Dogtown

That was lucky! In the old days of CCD's and my Sony BVW 400, and 600, I had to send the camera in for pixel remapping. Most pro cameras now have the ability to remap the pixel problems without a visit to the service center. It was horrible to get any footage back and have a hot pixel ruin the footage.

Dave, and Olly, You both bought your Canon 1DC used, have either of you had any noticeable pixel issues at any ISO? the only thing that ever put me off the 1DC was some of the nightmares some owners had with pixel problems and repair of them as the 1DC doesn't have a way to remove those pixels when they show up. Just would be such a pain to spend close to $3k and have this problem come up. It sure does put out a lovely image.

Some nice frame grabs John. Olly, I like the shape cage for the Q7+ and the 15mm adjustable rod mount, but what I've been using and it works very well is one of these 1/4 -1/8 with Arri rosette adjustable plate, cheap as chips and works! https://www.ebay.com/itm/ARRI-Type-Rosette-Cheese-Plate-Mount-Baseplate-fr-DSLR-RIG-15mm-Rod-Support-GH4-/361508743028?hash=item542b99a774:g:tbUAAOSwP~tW4neq

Hello Olly, when you say you are having issues with the C500 and the Odyssey 7Q+ (is that he plus you have) those problems are they with the peaking for focus, and the image glitches, are they on playback on the Odyssey, or just monitoring picture on the Odyssey? I see some glitches monitoring some times but have never had a problem with recorded footage on the SSD's, just remember to always safe eject before removing those drives.

The internal recording on the Canon C500 is MXF with a max speed of 59.94i and 50i 1080 (no 60p or 50p only 720 59.94p or 50p) it does 23.98p 25p and 29.97p at 1080p If you want to use the C500 to it's full potential you need an external recorder: AJA, ATOMOS, BLACKMAGIC, CODEX, SOUND DEVICES, CONVERGENT DESIGN. If you think of it the C500 is only a C300 without using the external recorder, the MXF recording on the C500 is very nice to have as a proxy or HD back up when you are recording to an external recorder. I have include the recording options with the Convergent Design Odyssey 7Q+. Look into whichever recorder you use with the Canon C500, some work better than others. This is off of the Convergent Design site. The Odyssey 7Q+ now does 2K RGB 444 to ProRes 4444 12bit up to 59.94p The Canon C500 RAW recording option will deBayer the RAW data and convert it to a 1920x1080 video signal for viewing on the Odyssey7Q’s OLED panel as well as output over the Odyssey7Q’s SDI and HDMI ports. The Odyssey7Q will also playback recorded Canon C500 RAW files. The Odyssey7Q LUT control allows switching between a Canon C-log and Rec709 image. The Canon C500 camera can output Canon RAW in 4096x2160 (4K) or 3840x2160 (Quad HD). Frame rates in either mode are up to 60p. Canon RAW is recorded by the Odyssey in the native 10-bit .RMF files and is readable in any post program capable of reading Canon RAW. The C500 can also shoot a “Half RAW” format of 4096x1080, which the Odyssey recorder with the Canon C500 Record Option can capture at 50fps, 60fps, 100fps and 120fps. The Odyssey can also accept 4K/QHD RAW up to 30fps, debayer it and turn it into high quality 4K/UHD Apple ProRes video. C500 can also output 2K or HD 12-bit RGB 4:4:4 video. The Canon C500 4K RAW record option is not required for this as the Odyssey7Q can record these formats in uncompressed video DPX files. A compressed recording solution will be made added in a future update. ProRes and Canon RMF codec options Supported Recording Formats The Canon C500 camera can output Canon RAW in 4096x2160 (4K) or 3840x2160 (Quad HD). Frame rates in either mode are up to 60p. Canon RAW is recorded by the Odyssey in the native 10-bit .RMF files and is readable in any post program capable of reading Canon RAW. The C500 can also shoot a “Half RAW” format of 4096x1080, which the Odyssey recorder with the Canon C500 Record Option can capture at 50fps, 60fps, 100fps and 120fps. The Odyssey can also accept 4K/QHD RAW up to 30fps, debayer it and turn it into high quality 4K/UHD Apple ProRes video. CANON Cinema RAW data is recorded as .RMF files. 4K RAW to 4K Apple ProRes / 10-Bit / 23.98, 24, 25, 29.97, 30 QHD RAW to UHD Apple ProRes / 10-Bit / 23.98, 24, 25, 29.97, 30 4K/QHD RAW / 23.98, 24, 25, 29.97, 30, 50*, 59.94*, 60 4K Half RAW 50, 59.94, 100*, 120* 2K/1080p 12-bit/10-bit 4:4:4 support / 23.98, 24, 25, 29.97 *NOTE: CANON RAW 50-60p and Half RAW 100-120p (both C500 only) require two SSDs to simultaneously record.

The only down side of using the Canon C500 is the cooling fan that kicks in when you are shooting 2K or 4K, the fan does turn off when you press the record button but after seven to ten minuets depending on your shooting location temp the fan turns back on? There is a fix for this and I got one, it's an external fan cooling set up that cools the input vent of the C500 when recording! there are two small computer cooling fans mounted on an aluminum mount that screws into the side cover cap that covers the input and output SDI connectors, this can run off a D tap or 9 volt battery, I have not had the C500's fans kick on once since using this set up, I only put the unit on when I'm doing sit down interviews. Bellow is the unit I got for the fan problem, it was found from an old blog by Matt Porwoll. http://mattporwoll.com/problems-solved/

I don't think in this test they were protecting the background of the yellow and red bulbs for clipping, and that it was more a test for the skin tones on a lit subject and the color rendition, it is clear the 6K dragon has more dynamic range with this clipping red bulb in these camera comparisons, but I can tell you if you do protect your highlights from clipping with the C500 you will be very happy with your results. Another thing is it so important when shooting Canon C Log to protect those highlights and know how to expose your image. Even a Arri Alexa will look crap if you don't know how to use it, and with a little understanding you can make most of the digital cinema cameras of today look amazing.

I own the C500 Odyssey 7Q+ and love all I get done with this set up! I also own a set of Zeiss ZF primes with cine mod, the image and color these deliver with the C500 are very pleasing to my eye. I've been putting off running some test's with the C500 and Odyssey, and have only been recording 4K ProRes 422 10bit, 24p, The RAW C Log files are super easy to grade, and I use a few good LUTS I have installed on the Odyssey for shooting in field. I have included a test by Shane Hurlbut, that show the C500 shooting 4K RAW and 2K RGB 444 10bit. I'm going to go out this week and shoot some 4K and 2K - 1080, at both 24p, 60p, and 120fps Half RAW. I hopefully can give you some more info when I'm done. Also a note I believe the C300 (original) only shoots 8 bit 422 files? and only has 8 bit out of the HDSDI, it is a lovely 8bit's!

It cost a lot more than what you think to get a camera package together that will cover all your shooting needs, start of with something manageable that will make you happy, but don't over do it on the spending. If you don't need 4K, start with the best 1080p camera package you can afford, but remember there are a lot extras that go with any camera so budget those in! Here in the US (west coast) you can find young owner operators practically giving away fully loaded camera packages with full support and themselves for very cheap rates, I see these ads all the time on Craigslist, they range from URSA PRO's to RED DRAGONS even ALEXA's, sometimes you're better off renting only what you need for the project. The items that will deprecate the quickest are todays digital cameras, be aware you may never make your money back on these very costly tools. Just log onto any Craigslist site in the US and go to Photo and Video for sale, you will see the nutty prices for owners with their cameras for rent. https://losangeles.craigslist.org/d/photo-video/search/pha

The choice between the Sony FS700 and the Canon C500, I think you will find the FS700 used for about $1900 to $2200 thats with the 4K option, and the Canon C500 I have seen go from $3400 to $5000 used. These were eBay prices. The Sony is much more pro consumer, the Canon is loaded with pro options TC in out SDI out, the Canon records 8bit 422 in a MXF wrapper internal, the Sony records 8bit 420 MPEG-4 AVCHD, the Sony has higher frame rate options that look very good, I have not used the C500's frame rates above 30p but it can do up to 60p with the Odyssey 7Q+ in Canon RAW or converted to ProRes 444 12bit (very juicy) and up to 120fps half RAW in Canon rmf, Ive been meaning to test these frame rates with the Canon and Odyssey, when I do I'll post some of the footage. The FS700 looks very good with the 4K option and the Odyssey recording Sony RAW option, there are quite few good examples of this on Vimeo. The added plus with using the external recorder with these cameras is the proxy recording from the camera, it's nice to hand the client both the full 4K files and a 422 MXF files for offline editing ( I've had the TC and file names match both recordings with the C500) Bellow are the Canon and the Sony after they aired on youtube The Ansys B Roll was Blackmagic URSA, and the Interviews were Canon C500 4K to ProRes, the Freedom from quitting was all Sony FS700 AVCHD internal. The still frame grabs are from top to bottom from internal camera codec 1, & 2, Sony f3, picture profile internal codec 3, Canon C100, WDR internal codec 4, 5, 6, Canon C500, C Log to rough grade internal codec

I never actually used one but i read a lot about the Canon 1DC having a very good looking 1080p 422 output through the HDMI. I'm sure there are few people that have them on this forum that can comment on this.

I believe the problem you are having viewing these Vimeo files on your 5K display is that they are original 720p and 1080p video files, your 5K display is upscaling these and and giving you a poor representation of what was captured, it is doing a two to one upscale for your 5K screen, if you can watch these Vimeo videos that are 720p and 1080p with a one to one pixel instead of upscaling to a two to one you will have a much better looking image. Don’t blow these up to full screen on your 5K monitor these 720p and 1080p will look crap when viewing like that, keep them as close to one to one pixels for the 720p and 1080p footage, it will be a smaller screen on your monitor but it will be a better representation of what the video really looks like. Broatch

I put it together, I found these on Vimeo. I was looking at this camera 3 years ago, and found a lot of these examples on Vimeo. I ended up buying three of these F3's, as the price with the S Log RGB was $1,800 to $2,000 (with a few extras as well!) you can't beat the F3 for the money. And built very well with all the HDSDI outputs. I find it can shoot just about anything you can throw at it I recommend the Optitek FZ to Nikon or Canon lens convertor, it's rock solid and locks the Nikon or canon lens on the F3 without any jiggle or play. I use my Odyssey 7Q+ and together they work a charm.

The Sony PMW F3 was and still is a great camera! Just had to post some great examples of what can be delivered with this camera. Copy and paste only the underlined. https://vimeo.com/93482666 The Caravan https://vimeo.com/100404599 One In - All In short https://vimeo.com/82889552 Someday Soon https://vimeo.com/231103934 AFI https://vimeo.com/41164521 Mr Roberts short https://vimeo.com/95472923 The Good Wild Man by Grug (Dreamsmith Presents) https://vimeo.com/24823960 Insect https://vimeo.com/83833648 Trinkets short film https://vimeo.com/67683780 Inside Fighter short https://vimeo.com/33312169 Goosebumps https://vimeo.com/201181688 Agent F teaser https://vimeo.com/24606481 Indigo Teaser https://vimeo.com/55131809 Ice -cream Harrods https://vimeo.com/173607846 Invicto comercial https://vimeo.com/136651224 Comercial https://vimeo.com/136658635 Comercial https://vimeo.com/151151128 Fashion Ad The Clubsuit https://vimeo.com/189398621 Rocks and Splashes https://vimeo.com/36493981 Wish it Was True Music Vid https://vimeo.com/58104857 Rick - Tysabri by Ed David https://vimeo.com/50934216 Duracell by Ed David Ed David https://vimeo.com/138387726 Heather Hardy by Ed David

That's one happy DAWG!

I love the look the canon 1DC produces, I just could never put my money down on a camera of this price new or used without the ability to remove bad pixels when they arrive. Most other camera manufactures of PRO cameras at this level have the ability built in to their system to remove the bad pixels? It's a lovely image but what a flaw to not address from Canon.

The shutter on off switch is just bellow and to the right of the ND selector on the front side of the camera, the menu for shutter selection in the 4th item down in the main menu SHUTTER.

I heard from a little bird that Canon loaned Need For Speed 12 fully functioning C500 cameras, when shooting was done they received 12 not very well functioning C500 cameras, the pictures of the returned cameras was a sad sight, so said that little bird. Canon got it's exposure with the movie, but it cost them 12 C500 cameras, and at the time of the release of the C500 that was a lot of dollars per camera. I'm sure they were able to right it off somehow.

I saw a Sony F65 for sale on DVXUSER today $22k complete kit minus lens, batteries, and tripod, seems like a good deal! I wonder if Ed David still has his F65? Ed did love his old F35 and produced some great images with that. Tools, we do love our tools. F65 kit INCLUDED: -Sony F65 brain, with SRR4 recorder & control panel -Sony OLED EVF -1x 1TB SRMemory card (blue) -1x 256GB SRMemory card (black) -Gold Mount battery plate -Extended length power cable for use with DC power block -SRPC4 high-speed card reader -Set of 19mm carbon fiber rods (12" & 8") -Travel case $22K

Holy cow! I thought you got a great selling price for the camera and Gemini, the pains of dealing with scammers on eBay. I think you would be doing great if you got $1,600 for the camera, and another $700-800 for the Gemini, you do have the extras with the F3, so it's a good deal, and it has the RGB installed! also the camera is in very good condition, you could add the Pl lens, I'm not sure what that model goes for, but add a fair price for that with the camera. You may want to do a Buy it now, as well as best offer. Check the sold prices for the F3 cameras and get yours in that price range. Try a bundle buy, then maybe do a separate camera, and recorder, and lens auction if the bundle doesn't sell. Like Ed David said, nothing deprecates faster than a digital camera these days. Still the F3 puts out a damn fine 1080p image! It will be around for while and won't turn into a door stop just yet:)

Holly cow! Did Riadnasla, just sell his F3 and Gemini for $5,500 (on eBay) that would be an amazing amount to sell that package for? Good condition low hour F3 cameras with RGB Slog and extras are as cheap as $1400.00 now, and the Gemini goes for $500-$700 That was an win for Riadnasla!

You can get a canon adapter from Optitek, or MTF, there is a MTF on eBay now that controls the canon aperture see here! http://www.ebay.com/itm/MTF-Lens-Adapter-Sony-FZ-to-Canon-EF-/282381087198?hash=item41bf3971de:g:c6kAAOSw-0xYlgrO Or the Optitek: http://www.ebay.com/itm/Optitek-Canon-EF-To-FZ-Mount-/282294057400?hash=item41ba0979b8:g:KcMAAOSw6DtYVIUi I like the Optitek version of this with the locking ability, but much more $$$. I use the MTF and Optitek adapter with the nikon mount for my F3 cameras, Adaptimax make an adapter as well, though not as good as the Optitek or MTF.

Riadnasla, one option is to stay in the Sony camp, and get a EX3 for your speaking events, these can be had for $1,500 in good condition with extras! great codec for those long events, you can use the F3 as a second camera that you can dumb down to match the EX3, you would have easy timecode sync with both cameras, then I would only add an A7S for your Glidecam, that camera could also net you 4K should you ever need it. So if you could raise the funds say $3,000 you would have three cameras that would cover anything you need. When you jump into the Canon camp, you could almost do the same thing with the C100 and a Canon mark III, and the DPAF on the C100 would work great for the Glidecam.

I love the C500, just the F5 is it a little more user friendly. Who knows where things will stand in two more years? if any of us are standing at all. I don't really like anything I see coming out of the FS7.

I think that's a much better idea than selling the F3, the a6500 or A7S or A7SII would be a great second camera for the F3, and would be easy to match, also you would the have 4K covered as well. I bought my first F3 in 2015, now this year I just picked up two more F3s as I can use them in multi live performance set up's, the F3 has every output option from HDSDI, HDMI, DVI, I can record to my Odyssey, and send a HDMI out for a streaming web feed, I have solid XLR inputs, I have a back up recording on my internal SXS cards, granted that was the weakest link in the F3, being only 420 and 35mbs XDCAM EX still it's nice to have the back up, not to mention the easy internal external TC sync. The F3 still puts out the best 1080p image as far as I'm concerned, other than it's Big Daddy the F35, and If I want to shoot a commercial or infomercial, indie feature, it's good enough for that too! I use Nikon glass 17-55 2.8, 35-70 2.8, 80-200 2.8, I also use the 11-16 Tokina 2.8, and when I want something really nice I use my Zeiss ZF primes. I have two Odyssey 7Q+ units, one with every option RAW, APOLLO, TITAN, so for now I have the multi cam 1080p 24p, 30p, 60p system that I know will give a damn good looking finished product for the WEB, CABLE, or TV. I will add I did buy the Canon C500 because at the prices it is selling now it's a steal, and that's my 4K back up for now. I'm sure by 2019 I will have switched the F3s for F5s. I just don't see anything too my eye that really makes a difference for TV or the WEB camera wise, sure the ARRI AMIRA or ALEXA, look amazing for every output all the way to the big screen, the RED DRAGON is pretty too, but these cameras cost way to much for me to consider buying and making a return, due to my type of clients ( corporate, medical ) If I did get into higher end commercials I would just rent the cameras. It is nice to own your own gear, and know it inside and out, along with it's reliability.