Ocean Ker's Lounge Discussions

U still looking for a writer?

Hey, Yes, I'm still looking. Can you send me a message with how you would want me to contact you?

Hi Sasha, I would be open to giving it a try. You can contact me at beeconbooks@aol.com

Sasha, you can email me at josephdluna@outlook.com. Thanks.

Pseudo 4K?

Doing the math is really important but you also have to do the art. Art comes first. Always. The problem with owning a camera and using it on all of your projects is that it may not be the best choice for each individual project. Cameras & lenses are critical choices to be made by the DP for the project not a choice made by the producer. Usually I have 2 bodies on shoots as a minimum. Even if you are shooting strictly with one camera, which is pretty rare, things can happen. Plus there is second unit. Waiting around with everyone on the clock while a replacement body is being rocketed in is pretty devastating during a shoot. It doesn't make anyone happy and empties the craft services table. One of the issues worth mentioning is that you will be looking for a DP for a picture to be "shot on XXXX camera". The first question you will be asked by anyone you might wish to work with had better be "what if I think that is not the best camera for this picture"? Your approach is certainly quite sensible from your expressed considerations if you are certain of the future productions.

I don't know, what the camera is actually going to be used for if your are not looking into strictly documentaries I would suggest to look more deeply into the fs700, it's a way more versatile camera, it might be harder to get into than the c series which I truly believe are 'straight out of the box cameras' but overall, I think it's more of an 'every' production camera and can be built up to do more such as 4k but I do understand that some people are not fans, even me not being the biggest but for the price it's thing to consider coming from a c100 owner

@Andrew, C500 does not record 4k, only 1080p. It has an impressively sharp 4k sensor. However, a c500 will require a 4k recorder(5-15k) in addition to the glass and rigging gear. Also Canon raw has iso and gain settings baked in, so it could be called pseudo raw too. @Darren, if I had multiple projects I would consider buying as well. However, I still wouldn't spend $27k on a canon body + $5-15k on a 4k recorder + $5-20-100k on glass + rigging gear. For $27k you can get a scarlet and glass with built in real raw recording. Plus you can rent an epic for a dual or triple camera shoot for your bigger productions. I don't see how post pro and DIT costs would be any higher with any of the cameras (red, canon, etc). They all need something.

"Raw" is merely minimally processed data from the sensor. I do not think there is an actual standard defining it. Since the information from the actual sensor is analog, all digital raw recordings are processed. The Canon C500 is the only camera that I can think of that outputs an uncompressed 4K raw signal. Baking in the gain and white balance allows Canon to maintain the same latitude as the ISO is increased. Nothing "pseudo" about it at all, arguably the opposite since others use varying degrees of compression, some quite high ratios, when recording the signal after the signal processing. Canon chose a pathway that makes very nice pictures. and those pictures are how cameras should be evaluated. Yes it needs a separate recorder to do the 4K. RED Scarlet is an option? Ahhhh, now I understand. The Canon C500 is a better choice than the RED Scarlet in terms of sensitivity, noise, usable latitude, colour gamut, color reproduction and skintone.