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    Quote Originally Posted by chris f View Post
    Highly unlikely. Too rich for my blood as I'm not in the commercial world. Alexa Classic would probably the way I'd go if I were to wade into the Arri ecosystem, but that would have to be a very well thought out, intentional decision for sure.
    It sounds like you can wait it out a little. C500 MKII will run around $20,000 with the required accessories. For that price, you can get quite a few Alexas. The Potato Jet YouTuber bought the cheapest Classic he could find in LA for $6,000 and I saw SXT's going in the mid-$30's.

    On the other hand, 500 MKII could become a workhorse for your niche of the video market. It'd wait until more footage comes out. It won't be ARRI but it might be good enough.


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    Quote Originally Posted by DLD View Post
    It sounds like you can wait it out a little. C500 MKII will run around $20,000 with the required accessories. For that price, you can get quite a few Alexas. The Potato Jet YouTuber bought the cheapest Classic he could find in LA for $6,000 and I saw SXT's going in the mid-$30's.

    On the other hand, 500 MKII could become a workhorse for your niche of the video market. It'd wait until more footage comes out. It won't be ARRI but it might be good enough.
    To get an accurate production price we need to view the camera as part of a total system, meaning you also need to factor in support, unless that's a completely external hire e.g. grip department but it Chris's case he's most often an owner/operator. If you keep the c-series cameras small (and have matching smaller support equipment) then with an alexa the Easyrig minimax becomes a cinema/vario model, 75mm fluid head needs a 100mm/150mm set up, perhaps a more expensive steadicam operator day rate because a larger model is needed.

    Though going with your idea to buy used, I'm sure you could find some great deals on all of these support items too.

    Despite probably an inferior image the C500 ii is probably an easier sell to most 2019 resolution-aware, size conscious, AF-intrigued producers in the corporate/documentary space. Also, if all you wanted to do was make "films", you'd buy an f35 and cinesaddle then call it a day.


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    With LF replacing the s35 units on many pro shoots, there ought to be more and more older Alexas available on the used market but it's really not a solo op machine.


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    I'm so hopelessly in love with the Arri images, they really look better than anything else on the market to me. That said, buying into the Arri world is just a whole different ballgame than having a small, relatively inexpensive Canon with still lenses using DPAF.
    For me, I would go with an Amira like Eric has if not going for an Alexa Mini or Mini LF. The regular Alexas, when fully rigged, are just monsters as far as size and weight. Since most of my work is in the BTS/EPK and corporate world, an Arri just doesn't seem to
    make much sense. Most of our clients wouldn't pay extra for it and in many situations, an Arri would be a detriment to the situations I have to shoot in.

    Even if I am lucky enough to sell our current docu series and make a decent amount of money to invest into the other films/series we are slowly developing, I still couldn't go for an Arri for the types of projects we want to shoot. To me, an Arri is everything that is detrimental to documentary filmmaking.
    They are generally larger, heavier, manual focus only and expensive, granted perhaps a Mini rigged out minimally wouldn't be bad? I've done quite a few shoots the past few years where I easily could have lost or seriously damaged my camera and at least with a Canon, it's not that much money.
    With an Arri, imagine if you lost an Amira or Mini on a shoot, or had it seriously damaged? Sure, I have production insurance, but it just seems crazy to me to put a $30 or $40k body in some of the situations I have put my C200 into.

    To me, Arris and REDs are for when you have a crew, ACs and must have the absolute best. Shooting CRL on a C200 or a C500 MKII is 85% of that, but it doesn't look as good as an Arri or high end RED. But not everything has to look it's absolute best to work.
    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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    I've been saying for a while that Canon needs to come out with the in-between type of glass that is better than photo but priced lower than their high end PL pro models. Sony, heeding my advice, is going to come out with modded G-Master glass for their FX-9/FX-6 series. Canon should follow suit ... or, at least, mod Sigma Art for the C100/200/300/500.

    PS. OK, Sony isn't exactly listening to my bloviating. But they're taking the right steps nonetheless.


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    What Size CFexpress Cards will you buy for Canon C500 Mark II?
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    Can i get some feedback about what size cards most of you will be buying with the C500 Mark II?

    The C500 Mark II cameras include one Sandisk 512GB CFexpress card and reader in the box.

    SanDisk 512GB Extreme PRO CFexpress Card $599.99
    SanDisk 256GB Extreme PRO CFexpress Card $399.99
    SanDisk 128GB Extreme PRO CFexpress Card $199.99
    SanDisk 64GB Extreme PRO CFexpress Card $149.99
    SanDisk Extreme PRO CFexpress Card Reader $49.99



    Terry Nixon
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    Texas Media Systems
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    Quote Originally Posted by puredrifting View Post
    I'm so hopelessly in love with the Arri images, they really look better than anything else on the market to me. That said, buying into the Arri world is just a whole different ballgame than having a small, relatively inexpensive Canon with still lenses using DPAF.
    For me, I would go with an Amira like Eric has if not going for an Alexa Mini or Mini LF. The regular Alexas, when fully rigged, are just monsters as far as size and weight. Since most of my work is in the BTS/EPK and corporate world, an Arri just doesn't seem to
    make much sense. Most of our clients wouldn't pay extra for it and in many situations, an Arri would be a detriment to the situations I have to shoot in.

    Even if I am lucky enough to sell our current docu series and make a decent amount of money to invest into the other films/series we are slowly developing, I still couldn't go for an Arri for the types of projects we want to shoot. To me, an Arri is everything that is detrimental to documentary filmmaking.
    They are generally larger, heavier, manual focus only and expensive, granted perhaps a Mini rigged out minimally wouldn't be bad? I've done quite a few shoots the past few years where I easily could have lost or seriously damaged my camera and at least with a Canon, it's not that much money.
    With an Arri, imagine if you lost an Amira or Mini on a shoot, or had it seriously damaged? Sure, I have production insurance, but it just seems crazy to me to put a $30 or $40k body in some of the situations I have put my C200 into.

    To me, Arris and REDs are for when you have a crew, ACs and must have the absolute best. Shooting CRL on a C200 or a C500 MKII is 85% of that, but it doesn't look as good as an Arri or high end RED. But not everything has to look it's absolute best to work.
    Pretty much the same here. I had considered Red, but the C500 II just makes more economical sense. I'm already invested in a bunch of Canon glass, and my work doesn't call for a Red. 6K CRL will likely be overkill for most of my projects anyway, but atleast it will be relativly future proof, and it should be a capable camera that can shoot everything from event coverage to feature narrative.


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    Quote Originally Posted by Terry Nixon View Post
    Can i get some feedback about what size cards most of you will be buying with the C500 Mark II?

    The C500 Mark II cameras include one Sandisk 512GB CFexpress card and reader in the box.

    SanDisk 512GB Extreme PRO CFexpress Card $599.99
    SanDisk 256GB Extreme PRO CFexpress Card $399.99
    SanDisk 128GB Extreme PRO CFexpress Card $199.99
    SanDisk 64GB Extreme PRO CFexpress Card $149.99
    SanDisk Extreme PRO CFexpress Card Reader $49.99



    I would say no less than 512GB, as that gets you 30 min in 6k raw (?)
    Expensive, but anything less wouldn't be practical.


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    Canon recommends 512GB Card for C500 Mark II
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    Just learned that the Sandisk 512GB Card is only card that has been tested and qualified by Canon to work with the C500 Mark II:

    512GB 1400 MB/sec
    256GB 1200 MB/sec
    128GB 1200 MB/sec
    64GB is only 800 MB/sec

    Cinema Raw Light = 32min @ 5.9k
    65 min @ 4K
    270 min @ 2k

    XF-AVC
    80min @ 4k 60p
    165 min @ 4K 24/30p
    215 min @ 2k 60p
    425 min @ 2k 24/30p
    Terry Nixon
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    Senior Member puredrifting's Avatar
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    Quote Originally Posted by DLD View Post
    I've been saying for a while that Canon needs to come out with the in-between type of glass that is better than photo but priced lower than their high end PL pro models. Sony, heeding my advice, is going to come out with modded G-Master glass for their FX-9/FX-6 series. Canon should follow suit ... or, at least, mod Sigma Art for the C100/200/300/500.

    PS. OK, Sony isn't exactly listening to my bloviating. But they're taking the right steps nonetheless.
    Isn't that sort of what the CN E Servo zooms are? Not FF but will work beautifully on the C500 MKII.
    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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