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Dave May

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Dave May last won the day on July 10

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  1. @Dave Yoder the 800mm is a bit of a strange one hey. When they showed it to us a few people were scratching their heads over it being f11, but I think the appeal is that it's going to be a comparatively really cheap price for such a huge focal length. I havent really shot anything at 800mm but given Im finding myself going to f4 more and more on the 70-200 just to guarantee sharps, I imagine f11 is probably a reasonably safe f stop for 800mm. In terms of R6 V R5 iso noise Im interested to see some conclusive testing looking at the low light performance/iso noise in the two. I was expecting the 8K R5 footage I've seen to be pretty noisey in low light but in clips like the one below it looks really good.
  2. At the entry point in the market people are always going to expect a lot more out of their kit and want it to punch up, but even so I find the focus on overheating to be really interesting. I can’t imagine a situation in which I’d want to record more than 20min of 8K raw footage on a camera like the R5. The file sizes would just be too unmanageable for most applications and if I’m doing a extended 8K interview setup I’m not filming it on a DSLR. I wonder if Canon would have been better off listing the file sizes right next to the 20min limit to try and hammer home just how much data you’re dealing with, but then that probably would have become another reason for people to be up in arms. Same goes for recording limits on 4K 120p and 4K 60p. If you’re hitting the heat limit on either of them you’re looking at least an hour of footage played back at normal speed. That’s a lot of slow mo and I think it would be rare to be continuously rolling that much at a high frame rate.
  3. @Australian Image (Ray) Atomos said today you can record up to 4K 60p out of the HDMI into a Ninja V in either Prores or DNX. Personally I'm not a big fan of bulky external monitor/recorders, one of the big appeals of the R5 to me is that it's small so I'd be keen to do as much as possible internally.
  4. I reckon your level of comfort with the camera you're using pretty much outweighs almost everything else. One of the reasons I became such a big fan of the canon cinema cameras was that they were one of the first cameras I found a comfortable way to shoot with that didnt involve shoulder mounting. It meant my coverage was better and I just generally had more fun shooting.
  5. Personally I wasnt surprised or bothered by things like 3.5mm audio, micro HDMI, record time limits etc. In a world of DSLR video these things are all pretty standard and part of what helps makes the mirrorless camera bodies a comparatively cheap and compact option. If you want all those other features then the C300MKIII or the C500MKII are where it's at. External recording is over the HDMI port so you can go to an SSD with something like a Ninja.
  6. I had the chance to go hands on with the R5 a few days ago and take a few video test shots. Here's some things that jumped out at me: - The IS is really strong. I've had limited experience with in body IS in the past but was never that wowed by it, but this felt like I was seeing 70-200 level of stabilisation on a 50mm prime that has no lens IS. This is pretty massive and I'm looking forward to testing out all kinds of non-IS lenses on it to see the results. - 120fps 4K 10bit is rock solid. Really fun to have this in such a small body - 8K raw is pretty hefty in terms of file size (Matt's given the recording times in his article) so I doubt that will get much use, but nice theyve also included compressed 8K files as I didnt think that was a given - Love seeing DCI included - Eye detect AF in video performs really well, lot of fun when paired with the 120fps - Same style LPE6 battery but with 30% longer life battery than the LPE6N is handy - Currently only shoots Canon Log 1 in video. Would love to see this change down the track as C500MKII and C300MKII dont include Canon Log 1 anymore and it'd be ideal to match these cameras out of the box with Clog2 or Clog3. - The R6 looks pretty great as well, seems like a decent alternative to the R5 if you dont need the 8K or 4K 120fps - Will be interested to see what the ISO/noise performance is like in video. The R6 is being marketed as a better low light performer so that does raise the question of how well the 45 megapixel sensor on the R5 handles noise. Looking forward to using the camera a bit more in the coming weeks and will aim to get a video together stepping through some of the video-centric features if I'm able to
  7. I think features like 10bit, 4K and high frame rates are now stock standard for most cameras and it's hard for any manufacturer to differentiate themselves by including these features alone, especially to the part of the market that doesnt live and breathe this stuff like most of us do. Something like 8K is a good way for Canon to plant the flag and say that the R5 is a high end/next gen product to everyone. Would I use 8K on camera? Probably not this year, I've only shot 8K once and it was for a pretty specialised project. But having it included does extend the life span of the product a bit and means that if you're someone who holds onto gear for a while, an R5 might still be useful for some time as the rest of tech catches up. I've also become used to having 4K flexibility in HD projects and now that 4K delivery is becoming a standard, having 8K flexibility on a 4K timeline would be really handy. As far as I see it the biggest thing standing in the way of 6K and 8K adoption for shooting is storage costs. Id shoot raw on my C500MKII every day if at the end of the day I had a cost effective and fast way of storing the data. In Australia you'd be hard pressed to find any portable SSD larger than 2TB and when 30min of RAW footage can be 512gb, that's a big problem. @Martin Håndlykken I'm with you on that list of practical features. If I'm shooting on a mirrorless DSLR then I'm looking for the things that will make it a viable B cam or gimbal cam that can cut in with an A cam. Looking forward to talking more freely about the R5 tomorrow and hearing your thoughts on it. @Australian Image (Ray) you might not have to wait that long for news on the R6 😉
  8. Im into the fact it looks like theyre now building their mirrorless cameras with an eye for how they'll work with the cinema series stuff. Sony has always done a good job setting the A7S etc up as B Cams for the FS7 line and think this is now similarly well thought through for the C300/C500.
  9. Just starting a thread around the R5 as an official announcement isn't far away. Once all the info has officially dropped be happy to answer any questions. Unfortunately I wont be making a video like I did for the C300MKIII, at least not for launch, but can still speak to what I though from a hands on perspective Cheers
  10. Given both the C500MKII and C300MKIII use XLR power feels like something they should bring out their own version of at some stage.
  11. Thanks all! Lemac here in Australia has one they’ve given to Canon CPS here in Sydney that isn’t too expensive so should be the right voltage. Might end up grabbing an xlr cable to use off the vlock charger as well.
  12. Hi all Unfortunately the C500MKII doesnt come with an AC power adapter, unlike the C300MKII and C200 it takes an XLR power connector. Looking to get one so that I can power the camera using AC power for longer interviews but not really sure if there are particular models I should be looking for. Thought Id throw this out there in case anyone a bit more experienced with XLR power has any idea. Thanks!
  13. Great stuff Matt. Ive had a Superpanel for a few years now and found it to be really reliable. This looks like it'll be a great new addition to the kit
  14. Dave May

    Sony PMW-F3

    Not heaps relevant but I think I remember reading that this little video was shot on an F3. Super simple concept well executed and it still looks great today.
  15. I feel you on this one. Have been using 2 x Lupo Supepanels for a few years and while I love the output, have been itching to try some of the newer tech that's on the market. For me the biggest thing to consider is actually what kind of softbox of diffusion I can get that will easily travel with the light and ideally keep it all on the 1 x c stand. I've been using DOP Choice Snapbags for the Lupos (think theyre made for Creamsource but still fit). Aputure has a great range of domes that fit their lights so have been very tempted there. If I was to go to a fresnel style light I think the Aputure 300X looks pretty good. Bi-colour with a really high output and all kinds of diffusion and softboxes available. I'll be interested to know how much it'll cost here in Aus and when it'll be available.
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