C500: CES 4k JUGGERNAUT

slidemaster said:
I just saw a test where the testors prefered the 2k over the 4k. They claimed that the 12 bit made the image noticably better.
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You may like to download this fantastic pdf from fdtimes which talks about "The Human Voice" featuring Sophia Loren, directed by Edoardo Ponti and shot by Rodrigo Prieto, ASC. They decided to shoot it with C500 to benefit from the 12bit 2K.
 
The more you get into the C500/Od7 combo, the more you see that it is the Swiss army knife of cams.

For somebody buying in now- a comparison- with the recent sale, after rebates you could have-

a c500, Od7 with storage and 4k codec, cables and an ef 24-70 f4, shotgun mic, and basic handheld rigging for $21,500, out the door ready to shoot.

My first really great rig 35 years ago from Les Zellan

an 16mm Aaton LTR with 9.5-57, 2 magazines and two batteries and a charger for.....$23,500...the price of a nice (well crappy) small house back then... and that is before the cost of film stock, processing etc, and no way to record on camera audio.

And when I look at the footage from back then now, all the romance is gone. It looks passé, was harder then hell (though a lot of fun) to get, and as soon as you shot it, it was out of your hands for days. I get the digital bolex/BMPC thing in a nostalgic way, but in a few months Panasonic MFT 4k is going to blow it out of the water. For a pre taste check out the GM 1. This is an incredible little cam, in fact on a hike the other day I threw it up on the hotshoe of the 1d c, it weighs nada and it had the 12mm wide and then shot telephoto with the 1d c (FF 1080p) at the same time. It intercut pretty nicely.

These are good times for those of us who love to shoot.
 
indiawilds said:
You may like to download this fantastic pdf from fdtimes which talks about "The Human Voice" featuring Sophia Loren, directed by Edoardo Ponti and shot by Rodrigo Prieto, ASC. They decided to shoot it with C500 to benefit from the 12bit 2K.
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That was it! The producers were interviewed. Nice catch!
 
Great article! Now I want to watch the short. Look forward to Cowpunk52's C500 2K RAW tests. Also happy that the Canon CN-E zooms cut together with the Cooke primes, having just bought a Canon 30-105.
 
Thanks. First project is a 3 day corporate next week. Lots of setups, hope to stay on the 30-105 most of the time. Lens looks good on charts, T2.8 looks pretty sharp edge to edge, no CA. There's vignetting on flat fields, just like every 35mm lens I've used, zoom or prime. All rings nicely dampened, but not as stiff as our Arri Alura. No focus breathing perceptible. No ramping. 300 degrees of focus throw, 11-blade iris, so defocused highlights look very organic.

Will have a much better idea after shooting live action next week. We're shooting a lot of mobile device screens, plus actors. I like that the 30-105 can focus to 2'. So much lighter and easier to handle than the Alura 18-80. Should be fun!
 
Finished a three day shoot with the Canon CN-E 30-105. Most shots were of actors using mobile devices from the front and over the shoulder. The lens worked very well, I could shoot an iPhone full frame over the shoulder, well within focus range and pull out to get a shoulder and part of the head. I was able to stay on this lens for most shots, the exceptions being a car interior and the back of server racks in a narrow aisle, where I used a RED 17-50.

The look of the lens is warm and natural, but still sharp. I shot almost exclusively wide open at T2.8 and viewing the footage on a 100" Projection screen was impressive.

The lens went out on another shoot and the DP also said he was happy with the range and the warmth of the 30-105. I think this compact zoom is very versatile and produces lovely images, helping to make the C300 more filmic compared to Canon L series stills lenses.
 
It is interesting that the 30-105 is getting noticed out in the field. I am currently building a C500/Od7q rig around it. I was originally going to get the 15.5-47, and while a fine lens, when testing both Canon zooms on the C500 (on the advice of people on this forum and others), the 30-105 just steps up to the plate and knocks you into movie land. Literally- it was that jarring- as in "wow", and satisfying- your going home with me sugar. Something special happening here.

This Wed/29/Jan Mitch Gross of Convergent Design will be at B&H in NYC with the Q7 seminar. He is a huge proponent of the 30-105.

Saw "12 Years a Slave" last night. That is was not nominated furthers the crime.
 
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Dino said:
Finished a three day shoot with the Canon CN-E 30-105. Most shots were of actors using mobile devices from the front and over the shoulder. The lens worked very well, I could shoot an iPhone full frame over the shoulder, well within focus range and pull out to get a shoulder and part of the head. I was able to stay on this lens for most shots, the exceptions being a car interior and the back of server racks in a narrow aisle, where I used a RED 17-50.

The look of the lens is warm and natural, but still sharp. I shot almost exclusively wide open at T2.8 and viewing the footage on a 100" Projection screen was impressive.

The lens went out on another shoot and the DP also said he was happy with the range and the warmth of the 30-105. I think this compact zoom is very versatile and produces lovely images, helping to make the C300 more filmic compared to Canon L series stills lenses.
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Great to hear. Been on the fence a bit. but really want something I can pair with the 1D-C. I was interest in the CP zoom since it is ff35 compatible. But if the meat and bones are better on the Canon compact zoom, then I met opt for it. having an extra two mm on the wide end would be useful, in particular when considering the ff35 fov, but 100mm is beautiful to have, and wouldn't want to be stuck at 80 either.
 
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No it wasn't, just a comment on an incredible display of artistry appended to the 30-105 discussion. By the way it was shot on film.

I also have a 1d c and the 30-105 noway covers full frame, but is wonderfull on the 1.3 4k crop- lets you get wider than the 1.5 on the s35 or C500. I bought the 1d c for 4k, then s35, considering fullframe and stills a bonus.

Though I bought the C500 for external 4k, I hope Canon ups the ante on future 1d c upgrades. I like the 1.3 4k crop over the 1.5 on the C500 and there is something special happening internally going to 4k. I hope they keep whatever it is and make it better.
 
lightstrum said:
No it wasn't, just a comment on an incredible display of artistry appended to the 30-105 discussion. By the way it was shot on film.

I also have a 1d c and the 30-105 noway covers full frame, but is wonderfull on the 1.3 4k crop- lets you get wider than the 1.5 on the s35 or C500. I bought the 1d c for 4k, then s35, considering fullframe and stills a bonus.

Though I bought the C500 for external 4k, I hope Canon ups the ante on future 1d c upgrades. I like the 1.3 4k crop over the 1.5 on the C500 and there is something special happening internally going to 4k. I hope they keep whatever it is and make it better.
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I hear you, I love the 1.3 crop. It was almost half the reason for going with the 1D-C. How is vignetting in 4k at 30mm wide open? Again, I realize this is an s35 lens, just curious.
 
James0b57 said:
Great to hear. Been on the fence a bit. but really want something I can pair with the 1D-C. I was interest in the CP zoom since it is ff35 compatible. But if the meat and bones are better on the Canon compact zoom, then I met opt for it. having an extra two mm on the wide end would be useful, in particular when considering the ff35 fov, but 100mm is beautiful to have, and wouldn't want to be stuck at 80 either.
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yes, if you need FF coverage, then the Zeiss 28-80 and 70-200 zooms make sense. However, for Super 35mm, the Canon CN-E 30-105 has some advantages:

less breathing

lighter weight

105mm reach

warm, organic look

The difference between 80mm and 105mm is big. I was going to buy the Angenieux 30-80 or Zeiss 28-80, but the Canon 30-105 extra reach really pushed me into their camp and reading that the Canon zooms cut well with Cooke primes was good to hear in "the Human Voice".
 
Dino said:
yes, if you need FF coverage, then the Zeiss 28-80 and 70-200 zooms make sense. However, for Super 35mm, the Canon CN-E 30-105 has some advantages:

less breathing

lighter weight

105mm reach

warm, organic look

The difference between 80mm and 105mm is big. I was going to buy the Angenieux 30-80 or Zeiss 28-80, but the Canon 30-105 extra reach really pushed me into their camp and reading that the Canon zooms cut well with Cooke primes was good to hear in "the Human Voice".
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They each have something to offer. If the vignetting is not too heavy in 1.3 crop, that is plenty wide enough for most of my shooting. I rarely slap on anything wider than a 35 even in s35 format.
 
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