C200: C200 RAW Jag spot

Thanks for the link Dennis. Yes- these new low cost (relative) cameras look fantastic with skilled creatives behind them.
 
There's a lively debate going on on the Red Shark page. FS5 + Raw vs. C200 Raw Light.

Right now, FS-5 is $4,800 new. An external recorder for (real) Raw + license is under $2,000.

No one mentions the AF.
 
What are people saying about the FS5 combo? Because it's pretty awesome...but the convenience of C200's internal RAW is so ideal.

I wonder if the FS5 II will have it internally based on Sony's success with Atomos.
 
NorBro said:
What are people saying about the FS5 combo? Because it's pretty awesome...but the convenience of C200's internal RAW is so ideal.

I wonder if the FS5 II will have it internally based on Sony's success with Atomos.
Click to expand...

Agreed. Internal RAW is much more convenient especially if you're shooting handheld...
 
NorBro said:
What are people saying about the FS5 combo? Because it's pretty awesome...but the convenience of C200's internal RAW is so ideal...
Click to expand...
One person has a link to his FS-5 demo reel (Guillermo Juin on Vimeo). He says Raw is great but he hates Sony colors.

And I ain't kidding either.

Fahnon said:
Agreed. Internal RAW is much more convenient especially if you're shooting handheld...
Click to expand...
It's all going to some form of an internal Raw. The problem with C200 is that one can't get an uncompressed via the external recorder.
 
The Sony RAW from the FS5 is CinemaDNG so it's just amazingly flexible. I would argue it's better than REDCODE RAW but I love that too.

A while ago I played around with some footage made available on Vimeo and I just wanted to make it look completely different than what was provided:

It's just so bendable.

Original - https://vimeo.com/174892381

Mine - https://vimeo.com/203404419

---

When the C200 came out, I was so in love, but I am really ticked off about the Cinema RAW Light.

No access to that metadata is just terrible. I think it would have literally been the perfect camera. If it was only available in Resolve, fine, but it's not available anywhere and I don't think it ever will be because Canon RAW was never like that. You're basically shooting ProRes when you're shooting Cinema RAW Light but you have to wait and transcode it first!

---

And then with the FS5, you have to have a bulky and inconvenient device hanging off of your rig.

---

And then with the URSA Minis, you have the best of both worlds...but a maximum usable ISO of 800 and have to watch out for FPN and magenta.

---

You just can't win...
 
DLD said:
One person has a link to his FS-5 demo reel (Guillermo Juin on Vimeo). He says Raw is great but he hates Sony colors.

And I ain't kidding either.

It's all going to some form of an internal Raw. The problem with C200 is that one can't get an uncompressed via the external recorder.
Click to expand...

I'm not sure what you mean that it's all going to internal RAW, but I'm talking about convenience of not dealing with an external recorder with its own power and media needs. With a C200, RED or Blackmagic camera I just pop a card in and go.

I have an Atomos recorder just in case, but I don't love using it and when I do it's always on sticks.
 
Fahnon said:
I'm not sure what you mean that it's all going to internal RAW, but I'm talking about convenience of not dealing with an external recorder with its own power and media needs. With a C200, RED or Blackmagic camera I just pop a card in and go...
Click to expand...
That's exactly what I meant. The internal uncompressed requires a really fast and, up until recently, expensive media. But higher end cameras coming out in 2018 should have the Cfexpress slot, where one can shoot even an uncompressed 6K.

It's funny how we have all forgotten about the CFast 2.0-to-SSD adapter, partially because it takes away from the C200 main purpose of a run&gun tool. It's still a budget conscious idea, especially since the OEM's do not equip their products with the SSD slots, yet the external recorder manufacturers do with a negligible penalty in size and weight.
 
The thing about the external monitors/recorders...if it was a box the size of a deck of cards or even smaller and thinner with mounting points, I wouldn't care if it would weigh 10lbs.

I would just mount it somewhere tucked against the camera depending on the system and I'm good.

But the monitors - if you choose not to use them - are just in the way either with their own body size, the batteries hanging off from the back of them, or the brick you'll have to strap somewhere.
 
NorBro said:
I am really ticked off about the Cinema RAW Light.

No access to that metadata is just terrible. I think it would have literally been the perfect camera. If it was only available in Resolve, fine, but it's not available anywhere and I don't think it ever will be because Canon RAW was never like that. You're basically shooting ProRes when you're shooting Cinema RAW Light but you have to wait and transcode it first!
Click to expand...

You havn't to wait and transcode. You can link this light raw with AMA link to AvidMC as video with AMA raw light plugin.
 
I'm not sure what you're saying, but if everyone has that option in all NLEs and they don't have to wait, that's better!
 
For sure...and what about everyone else?

The day I can at least import straight into FCPX I'll be happier.
 
It is only about small correction your opinion - except AvidMC (AMA plugin) you must transcode...
 
Oh, got it...you're def right. Resolve too of course but I didn't include it in my thoughts.

I only care about FCP X, lol.
 
NorBro said:
The thing about the external monitors/recorders...if it was a box the size of a deck of cards or even smaller and thinner with mounting points, I wouldn't care if it would weigh 10lbs...
Click to expand...
Part of this lies in marketing. If a screen is the same size as the one on a camera, then why would anyone need it? So, they make it much larger to differentiate their offerings. The high end users install the wireless like Teradek but that seems pricey at this range. There are cheaper versions but you still need to bolt on the transmitter. Or one can have a large flip-out screen like URSA.

Or something.
 
No, those big screen monitor/recorder units all came after the Ninjas and Hyperdecks and Ki Pros.

What I and others always say is we need a 4K RAW recording Ninja Star. The monitor/recorder concept is amazing if you use one (which I have hundreds of times), but sometimes you just need a recorder you can tuck away.

It's a moot point because there are very few cameras that take advantage of the 7Q+ and Atomos for RAW recording. It will all be internal eventually like you've hinted at yourself.
 
NorBro said:
No, those big screen monitor/recorder units all came after the Ninjas and Hyperdecks and Ki Pros...
Click to expand...
Ya but those were 1080p and everyone was screaming that you can't focus in 4K on a small screen (unless you're shooting thumbnails).

And Ninja Star is now inside cameras anyway.

BTW, some may remember me insisting that mid-to-high end cameras should have an internal SSD anyway, either as a backup or a primary recording option. Prices are now under 30c per GB (~ $170 for 500 GB; $290 for 1 TB).
 
You must log in or register to reply here.
Back
Top