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    C300: C300 MK3 + Atlas Orion questions

    Hey team

    I'm going to be renting a few of the Atlas Orions for a weekend shoot in PL mount. I haven't used anamorphic on the C300MK3 before, a couple questions if anyone is able to answer:

    - Is there anything I should know about the C300's anamorphic settings/workflow? Any quirks/unusual things to be aware of?
    - My understanding is that given the C300 doesn't have a 4:3 sensor it naturally ends up being super wide (3:55:1). Are there any best practices to getting it to more of a normal anamorphic wide aspect ratio? Is it just a matter of cropping in post?

    Thanks!

    Sean
    Documentary + Commercial
    Sean Stiller / Toronto, Vancouver

    #2
    The main thing to be aware of, is that when you shoot in high speed (bump up to 60fps etc), the camera will stop cropping in on the desqueezed image.

    At normal 24-30fps speeds, the LCD or EVF will show you a desqueezed image cropped to 2.40:1 (so a normal anamorphic frame), but when you shoot HFR it doesn't appear to have the processing power left to both desqueeze AND crop. So you get the 17:9 frame desqueezed (and masked) into a normal 2.40 image on the LCD, but the camera can't crop out the black edges around the frame - so you end up with a tiny reference frame in the LCD/EVF.

    It's very annoying. But that's the main gotcha to watch out for.

    Outside of that, the desqueeze works well, and it's pretty easy to work with. The footage will have to be cropped in post though.
    DREAMSMITHS | SHOWREEL | INSTAGRAM
    www.dreamsmiths.com.au

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      #3
      Thanks for the heads up! Overall really happy with the results. Shooting in slow mo is indeed a huge pain. It's a VERY small window. A whole bunch of shots were slightly out of focus because of it, although the Atlas Onion 80mm makes everything look so impressionistic is kind of fits in an interesting way. I'd definitely either have a dedicated focus puller or a larger monitor for these situations.

      Just going through my footage now, most of which is 4k 12-bit raw. SO nice. The C300 really holds it own here.
      Documentary + Commercial
      Sean Stiller / Toronto, Vancouver

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