Thread: Canon C500 Mark II

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  1. #111  
    Moderator Phil Holland's Avatar
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    Timeline disparity is often the culprit for many wants in the world of cinema cameras. Often the distance between a technology being announced and even released doesn't allude to what is attractive to the mass market. And many, including myself, are focused on future tech trends, but it's important to identify realities of the bleeding/leading edge versus the reactive market.

    RED had no problem with RF Mount because it really assists in making Komodo what it is, a tiny utility camera. We'll all rig it out and put comically large lenses and adapters on there, but it can also be rigged small. Like sub-4lbs small.

    Canon and RF in their cinema line-up at the moment isn't a reality due to the RF ecosystem still being in it's relative infancy, however, next year you'll at least 3 new cameras, a host of new lenses, and likely one other RF based cine-solution.

    Most professional people on Earth use PL and EF mount for motion picture production with every other mount type trailing. Not long ago, PL was the main jam.

    E-Mount is growing in popularity, but Canon really has made a popular and alarmingly common mount with EF, RF is their next/ current focus.

    The only good news is it's easy to adapt much to RF when that time comes for any of us.
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  2. #112  
    Just spoke with someone who had this very same banding issue showing up on his C300 II. Since the C500 II is the same sensor as the C700, I wonder if this issue is still prevalent in that camera...

    Canon C700 CLOG 2 Banding - High Dynamic Range Banding in Canon Cameras

    Purple Glitch of Death - C300 II
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  3. #113 C500MKII test footage 
    I have had my new C500 for a couple weeks now and have done a low light test shoot as well as a corporate gig. I feel like both came out nicely. Really enjoying the overall feel of the camera and I have been very happy with the image quality.

    Here is the test shot in my studio on a whim. This was shot in FF 4k (Clog2). Handheld with the image stabilization on. Lens was a Canon 24-70mm L.

    https://vimeo.com/383411096/4aa3f4ed88
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  4. #114  
    Quote Originally Posted by AndreeMarkefors View Post
    Meanwhile, elsewhere on the internet:
    Keep in mind that it is only one vendor. Could be that Texas Media pushes the Canon more than the Sony. Or it could be that the shop has built a customer base of Canon fans over the years. Their sales might not be reflective of the larger market. I think it a safe bet that the FX9 will out-sell the C500mkii and far out-sell the C500mkii given that the Fx9 costs something in the range of 33% less. Another factor is that Sony is coming off the hot-hand with the Fs7 ( and Alpha mirrorless ) while Canon has been comparatively cold for years. There are folks out there who came into pro video cameras after Canonís hot-hand run with the C300. When they entered the biz Canon the C300 was the ďoldĒ and tired camera that hardly anyone used any longer and the Sony Fs7 was the ďitĒ camera in that segment. They are more likely to stick with Sony, particularly if they own a Sony A7sii. If you own an A7sii it makes more sense to go FX9. The a7sii ( or other Sony alpha mirrorless ) becomes your B-camera / gimbal camera. The C500mkii will less see sales from a desire to match a Canon FF mirrorless because who owns a Canon FF mirrorless? Almost no one.

    Iím with Jiri on this- FX9 outsells C500mkii 10:1 ultimately.

    You donít even get a VF for the LCD screen with the Canon despite spending thousands more than the FX9. And if you want to buy the VF that Canon is mating with the C500mkii it is a whopping $3999.00 additional cost. So now you have paid $7000 over the FX9 but you still donít get electronic ND and the AF is inferior to the FX9 and if you want to be able to use PL thatís another $1600 whereas with the FX9 it will cost you around $400 to get a PL. adapter. Things get worse for Canon with the early buzz saying the FX9 color science is better than the C500mkii and on par with ARRI. But wait, you do get 6k ( that almost no one is demanding ) and you do get internal raw ( that almost no one is demanding and few even necessarily want).

    After reminding myself of all these FX9 advantages, Iím altering my prediction to 11:1.
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  5. #115  
    Senior Member AndreeMarkefors's Avatar
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    Quote Originally Posted by John David Pope View Post
    Keep in mind that…
    You're mistaking me for someone who cares, even the teeny-weeniest amount, about cross brand camera comparisons and how they "stack up against each other". On some level, comparing specs per generation is fine, but to find energy to "discuss" how various camera models sell compared to each other.... well...

    Anyway, I own a P6K, so I guess I already won the "he who buys the raw video camera that sells most, wins" race?

    That said, I wish you a successful 2020 and happy shooting.
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  6. #116  
    Quote Originally Posted by John David Pope View Post
    Keep in mind

    ...they are different cameras with & for different sets of priorities and market response outcome is a reflection of market distribution and doesn't negate the advantages of any approach.

    C500m2 has Raw on-board and is more practical for gimbal and cine setup, FX9 is more practical for shoulder HH while it needs expansions for higher quality recording.

    Also
    - Sony has more experience and larger user base in professional motion imaging.
    - Since no one currently does a high quality 12 bit 444 codec on board which doesn't need licensing from Apple, is someone's priority is getting high quality recording on board, C500mk2 with Raw out of the box is a great deal, regardless of FX9 sales
    - FX9 full setup for RAW gets you into C500mk2 price range with larger size & weight
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  7. #117  
    Quote Originally Posted by AndreeMarkefors View Post
    You're mistaking me for someone who cares, even the teeny-weeniest amount, about cross brand camera comparisons and how they "stack up against each other".
    You’ve mistaken my post for being directed at yourself. I only quoted you.


    Quote Originally Posted by AndreeMarkefors View Post
    On some level, comparing specs per generation is fine, but to find energy to "discuss" how various camera models sell compared to each other.... well...
    But you entered into that discussion, now didn’t you? If it is of no interest to you, why comment on it?

    Quote Originally Posted by AndreeMarkefors View Post
    Anyway, I own a P6K, so I guess I already won the "he who buys the raw video camera that sells most, wins" race?
    They look cute. I’ve yet to see one in the flesh however. Or in the field. But I mostly do big-budget features and high-end network tv work. I don’t doubt that the “P6K” sells well. I just don’t personally know any video professionals in my market who own one. Maybe if I knew more youtubers?
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  8. #118  
    We are picking up our first FX9 tomorrow and so far have 2 C500Mk2's and will finally get to do some side by side test. The Canon's (at least for now) do come with a 512gb media ($600) a big batt ($460) and the PL mount ($1600) which helps with the higher cost.

    So far we are loving the C500Mk2's but raw workflow is not as smooth as with Red.
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  9. #119  
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    Just received mine. Used on two gigs. No issues with the way it looks...yet. Sadly (and strangely) only one 3-G SDI terminal option on this camera (MON). The SDI OUT is 12-G, and HDMI and MON don't work at the same time. So sending picture to video village/client comes with display, unless you hide it (which can be a hindrance while operating). Using 3rd party EVF's, Teradek's, additional operator monitors, is a puzzle I've yet to solve. Any suggestions?
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  10. #120  
    Quote Originally Posted by Peter Trilling View Post
    Using 3rd party EVF's, Teradek's, additional operator monitors, is a puzzle I've yet to solve. Any suggestions?
    I believe the Zacuto Gratical EVF has a pass thru option which means you donít lose a port when using it.
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