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    #51
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    One thing I've learned (and mastered) over the years is research.

    And from experience, my personal opinion is the EOS R destroys the C100 in resolution and the difference is various obvious under certain circumstances.

    When browsing videos, you have to account for the playback resolutions, camera settings, and post-production.

    If you compared the EOS R shooting in a 'neutral' profile (for example) vs. a C100 I/II in any profile, and you exported high-quality files (the least compression you can afford), you - and anyone I imagine (unless you're having vision difficulties) - would be able to see the difference.

    However, if you choose to use C-Log on the EOS R and don't add much contrast or any sharpening in post, the difference is less visible. Especially when you have continuous motion.

    When you're (anyone) looking for camera samples (which I do on a weekly basis and probably watch over 400 videos a week), it's best to view/find a wide variety of content from many different people in different places to really educate yourself.


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    #52
    Senior Member puredrifting's Avatar
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    All true. But that Jello Bro...
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    #53
    Senior Member cpreston's Avatar
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    I'm using the EOS R as supplement to the C300 II for single handed gimbal work. I used to use an XC15 and the R is generally better. Its primary cons are the lack of waveforms, zebras, and internal stabilization. And the jello. But I didn't intend to use it handheld and jello isn't noticeable on the gimbal. Oh, and the lack of 60p in crop.

    A couple of things about the camera that aren't immediately apparent and make it better than other Canon DSLR's.
    -It has full frame DPAF and the manual focus guides. I just wished the manual focus guides could be turned on when the lens is in AF mode.
    -The crop frame 1080p appears to be using the downsampled 4K readout. In other words the 1080p on the R has the same resolves the same amount of detail and looks very similar to the image on a C100.
    -The CLog has a number of different settings including a choice of color matrix. I managed to get the R to match my C300 II in Clog using the Neutral color matrix on both cameras with an added +6 to magenta.
    -If shooting video on the EOS R, I really suggest using the crop frame STM lenses. The 18-135 STM lens has amazing IS and AF for this camera. Also, the crop frame mode in 1080p looks better than the full frame mode. The only problem is being forced to switch to a full frame lens for 60p.
    -I picked up a 24-105 RF lens, but it has the same problems as the EF lens. The IS on the lens is designed to lock on so it doesn't allow smooth panning during video. Also, it loses light transmission while zooming at anything less than wide open. The RF lenses do have one somewhat revolutionary feature and that is the third control wheel and a choice to have incremental stops in the aperture. In effect, you have continuously variable control of the aperture on the lens. You can now ride your aperture while shooting.


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    #54
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    Quote Originally Posted by puredrifting View Post
    You see my signature? I work in the LA market and I have yet to talk to any DP or camera op who is making money BECAUSE they are shooting an 8K camera. Sure, a lot of people are shooting them but the big secret in our business is most people in it are Lemmings. A few years ago, wow, 3D, gotta have it or I'm not cool. VR is the future, gotta learn how to shoot VR. Ohh, HDR, my movie will be soooo much better with HDR. 4k, 8k, that instantly makes me one of "the club". The longer I am in this business and get hands on with all of the trendy gimmicks, the more I realize that it's mostly all bulls*%t. THat's why running around Cine Gear this year, writing a story about it was painful because it was the year of Full Frame. Everybody needs a new camera and ALL new lenses! S35 is dead, you're a nobody if you're not shooting FF. Such a crock.
    Well stated. Many cameras that have come out over the past 4 or 5 years -- and the C100 in particular -- will continue to have years of useful life, particularly for online content or short films. I for one can't tell a huge difference in image qualilty between HD or 4k when viewing on a computer monitor. The C100 is is also ideal for corp video, documentaries, or student projects. If I ran a film school I'd buy a couple dozen used C100s on the cheap and hand them out to my production classes.


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    #55
    Senior Member scorsesefan's Avatar
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    Quote Originally Posted by jthabel View Post
    Well stated. Many cameras that have come out over the past 4 or 5 years -- and the C100 in particular -- will continue to have years of useful life, particularly for online content or short films. I for one can't tell a huge difference in image qualilty between HD or 4k when viewing on a computer monitor. The C100 is is also ideal for corp video, documentaries, or student projects. If I ran a film school I'd buy a couple dozen used C100s on the cheap and hand them out to my production classes.
    Or even for broadcast. IME delivery requirements for most broadcast work is still 720p or 1080i.


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    #56
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    Quote Originally Posted by jthabel View Post
    Well stated. Many cameras that have come out over the past 4 or 5 years -- and the C100 in particular -- will continue to have years of useful life, particularly for online content or short films. I for one can't tell a huge difference in image qualilty between HD or 4k when viewing on a computer monitor. The C100 is is also ideal for corp video, documentaries, or student projects. If I ran a film school I'd buy a couple dozen used C100s on the cheap and hand them out to my production classes.
    Quote Originally Posted by scorsesefan View Post
    Or even for broadcast. IME delivery requirements for most broadcast work is still 720p or 1080i.
    I would also add the Sony F3. Just go online and find good use ones for $1200. Still delivers great images like the C100.

    I think when the broadcasters go ahead and change formats and resolutions, then it would be the time to change. Though, for now those 4K downsampling cameras to 1080p to 2k are more than enough.


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    #57
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    Quote Originally Posted by cpreston View Post
    I'm using the EOS R as supplement to the C300 II for single handed gimbal work....
    I'm doing the same, just mentioned it in the C300M2/gimbal thread. I have found the 1080p full-frame and the 4K to both be very good on the EOS R with some sharpening added in post. The C-log matches up to the C300 Mark II very easily. The high ISO on the R is great.

    I haven't had a jello issue yet with the R on the Ronin-S.

    I have used a 16-35 L f/4 IS EF lens on the R a lot and that works very well. The IS in that lens is very video friendly.
    Last edited by Jon Roemer; 12-06-2018 at 02:13 PM.


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    #58
    Senior Member cpreston's Avatar
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    Quote Originally Posted by Jon Roemer View Post
    I'm doing the same, just mentioned it in the C300M2/gimbal thread. I have found the 1080p full-frame and the 4K to both be very good on the EOS R with some sharpening added in post. The C-log matches up to the C300 Mark II very easily. The high ISO on the R is great.

    I haven't had a jello issue yet with the R on the Ronin-S.

    I have used a 16-35 L f/4 IS EF lens on the R a lot and that works very well. The IS in that lens is very video friendly.
    Don't forget the fullframe DPAF. Until an update to the XC15 comes out, I think the EOSR is the best single handed gimbal compliment to the cinema cameras. As long as you don't need high frame rates.


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