docmoore

Should be less of a performance hit if any as it is a direct downsample ... and I shoot everything that I can in 4K DCI and render 75% as 2K DCI ... love the look.

Wonderful deal ... signed on today. Thanks!

Andrew It is the reason that I moved back to Sony and the FF FX6 ... love Canon colours ... but the new Sonys are just as compelling ... take the Slog3.Cinegamma into an ACES workflow and it is very neutral and just works. To replace my 1DX III with Canon meant another 10K for the C500 II ... made a lateral trade to the FX6 .... and have spent half that in lenses and peripherals ... but clearly am ahead of the marketing scheme that relegates us to accepting and living with the compromises that all the manufacturers foist upon us. I use the Metabones EF-E Cine smart adapter to lock my Sigma Cine Primes onto the camera ... you could stand on them and not have any movement ... My prolonged dealings with Canon USA CPS have convinced me that the organization lacks a brain ... acting like an amorphous mass of unrelated elements ... not a good feeling going forward ... I have a choice allocating resources and capital for a system ... and Canon has given no indication that they could give a shite whether I ... or anyone ... is adversely affected by their corporate intransigence ... Sadly their overall largess will protect them from the fallout of poor marketing and response to customer complaints ... but one hopes that they will continue to improve their line based on feedback ... doubt it but at this point I am in a different dimension ...

Actually my quote was based on CVP's review of the focal reducer ... where only 3 Canon EF lenses were officially supported at that time ... Time 4.07 following ... I am sure that others will be added ... but a short list at introduction.

Would have made platinum except all of my Cine lenses are Sigma ....

C70 ... limited codecs ... no RAW internal or not ... adapter only recognizes three lenses ... yea great camera ...

I purchased a 1DX III in June of 2020 ... replaced a Sony A9II which replaced a BM P6K ... because the camera had unbelievable codecs, build quality, and still used EF lenses that are not focus by wire .... Sadly ... mine was unable to capture RAW without corrupt files ... after six months ... in the Covid lock-down ... I sent it to Canon USA CPS ... after 10 weeks (during that time I was attempting to record a weekly blog with a RX0II) ... they finally sent the files to the Canon Cinema Support group in NY ... ultimately replace the camera. As a Canon CPS member ... 10 weeks without a camera was a major disappointment. With the new camera in hand ... great RAW ... I looked at FF replacement potentials and decided not to invest my time with a company that denied ... then after a lot of disputation ultimately admitted they had provided a broken camera ... to their credit. But they transgressed the promise of a professional solution for their client. Talking with my dealers ... two ... Canon has a dismissive imperious front ... rather face a Texas rattler than expect a decent outcome from Canon USA. They ultimately did the correct thing ... just too late and did not engender any sense of support ... which I had paid for. So at the first opportunity I traded the lot for a Sony FX6 .... and will ultimately add an Alpha 1 ... the conversion has been very costly ... but worth that in the assurance that I do not have to deal with Canon USA going forward. In short ... great camera ... one of my favorites ... from a company that needs a wake up call.

Final Cut Pro ....

Merry Christmas vignette from the R5 .... https://youtu.be/3vYaZpx4lOk Best wishes for a wonderful holiday and a better New Year ....

gorgeous footage and truly a voice that needs to be heard. Not the homogenized drivel that seems to be the standard music fare these days ... Reminiscent of Sean Rowe ... better sense of timing and swing. Canon CPS has had my 1DX III for a month ... and are struggling to admit a problem with my specific camera ... So looking at a replacement ...

Beautiful footage ... the slider moves looked great. Look forward to seeing the RAW.

Point taken ... I do not use variables ... buy a set of decent NDs and meter the scene ... If your ND adds a shift to green ... throw it away ... get one with hard stops and decent color.

Just stack a 2 or 4 stop ND with your variable so you do not reach the X point of the crossed polarizers ... which usually occurs near the top filtration point. You can fine tune the filtration but at a lower level.

Here is a link to Ollie's Film Production Company https://www.korro.co.uk/

Just watched the Pro-AV stream ... where one of the contributors uses a C200 (couple of them) and transitioned to the C300 MK III. He is a professional "colourist" hired to correct others video. https://www.imdb.com/name/nm8304151/ His take is that the picture out of the DGO sensor in XF_AVC All I is preferable to the Raw out of the C200. The DR of the sensor, low noise and color obviates the need for RAW ... and with the new Canon Speed Booster the lack of FF may be a non-issue. So the best sensor in his mind is the one in the C70 ... I have begun a conversation with my dealer about dropping the 1 DX III for the C 70 ... and I have all MF glass. Canon have not addressed a flaw in their Raw acquisition ... still getting corrupted frames in the lowest frame rate with their favored CFExpress cards ... great color workflow and resolution but chasing bad frames adds 3X the time a normal render ...