Philip Bloom's video review of the 1DC

The camera seems to me to be the cinematographers 'go pro' - not a bad thing just a small market.

You are shooting a 4k feature maybe on some Epics, the 1dc has a rental at a lower price than a single lens or remote follow focus for the A cam - its desposable

You hire it in for some helmet cam, POV shots, or mounting inside a car or ultra low light, here the size/sensitivity kills the epic - you take a hit in quality but thats usual for shots that are only a small % of the movie

A camera for Shane

Personally for that function Id like to see it smaller and more cubic with an SDi out?

S
 
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For the type of work I do I don't see why I'd buy a 1DC over a C300. 4K is a nice option, but it seems incredibly limiting -- Philip was only getting ~10m of run time on the cards he was using which if memory serves are 64gb cards. It's quite a footprint for footage that doesn't look, at least to my eye, better or sharper than the C300's footage.
 
Finnegan said:
..... footage that doesn't look, at least to my eye, better or sharper than the C300's footage ...
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That would be a very telling comparison, also considering that the 1DC is 4000 $ less than the c300
It seems that there is indeed a future for cropped full frame sensors in cinema .... a bright future
This cropping method makes the odd line skipping technique to look like a joke ...
Maybe they wanted to give a bad reputation to full frame sensors I dont know
I wonder how long will it take to Nikon, for an example, to catch up. They do not have a videocameras line to defend.

Regards,
gino
 
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lumiere61 said:
I wonder how long will it take to Nikon, for an example, to catch up. They do not have a videocameras line to defend.
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I think Nikon is looking very closely at how the D800 is doing and what Canon is doing with the 1DC. They don't have a videocamera line to defend but they are good buddies with Sony who does have a line to protect.
 
I'm not sure how strong a hand Sony may have at Nikon. They have other sensor suppliers too. From their current lineup:
* D4: sensor is a Nikon design manufactured by Renesas
* D800: Sony sensor, but Nikon had something to do in designing it (not sure how much)
* D600: Sony sensor
* D7000: Sony sensor
* D5200: Toshiba sensor
* D3200: sensor is a Nikon design manufactured by Renesas


http://image-sensors-world.blogspot.com.es/2012/10/chipworks-reviews-full-frame-dslr.html
http://image-sensors-world.blogspot.com.es/2012/11/sony-imx128-inside-nikon-d600-dslr.html
http://image-sensors-world.blogspot.com.es/2013/01/toshiba-enters-dslr-market.html

edit: and BTW, from their APS-C lineup, the best one is probably not the Sony but the Toshiba:
http://www.dxomark.com/index.php/en...rand2)/Nikon/(appareil3)/680|0/(brand3)/Nikon
 
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maarek said:
I think Nikon is looking very closely at how the D800 is doing and what Canon is doing with the 1DC. They don't have a videocamera line to defend but they are good buddies with Sony who does have a line to protect
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Thank you very much for you reply. Now I understand we cannot expect much from Nikon for video
Anyway there is one thing, and please excuse me if I go off topic, I really do not understand
The standard for video sensor seems to be a super35 sized sensor with more or less 8-9 Megapixel
The super35 size is extremely similar to the aps-c sensor of photocameras
Why to get a super35 videocamera I have to spend at least 5000 $ (sony fs100) while 700 $ buy a aps-c photocamera (sony nex5) ?
The 1DC shows that never like now photo and video are not that distant at the end of the day
It is just a problem of design but fundamentally are very similar equipment
Video is charged to much for me
I swear to stop with the ramblings but I am afraid the price of this beautiful camera will limit its diffusion ... unfortunately
Thanks and regards,
gino
 
^ The typical stills APS-C sensor can only take 3 or 5 frames per second. Make it 8-mpix and you may get to 8 fps. If you want 24 fps, it has to be a different design, one that can run faster. It will be more expensive, because there are design tradeoffs, and because it will be a low-volume part.
 
Finnegan said:
For the type of work I do I don't see why I'd buy a 1DC over a C300. 4K is a nice option, but it seems incredibly limiting -- Philip was only getting ~10m of run time on the cards he was using which if memory serves are 64gb cards. It's quite a footprint for footage that doesn't look, at least to my eye, better or sharper than the C300's footage.
Click to expand...

I get about 8 minutes per card to my 32GB cards when shooting the 1DC's 4K.
 
Samuel H said:
^ The typical stills APS-C sensor can only take 3 or 5 frames per second. Make it 8-mpix and you may get to 8 fps. If you want 24 fps, it has to be a different design, one that can run faster. It will be more expensive, because there are design tradeoffs, and because it will be a low-volume part.
Click to expand...

Thank you very much indeed and I understand I was trivializing a much complex issue :huh:
I guess it is also for this reason that a videocamera must be much more expensive
Kind regards, :)
gino
 
I don't know about "much more expensive", but it's not the same sensor (and IQ and price can't be the same because there are design tradeoffs)
 
Samuel H said:
I don't know about "much more expensive", but it's not the same sensor (and IQ and price can't be the same because there are design tradeoffs)
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Thank you very much again. I ask this because I read that the sensor in the 1Dc is indeed the same of the 1DX BUT with a much improved cooling system. So in the end are actually different
But the 5D does video as well and I assume it has nothing of this special cooling system
By the way the big question is if the cropping can be extend to camera costing 2-3.000 USD
For me it is just a marketing issue. They have decided to keep prices high without a real technical reason
Of course without competition this camera is out of reach for the masses
Thanks and regards,
gino
 
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I'm seeing the 1dc codec really falling apart in S35 mode in smooth, out of focus backgrounds. Seems really great with detail, but weak with gradations. Any others seeing this? Seems to me this is where the C100/300 shines (I don't have any of the above at the moment, BTW).
 
^ any examples?

Regarding the 1DC / 1DX sensor: yes, it seems it's exactly the same one in both cameras, but this is not a cheap sensor: it's one designed for speed from day one (the 1DX is a high fps stills camera) and even then it needs either line-skipping and/or cropping in order to get video fps.
I'm not saying video sensors are always going to be expensive (there are very cheap video cameras out there after all, aren't there?). I'm just saying there are tradeoffs: in order to have a faster readout, you have implement a more expensive design and/or lose some IQ. And if it's a low volume part, that makes it a lot more expensive right away.
I still feel cheated, in any case. The C100 could record 4K RAW video without a major price increase if Canon wanted to sell that. They obviously don't.
 
Thank you very much again for the very interesting explanation,
I agree with feeling cheated. I think that a raw output on a c100 would cost very little to build. And after all is the real difference with the c500 (that charges 20.000 USD more).
Let's hope that some competitors show up.
Thanks and regards,
gino
 
Cosimo Bullo said:
I'm seeing the 1dc codec really falling apart in S35 mode in smooth, out of focus backgrounds.
Click to expand...

And these clips are where? If you watch stuff that has been already compressed (youtube, vimeo, compressed h264 out from an NLE) you are looking at that compression. At the moment every out of focus background will fall apart. Even in bluray discs, you might get banding in foggy scenes, no matter if the camera was red or alexa. Because of the compression.
 
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