mercer

I don’t doubt it for a moment. @webrunner5 shared this video with me the other day that he found online. This would be the exact way I would use the camera for narratives... Stripped down to its basics for a verite feel.

I don’t disagree with you, but for me this is a means to an end. My real job is in the trade show industry and it is crazy the amount of 80Ds being used to record trade show footage for Fortune 500 companies. With that being said, I will hold out for a good deal on a C100. Honestly, I’d rather not have to do any paid work and just shoot Raw on my 5D3 but short films are becoming way too expensive as a hobbyist. I’m a year into a short film that I am so thrilled about and excited for the possibilities but I cannot find a leading actress that shares my enthusiasm if dollar signs aren’t attached. Honestly, if I can find that actress, I may abandon the idea of getting a C100 and trudge forward as a “serious” narrative hobbyist... it sucks how I have to label myself on forums... there aren’t enough adjectives... my girlfriend would probably add dumbass...

Yeah, I’m unsure why there needs to be lines drawn in the sand about camera brands and more specifically, product lines within camera brands. I had an a 6500 and I didn’t find it unwieldy at all. The ibis was nice and even found sLog3 to be quite usable under the right circumstances. The level of detail and dr in 8bit was the closest to Raw video that I ever used. With that being said, the M50 isn’t even a comparable camera at half the cost. It definitely has its issues but even some of its issues are what makes it appealing as a grab and go, leisure camera. For one, I welcome the 4K crop. For the most part, I have little interest in 4K video right now, but the 4K crop offers me a chance to use my crappy old c-mount lenses with it while enjoying the benefits of Canon color and a little extra resolution. For the same type of leisurely, family photos and videos, the 1080p seems plenty good enough when married with the 22mm for videos with a street shooting vibe and DPAF. Now the rumor sites speculate that the next generation of the M5 may fix some of the issues the M50 suffers from... who knows... if it does, I may look into that as well. Or maybe this time next year, Sony will release an a5200 in this price range or Nikon will release a mirrorless D5700. If so, maybe I’ll give them a try as well. The good thing about this market segment is that you can buy and sell within it without too much of a loss.

@MdB thanks for the info. If only Canon would update the 1DC at current C Line or 1DXii pricing. If they used RawLite, there would be a perfect A and B cam set up that would be hard to ignore. In the meantime, I’m hoping to find a used C100 for $1300 or less. Anything more and I’m unsure if it will be worth the investment for me. Any paid work I do will be small jobs (birthday parties, family reunions) or second shooter type of work. I don’t expect to make a living out of it, but I hope it will pay off the camera and fund my short films. At any higher of a price, I may as well pick up an a6000 and RX10. Or even an 80D for the DPAF to make my life easier. I probably won’t get second shooter jobs with those but I can easily recoup the costs with small jobs found on Craigslist. Obviously, the higher cost of the C100 is worth it over the Sonys and the 80D because I can also shoot some of my own narrative work with it.

It’s simply revolutionary because it will exist. Like it or not, Nikon and Canon are the professional photographer’s cameras of choice due to their lenses. Once both Nikon and Canon get into the FF mirrorless business, Sony will no longer be the only FF mirrorless game in town. This is why it is imperative that Nikon gets their adapter so perfect that it literally is an extension of the camera... mount it once and forget it’s even there. Hopefully their new lens line up is great but if they do not make backwards compatibility seamless, it will be the biggest mistake in camera history. I’m not anything near a professional but I loved my Nikon D5500. If I didn’t start shooting Raw video, I would have happily continued using that camera. And while I owned the D5500, I started collecting some Nikkor ai-s lenses and I really appreciated being able to natively mount these manual focus gems onto a modern digital camera. I don’t have a lot, so it isn’t the end of the world, but I must say that the thought of having to adapt a Nikon lens onto a Nikon camera, feels a little backwards to me. So for potential customers like me that have no brand loyalty between Canon or Nikon, lens usability is the number one criteria. After lens compatibility, then I will move to other features... ibis, focus peaking, exposure aids, lcd screen, etc...

And they wouldn’t even need to tweak their Flat Profile too much... it’s already LogLite. For me, the adapter will be key for my decision to go Nikon mirrorless or Canon. Since a lot of rumors state that Canon will go EF, I may stick with them.

I’m more of a 2:39 than 4:3 guy but you had some nice compositions in there and I quite liked that Voight. Interesting subject, her anger translated well on screen, excited to see what you come up with for your short.

Well, a $600 camera shouldn’t compare with the 1DC... I’d be kinda pissed if it did if I were a 1DC owner. But to your larger point, I don’t know if it’s nostalgia, but I’ve always been fond of the soft (mushy) 1080p from the t2i and other earlier Canon offerings. As long as you rely on close ups and don’t throw the widest lens in the world on it (like most videographers tend to do) it’s really quite flattering. Look at Kendy Ty’s stuff. In my opinion his work took a visual hit when he abandoned his t2i for the a6300. With that being said, point noted and appreciated. Every bit of info helps.

Well, there’s probably two reasons for that. Remember they got a little heat last release for not having a pro female photographer amongst their ambassador group. Plus, Canon just took the number one slot in mirrorless sales for the last quarter in Japan and Canon heavily markets their M line to females.

@Sage you have a conversion that works with CineLikeD, right? If so, has it ever been tested with a G85?

Get a 5D Mark iii and shoot ML Raw. You won’t look back.

@DBounce do you have an external recorder that accepts SDI input? It is my understanding that the C200 downscales and exports a 10bit DCI 2K feed of the Raw video through SDI, I’d be curious to know how well that works. I believe it will also internally record Raw at the same time. It could be a great way to get some beautiful ProRes footage with less data rates.

Dang, good idea, and I already have a K-1 in storage.

Honestly, I didn’t even know who James Gunn was prior to this. I saw the first Guardians of the Galaxy and thought it was a fun movie. I don’t know if I would call Gunn a great talent, but he seemed to be a competent writer/director. For me, this is clearly about Disney’s rights as a private corporation to hire/fire anybody they please based upon their brand. Look at your brand, when Cantsin posted a video that intentionally tried to make you look bad and inflict harm on your reputation, both publicly and privately, you did the only thing you could, ban him. What he insinuated was despicable, not only to you but also to actual Holocaust survivors. You were actually a lot more cordial, and mature, about it than I would have been in that instance. Either way, interesting discussion and crazy times we are living in.

I work in the trade show industry and when I see a videographer on the show floor, 6 out of 10 times they have a Canon DSLR. 3 out of 10 times they have a C100 and once in a while you see a Sony. I did see a shooter with a BMPCC once. But if 1080p Canon footage is good enough for Fortune 500 companies, surely 1080p, downscaled from 4K, in the C100 is plenty good enough for some real estate videos. But I can see how the market is trending that way and 4K will probably be more important for the lower end since the target audience is yearning for content to watch on their shiny new TVs. But I don’t want to make a career out of this, I’m just looking to make some extra cash to fund some short films and a week down the shore. Hahaha, maybe I should start looking for a broken Alexa then. With some Alexa conversion LUTS and the GH5 innards, I could shoot some Hollywood films.

Yup, I’m in a similar situation with a DSLR vs a C100. For only a little more I can get the C100 and although it’s probably overkill for the jobs I am looking to get, in the long run, it should be easier to market myself with it.

Hey, I am the first person to agree with you. Your house, your rules... I’m just a guest here. But I cannot imagine the irony of the bans stemming from the original article is lost on you?

90% of this forum probably want Kidz, Squig, Axel, JCS and Damphouse reinstated, doesn’t mean it will happen.

Well my comment about the C200 wasn’t meant as a suggestion to replace anything on network television. I merely was stating that according to advertised specs, Savannah Miller was wrong when he/she stated that the Ursa has more dynamic range. Honestly, the fact that we’re even discussing sub $10,000 cameras on a network television show is amazing. And the fact that JB can illustrate to his directors and producers that an Ursa Pro and BMMCC are viable tools against an Alexa Mini is a credit to what BM has done. There’s also the story about the director of Lights Out sneaking off set, at lunch, with an actor to get some pick up shots with his BMPCC. In the editing room, the editor had no idea those shots weren’t from an Alexa. With that being said, I would assume the vast majority of Ursa Pro users aren’t shooting network television or Hollywood movies with it. So at the price point, there are other options that may be more suitable and preferable to those shooters. I’d choose a C200 over an Ursa Pro for the type of stuff I do. But I’d also choose a 5D3 over the P4K and in all honesty, since I don’t need the 4K, I’d choose the Micro over the P4K as well. I originally thought the M4/3 sensor was a huge benefit, but since I don’t use a speedbooster, I’d rather have the option to shoot with vintage c-mount lenses that I already own.

I’m sure you could do wonders with a C200. Your work with the E-M5 Mark II was inspiring, so the C200 and one of your Zeiss’s would probably be pretty epic. Plus, Canon Log 2 has a very similar curve as LogC with middle grey both at around 40. Granted, I get your point and agree it’s not for every job and wouldn’t suit your needs. But without a doubt, a lot of indie, micro filmmakers could make a gorgeous calling card short with it.

Raw in the C200 is advertised at 15 stops. CLog3 is 13-14. So same or better. With that being said, the Ursa Pro, C200, and EVA1 are all fine cameras. I assume the P4K will follow suit and be an amazing tool for any low/Micro budget filmmaker and most likely will continue with the moniker as a baby Alexa. So pick your poison and go and tell a great story, they’re all capable tools.

Somebody should tell the guy who hired you that the C200 has XLR inputs with good preamps and he can get by with just a boom operator... ?

Looks great and I love Tilly Finnilly... you’re niece is very talented. I could see her in Hollywood comedies or on SNL.

@jonpais did you twitch a little bit as you wrote that? ?

I did a quick google search and found this video... there’s just something about a Sony with a cheap Fujian 35mm 1.7 lens. Of course, it seems like an a6000 with the Neutral Profile could yield similar results in a much smaller form factor.