This question assumes that most clients are versed in camera models/specs and manufacturers which is not the case. Maybe some producers/agencies but in my case most of my bookings come directly from corporate clients (some agencies and most of them do not ask or care what cameras I use). Your C200 is a professional full size camera that would do the job in both capture quality and client impression. The C70 would be a good addition if you need something more portable for b-roll and as a second camera for interviews, if not, run your business wisely and keep that money instead of giving it away.
Canon's Upcoming RF cinema camera rumored specs
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This question assumes that most clients are versed in camera models/specs and manufacturers which is not the case. Maybe some producers/agencies but in my case most of my bookings come directly from corporate clients (some agencies and most of them do not ask or care what cameras I use). Your C200 is a professional full size camera that would do the job in both capture quality and client impression. The C70 would be a good addition if you need something more portable for b-roll and as a second camera for interviews, if not, run your business wisely and keep that money instead of giving it away.
NorBro
Major Contributor
Normal people always think anything on a set is expensive. Electronics in general. I'm sure we all heard, "I don't want to break it." at least once in our lives.
But when the hiring manager sees numbers and then all of your equipment may be confirmed on the production there's a difference.
Most of us are simple freelancers, non-union getting anything we can get and work in any way we want to with a wide, wide variety of clients and expectations.
ahalpert
Major Contributor
Yeah totally. This was not the type of shoot where they saw a manifest of what I was providing. This gear wouldn't fly for that.
Nevertheless, a 60" softbox just looks expensive...
digitalinnovations
Well-known member
I dunno...I think there is still some “perception is reality” going for a lot of clients / shoots. But that said, the reality is...the more expensive and (in a lot of cases) larger cameras ARE just better. Plain and simple.
ARRI and RED aren’t just more expensive; they ARE in fact better in practically every way. You or I may be able to accomplish the needs or goals or budgetary constraints we have for a particular project with other, less expensive cameras but there are real, tangible reasons that those brands cost more and it’s not just to be showy for a client.
And this is coming from someone who sold off his Mini and Amira and picked up two C500 MkII’s.
I think what I’ve figured out, from MY viewpoint, is that what you’re paying for is well beyond the clients’ perspective... you’re paying for YOUR time and ease of use. I’m spending so much more time than I had to before; whether that’s on-set worrying about clipping highlights and definitely in post trying to get the colors and luminance values how I want them.
There’s a reason why there are thousands of tutorials trying to show you how you can make “X camera” look *like* Alexa...kinda...sorta
But there are a lot of other things that come into play with highest-end brands too...things like the form and function as well...buttons, menus and even the rigging / camera builds themselves.
Obviously, these are all just tools and we try to pick the best ones for OUR needs, clients, budgets and ultimately if the investment can be justified but I just don’t like it when people try to act like “mirrorless camera A” is pretty much as good as an Alexa or “it’s just all for show and there’s no real difference”...there definitely is.
ARRI and RED aren’t just more expensive; they ARE in fact better in practically every way. You or I may be able to accomplish the needs or goals or budgetary constraints we have for a particular project with other, less expensive cameras but there are real, tangible reasons that those brands cost more and it’s not just to be showy for a client.
And this is coming from someone who sold off his Mini and Amira and picked up two C500 MkII’s.
I think what I’ve figured out, from MY viewpoint, is that what you’re paying for is well beyond the clients’ perspective... you’re paying for YOUR time and ease of use. I’m spending so much more time than I had to before; whether that’s on-set worrying about clipping highlights and definitely in post trying to get the colors and luminance values how I want them.
There’s a reason why there are thousands of tutorials trying to show you how you can make “X camera” look *like* Alexa...kinda...sorta
But there are a lot of other things that come into play with highest-end brands too...things like the form and function as well...buttons, menus and even the rigging / camera builds themselves.
Obviously, these are all just tools and we try to pick the best ones for OUR needs, clients, budgets and ultimately if the investment can be justified but I just don’t like it when people try to act like “mirrorless camera A” is pretty much as good as an Alexa or “it’s just all for show and there’s no real difference”...there definitely is.
ahalpert
Major Contributor
I don't think anyone's saying that. I think people are saying that the C70's diminutive size and DSLR-like form factor belie its video chops
rob norton
Veteran
Yes my point is:
It's a shame if you can't take advantage of smaller cameras when it makes sense just because it's more important to look like you're using expensive/pro looking equipment.
ahalpert
Major Contributor
Absolutely. Anyway I dont think it matters THAT much. And certainly not at all to a client who already likes you. But from my perspective, it's nice to have an FS7 and a mirrorless camera with me and deploy them appropriately
puredrifting
Major Contributor
I've seen several Tesla Ubers and Lyfts in LA, Trust fund rich kids doing the hipster thing no doubt. Pretty funny that people are using an $80K car to make pocket change.
Totally agree, in fact I use smaller cameras more than I do full size cameras. That does not negate that my A cam is full size.
digitalinnovations
Well-known member
I actually have my two C500’s setup completely different from one another. My “A” cam has the extension, a shoulder / VCT plate, rods, a full length handle where I can mount two wireless receivers via QR plates and wireless transmitter, etc. (each when / as needed obviously) but my “B” cam is literally just the cube with a cage and spends most of its life on the Ronin...guess which already has more runtime on it?
ahalpert
Major Contributor
That is, admittedly, the beauty of the modular box design
This is just silly, so many new directors and producers think the Canon C200 is a "big heavy" camera. The C70 isn't much smaller than the C200, and once you rig it out with rods, it makes little difference in size to a c200 or c300. Remember, Anthony Dodd mantle shot a lot of SlumDog millionaire with an ancient SI-2K (before there was the RED ONE) and that thing was tiny. Nobody is going to look at you funny if your arrive for a shoot day with a C70. At least nobody with two cells for brains.
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I showed up for a shoot with a Matt Duclos tuned 300mm Red Pro Prime T2.9 PL mount to my F55 and Sony R5 16 bit raw recorder fixed to a Kessler Hercules head and propped on a K-Pod tripod on 6" casters. The other shooters were using GH5's and Pocket 4Ks. The client offered me double rate on the spot, no questions. The F55 became the instant "A" cam and grabbed about 75% share of the footage used from the 4 angles. It's 4K output on paper would seem underwhelmed but it has a high end look apart from the others, owing not to one thing but the combination of fast, long prime lens, global shutter, raw codec, sturdy support and I/O connectivity, ..and I knew what I was doing with it. And it's pretty unbeatable for long range wildlife shooting in dim light. And I can shoulder mount it with handlebars for a high end look that ends up smooth and steady just due to it's mass and global shutter. So it has its advantages but otherwise, is a complete pain in the arse and I'd rather be shooting on my Pocket 6K which the C70 actually sort of reminds me of.
scorsesefan
Veteran
Yes, and what gets me is you have no control over which ride share driver picks you up -- it's whoever is closest. You can't request a Tesla as far as I know. I think it's just a "I don't give a crap if I put tens of thousands of miles on my $80,000 car or let it get beat up and dented in city traffic" gesture. Pretty good chance their parents paid for it anyway...
Jaime Valles
Veteran
Honestly, I'm just waiting for the reviews. If the C70 DPAF performance is similar to what the current Canon DSLRs have, I will buy two of these instantly. It's the right price, size and feature set for what I usually shoot.
Run&Gun
Veteran
There’s a reason why there are thousands of tutorials trying to show you how you can make “X camera” look *like* Alexa...kinda...sorta
Yep. And all the LUT packages... But you don't really see many "make your Alexa look like an Fs7 or a7" tutorials or LUT's. I wonder why?
Exactly. Sometimes with interviews you spend more time setting up than shooting, assuming your are lighting the setup properly. For example, a full day corporate conference that needs a 3 minutes marketing video that incorporates testimonial interviews with a dedicated setup would take about an hour to shoot four to five short interviews. The rest of the time you spend capturing b-roll (that's where the A7S III or the C70 would shine).
Run&Gun
Veteran
I crack-up every time I see crap like that on here and other forums. Those people would have never made it in this business even just 15 years ago.