C200: Some good C200 footage appearing now!

For Macs, hold command and click the link. It bypasses the landing page. (Not sure about Windows.)
 
Shot this recently, all natural light c200 with Sigma 18-35 with RAW 10-bit 4k DCI with angel bird Cfast on an original Ronin. Under exposed and noisy (Completely user error) but still pleased with the results. I would keep this camera to match an Alexa or an Amira. Graded in Resolve Studio 14. (WAY too slow to export with Temporal NR)
https://www.youtube.com/embed/JmxLr79xY38
 
madeprime said:
Shot this recently, all natural light c200 with Sigma 18-35 with RAW 10-bit 4k DCI with angel bird Cfast on an original Ronin. Under exposed and noisy (Completely user error) but still pleased with the results. I would keep this camera to match an Alexa or an Amira. Graded in Resolve Studio 14. (WAY too slow to export with Temporal NR)
https://www.youtube.com/embed/JmxLr79xY38
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Nice work, but you might want to slap a big ol' NSFW warning on it.
 
Any of you guys are using "Promist" type filters to get a smoother (or just a more modded) image?
 
DLD said:
Any of you guys are using "Promist" type filters to get a smoother (or just a more modded) image?
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There's almost always a Hollywood Blackmagic or a Tiffen Black Satin on my lens depending on how much halation or skin smoothing I'm after.
 
Fahnon said:
There's almost always a Hollywood Blackmagic or a Tiffen Black Satin on my lens depending on how much halation or skin smoothing I'm after.
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IMO, one really needs it on almost every digital camera that doesn't have a built-in OLPF a la Alexa/Red. Naturally - or unnaturally, as it were - if one is willing and able to grade Raw footage expertly, he can massage almost anything into a "film look". Otherwise, one gets the footage as in the above Vimeo clips - too sterile for my taste in narrative.

PS. Thanks to Crevice for linking these. There are some recent YouTube C200 clips - several from Japan - that seem to catch the filmic look a little better. YMMV.

PPS. I always wonder how to best refer to a poster, especially those with the intentionally amusing names. When you'd type, "thanks to the Major League A/hole for finding this", one must immediately think that the MLA is a real insult, not the actual screen handle. So, i choose to highlight the name, just to have it stand out from the rest of the text.
 
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Crevice said:
Let me try again. Here is some good looking footage:
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Thanks for sharing these.

I think the main thing that separates this footage from the other footage shared in this thread is that the content is narrative, but I don't think it will sell many C200's. When I watch these clips I see actors giving their all for their demo reels but I am not so sure about the camera work, lighting design, production design, and grading. I'm not trying to trash their work but I don't think the time and financial constraints of shooting actor demo reels is the best way to showcase the strengths of the C200.

They are pretty good reels though.
 
Great review. I’m a big fan of the younger guy in this video, he seems genuine without putting on a corny fake YouTube voice/act like a lot of these other guys. Too many videos these days where they read off a paper and not organic at all (see max yurvey).
 
A quick look at Raw Light in low light (3200 ISO, f/1.4), face lit by candle, verses MP4 at the end.

4K downsampled to HD for YouTube, which I guess will shrink the size of visible grain. The heat distortion from the candle makes the image a little soft. Looks good though.

 
Alexander.M said:
The Slanted Lens Review of the C200

https://youtu.be/TDn_V18sThs
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I think it would be wise to hold off judgement of the RAW footage until more NLE's support the format natively. There is just too much being applied to the footage from different programs. Once folks can bring this in natively, apply their grade and export I think the true appearance of the camera will show up. The fact they were talking about Neat Video along with the pre-processing is scary in terms of time wasting!

Pretty good looking footage although I am seeing a lot of middle gray looks in their tests. Some scenes they thought were crunchy and I thought looked pretty flat in the mids.
 
Fahnon said:
There's almost always a Hollywood Blackmagic or a Tiffen Black Satin on my lens depending on how much halation or skin smoothing I'm after.
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I used to have a pile of 4x4 Black Promists and a matte box back on the F900/Tape Varicam days since that was before the mania for everything having a "film look", we just wanted to tone down the video look. I also recall that I had thousands of dollars in filtration tied up with full sets of the black and white Promists and the Tiffen Black Diffusion FX filters, while in reality, for shooting people at least, I typically only used a 1/4 or 1.8 as I like subtle. For the Blackmaginc or Black Satin, what strengths do you find yourself using most of the time to photograph people? I also recall that at least the Promists were terrible for wide, deep DOF shots, the sensor would actually record all of the millions of little black dots on the glass, it was like looking through a smudged windshield, and I recall for landscape or outdoor shots, they looked terrible, even 1/8th. Would like to hear about your experience so far shooting CRL with the C200 with these filters, which strengths you mostly utilize and if there are any gotchas. Also, are you using a matte box or just screw on versions?
 
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