BenEricson

Agreed. You basically need a Cine Saddle and a large Gold Mount + Cine Lens to shoot proper looking handheld. I love my C70 but it is IS lenses or gimbal and tripod only. An EVF would fix this. Anecdotal. Depends on your market. They are huge here in Seattle. It's either Arri or Canon. Corporate work is generally Canon. Still convinced this is marketing hype. I use the C500ii and C70 pretty regularly. The C70 in raw is real noisy. The C500ii is cleaner all around. By a lot.

https://www.fxguide.com/fxfeatured/actually-using-sora/ Cool to see some transparency. Pretty interesting read. Having worked on video demos in the the tech space, I am not at all surprised. Absolutely mind blowing tech, but stuff like "300:1 ratio" for editing and "10-20 min for 480p" was not mentioned in the demo notes. $$$$$$. 🙂

I mean we can really only speculate. Assuming this took an hour to render a 720p clip, with access to a bunch of GPUs and however many TBs of data. 1000USD - 10,000USD per render? This isn't Mid Journey.

You're talking about insanely high compute power and $$$. https://www.wired.com/story/openai-sora-generative-ai-video/

To be fair, that was an incredibly difficult video to try to generate... Would love to see their new attempt! We need an A/B to A/B. I would imagine the cost for generating these types of videos to be quite costly. Somewhere between 200-1000 per video, no? This is an insane amount of compute power.

Years ago, I used to work on these Walmart commercials. They were all shot on the Canon 5DMk3 set to Auto WB. Every market all over the country shot on the same camera, lens, and settings so the commercial spots would always look the same. It also sped up post product. EOS Standard I think? Or whatever was available on that camera. It's been a while. You will get the most accurate skin tones if you do a proper manual WB off of white. I sometimes use auto WB to read the scene, then lock my WB to whatever it tells me is correct. For studio stuff, I really like to shoot with baked in color, typically EOS Standard. I will often tweak the color matrix based on the setting but that profile on the Canon Cinema cameras is really really nice in my opinion. It gives you a very honest reading of the scene. Really nice for lighting fill ratios on set etc. Shooting with baked in color doesn't mean you can't grade or tweak the image. You can still shoot plates to control a blown out window away from the subject, etc. You can also add vignettes or tweak colors. I just find this to incredibly accurate and better than most people can do without a proper color workflow.

I feel like nobody but enthusiasts actually does that... The fake film look on small gauge stuff ain't it! The workflow is fine. Most labs in LA or NY could have you scans in a day or two. Flat 4444 ProRes File. Same as it's always been. Game Time on HBO. "The project used approximately 1,200 50 foot rolls of Super 8 film; 50 Hours of Super 8 filmmaking!" I'll just repeat what others have said, but a video tap, LCD, and c-mount, make it a very very unique product. There's really no motion picture cameras period that have a video tap that cost under 20k. Personally, I much prefer the ergonomics of shooting with a view finder, but I do believe people who have the money will certainly buy this camera. Rental house definitely. They'll snatch them up. I would guess they sell 500 - 1000 in pre-order. Isn't it made by Logmar? Those are expensive as well.

That looks like the Digital IS. Looks pretty similar to the result of applying warp stablizer to shaky footage shot with a 1/48 shutter.

OG C300. Looks amazing. A C300 and a proper colorist / subject will give you much better results than a C70 or C300 Mk3 without.

It really depends what people define the "film look" to be. The OG pocket gets close, but the Jello ain't it. The HPX and HVX will probably become more popular as the years go on. Especially for things like mixed medium etc. It has deep depth of field, but it has the caked on color look due to the CCD sensor. There's also nice look noise and really nice baked in looks. You can also just shoot film... There's more resources than there have been in the last 10 years. You can have processing and scans turned around in a few days.

The motion is kind of all garbage on the C70. It might be the DGO. I don't know. It feels a little funky. There have also been advancements in sensors. For example, the C70 looks better in Long GOP @ 160 than the C300 Mk2 does in 400mbps. The new sensor is cleaner, sharper, with less artifacts, etc.

There have certainly been advances in the last few years. The LONG GOP 4k @ 160mbps looks so damn good on the Canon C70s. It's pretty hard to tell the difference between the two.

Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice. I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.

I don't know what to tell you man! Acting like you're against shooting "eye level," when literally every still photograph, every piece of 16mm, Super 8 etc, is all shot from eye level. You seem to have issues with literally every practical solution! The "head on a swivel" type movements you can get with an EVF create much more interesting footage than swaying from the hip. I think you need to prioritize the stability of the camera over the exact camera height. The Bolex 16mm cameras ergonomically are far better than other cameras I use regularly. You can use your body to get lower for lower angles etc. To summarize, there's really only a few solutions that can solve your problem. The more you add, the smoother your footage will be. - More Weight - More Points of Contact (EVF / Pistol Grip.) - Wider Lens

They use all kinds of things; Handheld rigs, Dolly's, Tripods, etc. It depends what type of visual language that you're trying to achieve with the movements. A steady cam doesn't replace the feel of a weighted camera with multiple points of contact. It's a different look entirely.

You need more points of contact. https://www.bhphotovideo.com/c/product/1013082-REG/kinotehnik_lcdvfbm_blackmagic_pocket_2ea_mounting_plates_soft.html https://www.ebay.com/itm/384999943227?hash=item59a3c8ec3b:g:orkAAOSwsQ1iy1eq Or add weight. Gimbal is a different tool and creates a different look.

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Here in Seattle it is definitely Arri or Canon. That's about it. Nobody uses Sony. Red gets used more than Sony. I wouldn't ask an AC to really comment on purely image quality. I find that the Komodo looks way better than any Canon offering, yet an AC locally here would love to work with a C500 Mk2 over basically any RED. RED gets used in a lot of skate, snowboard, motocross, MTB, etc. Definitely more a "video" space that demands high resolution and some high FPS. Komodo is supposedly the most popular and most purchased RED camera ever. Film is king though.

I think the main issue with these Canon cameras is still the post work flow. There is still no Cinema Gamut to REC.709 LUT. The conversion LUT from Log2 to Wide DR doesn't even match the baked in Wide DR profile. (I've tried. They don't match.) The Komodo for example, looks MUCH better right out of the gate with the standard RED provided LUT applied. There are 4 different LUTs with 4 different roll off curves for you to choose. You can preview whatever contrast level you want in camera, then apply the correct LUT in your NLE. It looks exactly like it does in camera. The LT raw footage played back pretty well for me. The other codecs work smoother though. I'm on an older Mac Pro. I don't really notice a difference in the footage though.

Prime, okay boomer opportunity. I do think that Covid made VR, Microsoft Teams, Zoom, do damn tired. The last thing I want to do is stare at another screen or “hop on a zoom call.”

I find that the Clog 3 / BT.709 profile is easier to color grade from scratch. That being said, I think Log2 is a better curve. I really liked log2 bt.709 tho. It looks a bit closer to Red or Arri Log footage. This was only available on the C300 Mkii. Maybe the c500ii? Not sure.

Vimeo is still the go to pro portfolio site. YouTube can’t cut it with ads / related videos you get. I can’t have someone watching an ad before a video. on top of that, the quality is just better. YouTube goes to mush. Especially fine details in film, grain, noise, etc. Even you know that is an exaggerated statement. I guess we can all agree that YouTube is camera reviews and covid conspiracies. 🙂

Yeah, it’s crazy. I brought 10 rolls of 250d right when BH stocked it. (I have the notifications on.) They emailed me the next day saying they could only send me 4. I agree with you on the 250d. 50d is almost too clean but has its place for sure. 250d is just so nice.

Black Magic Pocket for sure. Komodo feels good. Canon cinema cameras have a ton of noise reduction and lack the texture of those two cameras for sure. Film is the absolute best though. No contest. The amount of life even a static shot has when shooting 16mm is unbelievable. The perfect amount of grain, detail, and color.