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Monthly Archives: May 2018

Canon C300 Mark II used for Netflix features

It’s always nice to see that we did the right choices for our clients at Superhypernatural:

The Canon C300 Mark II undoubtedly is one of the most professional choices for news reports, documentaries and industrial video work.

As you can see via this report posted on Cinema5D, it’s also compatible with high-end cinematic film work for Netflix features.

At Superhypernatural, we couple our C300 Mark II with the Atomos Shogun Inferno 7″ HDR monitor / recorder to unlock the full RAW image potential in Apple’s new ProRes RAW format:

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IMAGE QUALITY ABOVE IT ALL … or why I can’t let go of Canon.

As a media agency, producing motion picture content is my daily income. As absurd as it may sound and as important income is, I yield quite an ideological mindset on my work, and I am very proud that my partners without whom I couldn’t offer what I do have a similar viewpoint.

Together, we spend hours and nights (unpaid) to test out lighting scenarios and quality comparisons.

As a curious being, I also like to invest in new market offerings, hoping to offer a more compact work process with even better results. What I found out recently didn’t make me happy.

My company owns two different main brands of cameras… Sony and Canon. In recent direct comparisons, neither the Sony FS5 nor the A7Rm3 (which are, from my point of view, the best in the mid segment Sony has to offer) live up to my expectations, and I found out that both for mobile low-budget as well as for higher end production my Canon XC10s and the Canon C300 Mark 2 not only give better image quality in regards to color science / skin color, but also concerning the less manipulative rendition of the image.

In other words:

  • I really can’t take it no more that Sony cameras manipulate the image digitally in a way that you can actually see it.
  • I have a problem with all the line-skipping scanning methods Sony is using to achieve full frame look on the A7Rm3 or slow motion on the FS5.
  • I do not want to work solely in 4K and rather prefer to work with a camera that is also able to create a working HD image.

Those problems do not exist with Canon (in fact, the 100/120 fps mode on the XC10 doesn’t look much worse than the A7Rm3‘s slow motion) and all their internal processing is well documented. En plus, both the XC10 and C300 Mark 2 have been assessed by the EBU in very detailed and independent assessments. Try finding that for a Sony…

Now, as I don’t want to work in 4:2:0 / false DR / line-skipped aliasing image and all the other limitations, I am very glad to tell all of my clients that Sony is being avoided for image gathering in the future, at least here at Superhypernatural, in other words:

SHN Cinema EOS

Believe me, it’s not really lovely writing these words thinking that I put so much effort (and budget) into getting my A7Rm3 setup up to par and then realising that I could’ve done all I shot on it way easier with the Canon XC10

RawSync

Canon C300 Mark II + Atomos Shogun Inferno for ProRes RAW recordings

And it honestly doesn’t matter if it’s a quick report shot on the XC10 or a filmic big lights production shot on the C300 Mark 2 in ProRes RAW via my Atomos Shogun Inferno, Canon’s honest approach to camera production will always put the image quality above it all…
…well, maybe not above the story, but I hope you get my point.