. it's actually pretty split in between S35 & FF. You can reference frame it however you want, the divide is the same no matter the category. Some DPs prefer S35 others FF. While sensor generation and overall specs (DR, ISO, resolution) may play a part, I think that again, what lenses a DP wants to use plays a decisive factor in his sensor size camera choice. We've already had similar discussions in the past. I like to use real world examples to illustrate my arguments so let me re quote what the Ozark DP had to say about his switch to Venice with FF Leica glass: “I started as a still photographer on 35mm film,” described Kutchins. “It creates a feeling. For example, I can describe it like shooting Super 8 versus full-frame, I feel like I’m watching it in a box, from far away. As a viewer, I feel distant, even in a close-up. It’s nostalgic, but I don’t feel connected. TV lives in the world of a medium close-up. We never go really tight. In full-frame, you still feel close." As Kutchins described, they took older Leica R lenses and rehoused them, which gave them the ability to shoot wide open. “It opens so super wide. I was intrigued by it as we went down the wormhole with the family, in isolation and distrust. I was intrigued to use the wider aperture to create more character separation. I love the result. Both Armando and I were excited by the possibilities. We play with depth of field and with lenses to create a separation from character in the background. Even with a wide lens, you can feel the character coming into my space and coming into the living room. That’s what we’re trying to do as filmmakers, create a presence in 2D space."

I am not sure what you are trying to say. All the Alexa cameras before the 35 share the same sensor, the sensor just gets bigger and hence more resolution. Finer grain equals the appearance of less noise. Again the Alexa 35 changes this as it isn't the ALEV3 sensor. It's the cleanest and highest dynamic range Arri camera so far. This is what I find interesting. Will people choose the full frame LF which has worse high ISO performance, worse dynamic range, less color depth, and less accurate color reproduction just to get the FF FOV? My point was this is the first time where the best sensor on the market is a S35 sensor with no sign of ARRI putting out a new FF sensor. We'll see what the big boys go with, time will tell.

that use to be the case but I think since the C200, FS5 and now BM6K Pro, C70 or even FX6, that is no longer the case. They have great battery life so you can stay away from Vmount. Built-in NDs mean you can avoid a matte box. And stellar AF avoids the need for a follow focus rig. A lot of DPs do love to over rig their cameras and that's fine, just not my ethos. I usually strip them down to the bare minimum, I like fast energetic shoots to keep the momentum going. Obviously you can't do that with URSA Mini, RED & ARRI. You need a crew if you wanna be comfortable. Different scenarios. Different applications. Different results also. Sony is definitely cornering the market, mostly in broadcast. A friend of mine just joined one of the biggest TV shows for fashion & music and told me it's all Sony now. Used to be AMIRA up until just a year ago. I'm not sure why they switched but could be weight related as he told me they alternate a lot in between sticks and shoulder rig. Or did they go FF? I hope to go visit the studios and find out more. Fuji are killing it, and XH2S would also be my first choice today for personal camera and pet projects. But with no real upgrade path, limited ecosystem & outsider reputation.. Sony does feel like the best system right now as far as getting pro work in the industry. I still prefer Canon colors, ergonomics etc but their pricing isn't very competitive neither in pro bodies or RF lenses and their politics are lousy at the moment, they need a change in CEO or something.

That would be brilliant!! The vast majority of people wouldn't pay to watch 4K content, YT would take their 4K-preference out of the algorithm, without 4K watching ability most people would stop insisting on 4K content, creators wouldn't be ruthlessly pummelled for not shooting 4K, and the entire platform could switch focus from irrelevant pedantry to actual real content.

It's illegal to talk about Panasonic and mention anything other than their poor AF. This is your first and only official warning.

Hilarious video and so true, the S1H beats the R5c before it even comes out in nearly every possible way except for in 2 very important ways: - The R5C will sell hundreds times more because it will have useable AF, this is the sole reason I never considered the S1H as a viable GH5 replacement; spending that much $$ to still have the same AF problems as the GH5 didn't make sense to me which is how I ended up with the S5 (less $$ with many of the S1H's benefits) - L-Mount "alliance" - Lets face it, the "alliance" kind of sucks due to inconsistent user experiences and incompatibilities but the biggest problem for Canon users is buying new L-mount lenses for what may be a dying Panasonic model line. Sure there's adapters but you lose what little AF you've got when you go that route Canon probably can't decide on CLOG2 because the DR of the R5's sensor will fall apart with CLOG2. Multiple tests have shown that the R5's DR isn't that great, CLOG2 would simply amplify that problem. I will admit that as much as I dislike what Canon did with the R5 and R6, the R5c does check a lot of boxes for me. Only time will tell where the cripple hammer chose to strike for this new camera body. There is no way Canon is going to let just a few ND filters and XLR inputs stand between its R5c and C70 because so far on paper the R5c beats the C70 in nearly every way.