That alone is a good enough reason for me keep an eye out for a decent canon camera. (even with the pix 240 attached) From what I've been seeing lately is that issue may be reduced dramatically with these patches. With the fs700 I'm constantly avoiding those dreaded clipped highlights and shooting around such instances. While it's easier to compose "nice shots" using controlled lighting what excites me is the fact us run and gunners now have the ability to focus on getting the shots without worrying so much about exposure. They turned a great little camera, available to just about anyone and turned it into a real beast. Anyway you slice it or dice it what ML and (I feel compelled to mention) Nick Driftwood and company have been able to do is downright amazing. I have to admit I am impressed to no end during these last few weeks not to mention shocked. Whether you like the picture and the features or not, I think you'd be hard pressed to say that these cameras are a failure. The C100 is being used for lots of documentary and online work.
And with the palme d'or at Cannes going to a film shot on the C300 (internal codec at that) and some TV shows coming that are shot exclusively on the C300.
The 1DC is stupidly priced and for those who have the production budget for 4K RAW likely choose the Epic or Alexa because the C500 does not yet have any credits to it's name.īut the success of the C300 alone likely makes this line a success. The 1DC and C500 are not doing as well, mainly I believe because of cost.
The C300 is also selling well and definitely keeping its value in the used market. These cameras are selling very well, even through many believe they are overpriced. Any rental house can hardly keep the C300 on their shelves. I don' t know where you are getting this idea that the Canon Cinema cameras are not doing well. They still need a stills camera, so find it hard to justify both. the poeple who purchase this stuff are into multi use and cutting costs. At a similar price, you would always get the 5D, and its still a multi use device. will still have a use, but it is going to be very niche now.Įven a the BMCC would not compete with a 5D-MkX with RAW. Man it will hurt the big boys, even tho they have come down so far. Canon, not sailing as well as it hoped with the CXXX range. Now the interesting thing will be what the industry does about this. Realistically, now we have very high speed storage cards readily available it should be simpler to do RAW, not having to go through a codec. Its the "Storage medium" problem that then lets them dial in a codec to suite the market price point. Technically of course this has always been possible. This RAW ability is a dirty little secret the industry has not wanted to be known. Bring the rendered output file into an NLE for further editing. Import each RAW set of DNGs into Adobe After Effects (and change exposure, colour, highlights, shadows, etc.), then 'interpret' the footage as whatever frame rate it was recorded as and save setting using 'remember interpret' and apply it to all your clips, make a composition file and change the file duration roughly calculated to the total length of all your clips (you can always extend/reduce by editing the composition later), then select all clips and drop them into the composition - space them out - and render the composition out to lossless. Take these files and import into Adobe Effects as in my quick and dirty approach:
Set RAW-enable to ON and choose framesize (1728 x 9 scale).ĭownload and install for Win users: BATCHelor_1.2_by_FATPIGtures GUI ( /software/) or on Mac use the OSX raw2dng GUI app for splitting the RAW file into DNG images. Initialise the RAW record mode after running the module off the M tab in Magic Lantern.
Download & install ML onto SD card, Download marekk's latest 60D stuff (-with LV_AF_RAW) and overwrite ML stuff where specified.