I agree, I think the cameracave ones are nice, but I feel like the DIAVITA one has a more organic feel, maybe because of the film look and the non slow motion. My first reaction was also filmconvert, but I am not sure if its just the filmconvert grain or if he is using a filmconvert lut as well. Might be worth asking in the comments.
C200: Some good C200 footage appearing now!
- Thread starter cane141
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I agree, I think the cameracave ones are nice, but I feel like the DIAVITA one has a more organic feel, maybe because of the film look and the non slow motion. My first reaction was also filmconvert, but I am not sure if its just the filmconvert grain or if he is using a filmconvert lut as well. Might be worth asking in the comments.
NorBro
Major Contributor
Don't start comparing it to an Alexa/Amira now! haha
https://vimeo.com/236046849
So insanely good...I just don't get it.
https://vimeo.com/236046849
So insanely good...I just don't get it.
Actually that reel looks achievable with the c200 given the same subject, crew, post ect.
Here's one just as good, shot on a $2,000 camera.
(I couldn't get the 4K stream going on Vimeo, but the YouTube compression works, albeit with artifacts).
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Canon's color science is a known quantity by now. Everyone should know what the C200 is capable of, since the C300 and others have been doing it for years now. It's possible to get great skin tones and a pastel palette out of the camera reasonably easily if you know what you want to do with the Log. For me, at this point, what really stands out with the Alexa is how it handles highlights and its 709 default colors that people love. The C200 gives us RAW, which means greater ability to deal with the dynamic range, but I don't think it somehow completely changes the colour from what we've seen. It's the same sensor, and a pretty good one at that considering it has DPAF too.
Spartacus
Veteran
Come on now, you DO get it
There is so much going on in each off these clips - not just ARRI’s technology.
The C200 is not in the same league as the Alexa, but that Russian video showed for the first time that if
you use it in a professional production and give it the right treatment, it can pass without raising doubtful eyebrows.
I’m sure this would have also looked great shot with a ursa mini 4.6 or a kinefinity terra,
but as someone who shot his first short on DVCam and thought “finally I can shoot digital” I take this
as a reminder it’s not about having access to a pro-camera anymore.
Maybe I should print that last part on a card and put it in the C200 bag
Come on now, you DO get it
There is so much going on in each off these clips - not just ARRI’s technology.
The C200 is not in the same league as the Alexa, but that Russian video showed for the first time that if
you use it in a professional production and give it the right treatment, it can pass without raising doubtful eyebrows.
I’m sure this would have also looked great shot with a ursa mini 4.6 or a kinefinity terra,
but as someone who shot his first short on DVCam and thought “finally I can shoot digital” I take this
as a reminder it’s not about having access to a pro-camera anymore.
Maybe I should print that last part on a card and put it in the C200 bag
The funniest thing about that video is there's entire shots where there's so much CGI there was barely any Alexa involved.
NorBro
Major Contributor
Come on now, you DO get it
There is so much going on in each off these clips - not just ARRI’s technology.
The C200 is not in the same league as the Alexa, but that Russian video showed for the first time that if
you use it in a professional production and give it the right treatment, it can pass without raising doubtful eyebrows.
I’m sure this would have also looked great shot with a ursa mini 4.6 or a kinefinity terra,
but as someone who shot his first short on DVCam and thought “finally I can shoot digital” I take this
as a reminder it’s not about having access to a pro-camera anymore.
Maybe I should print that last part on a card and put it in the C200 bag
I'm just being a little facetious
...a lot of cameras have great quality, but those Hollywood clips just look so good.Over the years, new cameras come out and some get massive hype...a few movies will be shot on them and we'll end up using the examples on the forums for the next 5 years, lol...but the ARRIs will continue to dominate everything.
I'm checking eBay... :tongue:
Eric Coughlin
Veteran
Wow, that's some good Arri footage appearing now. Just goes to show that with proper lighting and grading an Arri camera can look just as good as a C200.
There's got to be some ENG camera in development where the sensor module sits in a vat of jello and produces no shaking whatsoever. In fact, I am patenting the idea as we speak.
As to downvoting, a few months ago, someone negged a post by Mr. Metabones himself, where Brian only explained the technology behind the adapters.
NorBro
Major Contributor
haha
Seriously though, that reel has production values and budgets that are only the dream of most anyone who is in the market for a C200. It'll never happen, but I'd love to see how this camera would perform being used by the same people (from production designer to DP to colorist) with the same budgets as those top Hollywood films in that Arri reel. Would the audience think the movie felt cheap? Would we pixel peepers be able to instantly tell the difference?
Every year the mid-range narrows the gap between mid and high end in terms of image quality, and every year it gets less and less absurd to compare them.
Every year the mid-range narrows the gap between mid and high end in terms of image quality, and every year it gets less and less absurd to compare them.
Well, Steve Yedlin insists that one can make anything out of Raw (subject to a given sensor's resolution, dynamic range, ISO, etc.) When one looks at the UMP footage, it seems that every UMP owner wants to be a film maker while the C200 owners have more practical applications for it as well. Had C200 had (mathematically) uncompressed Raw - whether internal or external - then its current limitations may have been ameliorated.
Which makes me think that there will be a Canon camera (C300MKIII/C400/C500 MKII - pick one) with the C200 or C700 sensor and the internal uncompressed Raw.
And a few mid-high lenses to boot.
Which makes me think that there will be a Canon camera (C300MKIII/C400/C500 MKII - pick one) with the C200 or C700 sensor and the internal uncompressed Raw.
And a few mid-high lenses to boot.
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Good find! Really, really good production values and frankly, if you had told me this was shot by one of the big boys (Arri/RED) I wouldn't have batted an eye. Looking at their settings, they were shooting RAW+proxy files in HDR. I wonder what their post workflow was...
My camera doesn't display aperture info in T-stops like theirs was; is that because they are using Canon Cine glass (I haven't yet)?
EDIT: If you look at the settings at 3:26, they were shooting pure MP4 at some points.
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Gotta say if you work at canon EOS sales - this is the kind of work that makes your job easy. Good stuff.