Thread: C300 mkiii?

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    #21
    Senior Member puredrifting's Avatar
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    Quote Originally Posted by Run&Gun View Post
    Isn't it ironic that not that long ago, we wanted a clean image and now that we have it, people want noise back in the image. Oh, I'm sorry, "texture" and "grain".
    Coming from a decade of working with film, I never wanted a "clean" digital image, I wanted the same DR, latitude and colorimetry that 35mm film has. I was never bugged by film grain, I always kind of liked it unless it was out of control like in Super 8. Way more of a problem
    with S16 than 35mm. The ASA 200 and 500 35mm stocks were and still are so beautiful. Of course, film is just the medium and we've all seen lots of badly shot film, and yes, I've seen film with a weird or bad transfer that could have been video. But if you had a clue as to what
    you were doing with exposure and lighting, film is magic. I looked at a project I shot on 35mm 20 years ago a few weeks ago, I don't even have a HiDef master of it, just a DVCAM transfer from DBeta and it still looks amazing. When I worked on my first season of Homeland, that
    was the first time I saw the actual output of the Arri Alexa and on the monitors in video village, it was uncanny, like watching a telecine session. But of course David Klein was and is a great DP too!
    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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    #22
    Senior Member Eric Coughlin's Avatar
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    I generally prefer the look of video. That's why I find it ironic when people say "it looks like video" like it's an insult.

    There are plenty of big budget movies that still have the budget to shoot on film, but the DPs chose to shoot on video most of the time these days, I would imagine in many cases, because they prefer the look, and not just the workflow.


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    #23
    Senior Member Run&Gun's Avatar
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    I remember during the early years of HD, they came out with finer grain film stocks, because a lot of the traditional film stocks that the TV dramas had been shooting on were too grainy and looked like bad after the HD telecine.

    Yes, if film was shot well, it can look great damn near forever. I have the Blu-ray box set of Back to the Future. The first one was shot in ‘84/‘85 and it looks like it could have been shot yesterday.


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    #24
    Senior Member puredrifting's Avatar
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    Film can look great. But it's generally significantly more expensive, less practical and the number of resources available for film stocks besides Kodak have dwindled (I used to really like shooting Fuji stocks for a much less saturated/pastel color sort of look).
    So many clients want to hover around video village these days or walk around with a monitor and Teradek, the output from a video tap is pretty bad compared to a regular monitor output. Telecine is it's own whole thing that has to be dealt
    with and it's very expensive now since there isn't the competition that there used to be in that business years ago. I think film is really only right for certain projects these days, it's too easy to rent an Arri Alexa Mini and it's true
    most viewers probably can't or can barely tell the difference between 35mm film and an Arri.

    For shooting certain documentary subjects, I think S16 represents an interesting option, as long as it's a subject that doesn't require endless shooting and rolling the camera. S16 cameras are small, light, relatively easy to use, I really miss my Arri SR2,
    that camera was so easy and fun to shoot with, much smaller and lighter to rig out than what's typically used in higher end production today. But just like 35mm, it's much cheaper, easier, simpler to just pick up a video camera.
    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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    #25
    Senior Member chris f's Avatar
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    Director | Making Lemonade: Our Covid 19 Story
    (warning: this film contains 0% politics, 0% conspiracies, & 100% optimism)


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    #26
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    1D XMKIII began to ship a couple of days ago and new footage is being uploaded daily. Or daily.


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    #27
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    Quote Originally Posted by chris f View Post
    Ha... I’m sure they were just waiting for you to say something. :-)

    Canon rumors has never been particularly spot on relative to the video division. He’s been posting about a c300 replacement for a few years now. To me it would seem odd to have a camera too close to the c500ii specs, and more likely something that sits just below the fx9 (and above the c200). Problem is the split hairs are getting thinner all th time. Maybe the R mount makes an appearance, or they look at entry level as both the c100 and fs5 are getting long in the tooth. Who knows. I’m out of dough, so, I’ll be watching from the sidelines on this one.


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    #28
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    Vitaliy rumored some specs:

    - 30% price hike compared to previous cam
    - PL and EF mounts, also possible to have R mount option
    - Higher frame rate for 4K (100-120fps possible)
    - raw recording to Atomos recorders

    source https://personal-view.com/talks/disc...mes-around-nab
    one commented that plus 30% compared to C300II is almost the amount of FX9


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    #29
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    Quote Originally Posted by chris f View Post
    If I were you I would focus more on this magic skill


    1 out of 1 members found this post helpful.
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    #30
    Senior Member puredrifting's Avatar
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    Will it stay a S35 sensor or be FF? WIll it just basically be a C300 MKII that can do internal RAW and 4K 60p? WIll it just be a C200 with dual CF slots and TC i/o?
    Lots of questions about where in the line and how it will slot in between the C200 and 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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