What Is A Canon – Here, I ponder what a “real” film camera is, review the C70, and talk to Sawyer Hartman about what the camera did for him.
I’m not going to lie to you: I read this review all year long. If I had to boil the “why” down to a simple answer, the C70 would be great. It’s just a great camera. would you like one? take one. It’s good value for money and you won’t be disappointed. 5 years later, I don’t think this is a camera left on the side of the road. I certainly need one for a C500mkII owner as well. I also know a lot of people who have swapped their Comodos for the C70, if that means anything, plus the fact that the C70 is actually affordable *cough* and currently has the most rented new cameras on LensRentals.com is definitely a win. miles. Chris Ray and I talked about it recently at the Filmtools Cineshred event and he said it was his mainstay. He recently spoke with Filmtools about making his new documentary. Either way, we can agree that the C70 is a cutting-edge camera worthy of any filmmaker’s kit. But this is an opinion, not an explanation. Where I’m really angry is the “lens” I’m using in this article: is it from a production perspective or an indie author’s perspective? Everyone likes to read about cameras giving you big budget looks for minimal money, but any “film oriented” camera can do that these days. Now you start focusing on ergonomics and functionality, right? Obviously, the C70 can be used by single shooters, which seems to be its intended user, but can it be used in the aforementioned “big budget suite”? It’s Netflix approved, whatever the cost. The line has become blurred. On the one hand you have image/codec issues when looking at the camera, on the other hand you have workflow/hardware issues. Since images from any modern camera are up-to-date for almost any project, I think “cinema camera” is actually the current workflow (as long as the codecs are good enough). Technically, all film cameras are cameras, but not all cameras are film cameras. There has to be a line somewhere, so let’s see if we can define it.
What Is A Canon
Now I want to clarify: I’m not saying “film camera is good, camera is bad”, we should try to be objective and consider our projects without getting caught up in general marketing hype. demand when deciding whether to buy or lease. I also don’t think it’s a good idea to make an impulse purchase (like buying an Alexa or RED to help you “start a career as a cinematographer”), but since camera technology is a type of session, I don’t do that. I think it was the same 10 years ago, even 5 years ago. Now you can focus on doing more projects instead of really being a “product”. Back to the internet, you know what I mean? In any case, I think the easiest way to identify a film camera right now is to look at the camera placed in a film pack and use the most commonly used functions. I certainly don’t think a lens on a video camera can be instantly changed to make it a “cinema camera”, and a DSLR is primarily a video camera, not a video camera. That’s fair enough, right? So, considering the RED Raptor/Ranger, ARRI Alexa Mini/LF/65, and Sony VENICE, I’d say the “ideal” basic cinema camera for film and TV work is: – Super35 or Full Frame 6K+ sensor (4K preferred) – At least 2+ SDI ports – Some form of audio (2x 3pin XLR or 1x 5pin XLR or similar) – 2+ additional power ports (12v and/or 24v) – Timecode and Genlock via LEMO or BNC – RAW and 10bit+ LOG modes ( ProRes is the obvious choice for compression) – XLR or LEMO Power (built-in V or Gold mounts are also good) – PL mounts (native or custom) – 14+ stops of dynamic range – excellent build quality – Reliable recording media – Full image control (all the ability to manually adjust settings) – Internal ND is optional, but common these days – FIZ seems to be common too, but I’d add it to my “optional” category. based manifest definition. Of course, any camera can be a “cinema camera” if it’s used to film, and of course not every production needs all the features (or has a decent solution ready), but again I wanted to come up with a definition. To help create an amazing story, not to draw conclusions about the viability of the camera, but to compare the hardware and its viability in traditional scenarios. For example, on my C500mkII, all of these boxes are ticked apart from the auxiliary power supply (despite the Dtap on my full-frame Co V-Lock board falling off) and FIZ, so I’m happy to say it’s still cine. camera , because both things can be easily solved without too many compromises. I know someone is pulling their pearls on the 6K/4K thing, 2K is great, of course the Alexa Mini, I’m looking at the most modern, most used cameras in film and TV today. definition.
Canon Eos 550d (rebel T2i / Kiss X4 Digital) In Depth Review: Digital Photography Review
“Film is not about the format, it’s not about the venue. Film is the method. Film is the mood of the filmmakers. I’ve seen commercials with films, I’ve seen films that won Oscars without film. I’m fine with it. At the same time.”
“Now you can point and photograph things, and that’s good for the world and for communication, but it doesn’t necessarily equate to art… it involves skill, and the first thing people find in filmmaking is skill. Don’t push the red button on the camera, real skill. – is telling a story.”
So, although our definition contains the word “film”, we are talking about hardware, not art. I really want to nail this home before the angry comments start.
It should also be noted that I’m only using the C70 as an example here, as my goal is to use this article as a basis for my camera review, as they have cameras that don’t. fits the bill (like the R5C, Pocket 6K, or FX3 are far from “cinema camera” territory) but still produce great images, I think it’s worth making these distinctions so that you, the consumer, can better understand what’s going on. Having said all that, Greig Fraser, ACS, ASC, shot a short film for Apple with Kathryn Bigelow using the iPhone 13 and was so impressed that he recently revealed on a podcast that he’s shooting the project on the FX3. , to reiterate: Any camera can be a movie camera if you shoot film on it, but not every camera is a “movie camera.” do you understand me? I can guarantee that Greig will not be filming Dune Pt.2 on any of the cameras above. What ever!
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So where does the C70 sit objectively? Is that the “movie camera” we’re talking about? Tracking is a critical issue for film sets, and even with locked ports, there is clearly no SDI or “correct” power solution. It can also save to an SD card, which may scare some parts. But now there’s RAW! Plus you have timecode, lots of DR, solid build quality, internal ND, and can easily adjust PL shots to match. After careful consideration, I can confidently say that the Canon C70 is the perfect camera for a “film quality B-Cam” or other definition, one-man operation, or independent production. The images, codecs, and bitrates all meet the demands of traditional TV and film use, but its body is barely there. is it necessary No, of course. As I said before, any camera is technically a film camera if you use it for film, but by our hardware definition it’s not obsolete. Cameras like the XF series may have SDI, but the images certainly aren’t as pretty as the C70, and you can only use that lens. I think we all know which one we would choose if given the choice. I may make more specific or prescriptive suggestions in the future
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