White balance on the run
- Thread starter scorsesefan
- Start date
Peter C.
Veteran
I believe it's to create in annoying conveniences to push a professional to upgrade to the more expensive camera especially if they use the same sensor.
In a semi related case, DJI offers Osmo Pocket as the Xtra Muse for $100-200 less. Exactly the same camera, but the less expensive Muse doesn't natively connect to the DJI Mic, instead you must power up the receiver and attach it to the camera. This means you must pull the receiver on/off every time you use it and the receiver hanging off the camera. The whole point of the Osmo is the easy of use. If I chose to buy it be hard not to pay more for that seemingly small difference.
With the C200 512gb cards are expensive and only hold 1hr of video. They sell after market CFast card to SSD cable/adapter but introduce a failure point. Then you probably want to convert the footage to a more compressed format once on your computer. Do you think a working pro would want to put up with that?
In a semi related case, DJI offers Osmo Pocket as the Xtra Muse for $100-200 less. Exactly the same camera, but the less expensive Muse doesn't natively connect to the DJI Mic, instead you must power up the receiver and attach it to the camera. This means you must pull the receiver on/off every time you use it and the receiver hanging off the camera. The whole point of the Osmo is the easy of use. If I chose to buy it be hard not to pay more for that seemingly small difference.
With the C200 512gb cards are expensive and only hold 1hr of video. They sell after market CFast card to SSD cable/adapter but introduce a failure point. Then you probably want to convert the footage to a more compressed format once on your computer. Do you think a working pro would want to put up with that?
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drboffa
Well-known member
I sometimes wonder if the poor codec choices on the C200 impacted sales or adoption. The camera came out right around the time I was looking to purchase my first "real" cinema camera, but the prospect of being forced into either a somewhat thin 8bit codec or a proprietary RAW format that was overkill was really unappealing. The camera otherwise ticked a lot of boxes, but the shooting options seemed way too limiting. I'm sure the 8bit codec is fine for most stuff, but I didn't want to rely on RAW anytime I needed more data or color information.
Peter C.
Veteran
Without looking it up I'm sure the c300 had the codec and bit rate choices that were missing.
I like to poke around at previous generation cinema cameras to refresh my memory of their drawbacks. Reviews say the 8 bit looks great. The issue for me is why go to the trouble of owning a cinema camera if the video is 8 bit? 12 bit is equally off putting with the work involved.
NorBro
Major Contributor
This was a great video back then to see the difference (at least at face value there).
It's one of those things where if the people/clients saw the 8-bit and it was a simple video/content that just needed to get out, it would not matter. But once you see the side-by-sides, it's like, ummm... (1:30-1:50 for quick glance)
It's one of those things where if the people/clients saw the 8-bit and it was a simple video/content that just needed to get out, it would not matter. But once you see the side-by-sides, it's like, ummm... (1:30-1:50 for quick glance)
Peter C.
Veteran
That 12bit does look nice.
I looked up the C300 Mark II. It debuted at $16,000 but couldn't shoot 4k 60p and they never added that ability as a firmware update.
I've heard of the Canon Cripple Hammer but wow.
NorBro
Major Contributor
Bro, that is a famous grievance, maybe the most famous in camera history.
The omission skyrocketed the FS7 to superstardom and changed the course of cinema cameras (and likely backfired on the Japanese badly).
C300 Mark II still ended up doing well as I remember (because of C300's major success), but omitting 4K/60p was profound.
The omission skyrocketed the FS7 to superstardom and changed the course of cinema cameras (and likely backfired on the Japanese badly).
C300 Mark II still ended up doing well as I remember (because of C300's major success), but omitting 4K/60p was profound.
drboffa
Well-known member
We still use several C300 mark II's at work and the lack of 4K60 is really glaring. We don't do a lot of 60p stuff, but if we want it we know we need to bring one of the newer cameras (which are in limited supply compared to the C300s).
My guess is that because these were purchased at a time when the organization was primarily (or only) thinking about broadcast rather than digital distribution they didn't care about 4K at all, at any frame rate. Even now there's a ton of HD shooting, in which case 60p is available on the C300 mkII.
Peter C.
Veteran
I rarely use 60p but it's very useful for gimbal and broll stuff. It's not that we all can't come up with a work around its about Canon intentionally omitting things to "encourage" you buy another camera or upgrade.
Doesn't the C80 leave that off too or you can't shoot raw in 4k60. There so many of these little caveats its hard to keep track of.
The c50 despite being a small hand held camera, inexplicably doesn't have IBIS.
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NorBro
Major Contributor
To their credit, they actually brought 4K to the market pretty early. Granted it was in a 1DC for like $15,000, but that was 2012 which was impressive (even before Blackmagic). They also had the C500 (2012 too) which could shoot it to an external recorder but that's a whole thing.
So by 2015 (its announcement) you definitely expected 4K/60p after 2014's FS7, and it was such a shock when it wasn't included.
drboffa
Well-known member
The C80 has 4K60, as does the C70. Those are the two cameras we have in addition to a small fleet of C300 mk II's. It does mean we're occasionally fighting for them across different units
The C70/80 have their own flaws, but in general I've been pretty happy with what Canon put into them. Lots of codec options, good performance all around, decent slow mo options, internal NDs, etc. And all to SD cards, which means we don't have to worry about carrying a card reader in the field.