Maybe it’s as simple as the R5C doesn’t have built in ND?
Lots of Netflix approved cams with no internal ND(like RED or the aforementioned FX3).
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Maybe it’s as simple as the R5C doesn’t have built in ND?
Fair pointLots of Netflix approved cams with no internal ND(like RED or the aforementioned FX3).
I think most people here understand that. And as some industry guys have pointed out, if you’re shooting freelance in LA it’s pretty much a requirement to have a netlfix approved camera as right or wrong it’s what the market wants. For the rest of us it’s more a badge of honour and bragging rights to clients.And everyone always seems to forget or just doesn’t understand, the “Netflix Approved” camera list only applies to Netflix Original programming. For example, if someone went out and shot a doc on an iPhone 4 and Netflix liked it and wanted it, it’s fine. The “standard” only applies to their produced content.
I think most people here understand that. And as some industry guys have pointed out, if you’re shooting freelance in LA it’s pretty much a requirement to have a netlfix approved camera as right or wrong it’s what the market wants. For the rest of us it’s more a badge of honour and bragging rights to client
Just going by what Freelancers in LA have said earlier in this thread. Are you in LA yourself? I'm not, so be great to hear a different take on it if it doesn't effect your work?A freelance in LA has no requirement to have a netflix approved camera nor do many adhere to such BS. If Netflix wants your content, it won't matter. If Kevin Hart's producer says that he's gonna use some B roll from a non certified camera, that's what they do. Who you are, matters. If you're a nobody and don't know anybody then one jumps through hoops that many don't have to.
Nothing you have posted compared or referenced the Canon Eos R3 in respects to the R5C. Cined has yet to do any test of Canon’s newest sensor technology that is found in the R3. I believe you are thinking of comparisons to the R5 vs R5C… of which there are numerous to choose from. Zero for the R3. That goes for Mr.Undone also.Gerald undone video review and DP Reviews web review spring to mind. It has two stops extra usable dynamic range compared to the R5. It’s pretty well established it’s why the footage cuts so well with C70 and Red Komodo comparisons.
Edit- attaching a still from CineD going in depth on usable range tests. It's 2 stops better than the R5.
https://www.cined.com/canon-eos-r5-c-lab-test-rolling-shutter-dynamic-range-and-latitude/
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I thought IBIS was something that could be turned off. So how could that be an issue when rigging to a vehicle. Just turn it off, or am I missing something?Not really. I have a R5 C. The idea of getting a R3 went through my mind and I dropped after the announcement of the R5 C.
My line of thinking was: get a R5. I've rented one and the overheat was a major issue for me. I let go.
Then the R3 was announced, but the camera did have some issues with overheating in slow motion. I was about to pull the plug on regardless, then Canon announced the R5 C and I got it instead.
The biggest difference between the R5 C and all of the Canon's mirrorless cameras is control. When shooting slowmotion, I can choose the project frame rate (24, 30 or 60) and also how many frames I'm shooting (up to 120). On the R5 and R3 I'm stuck in project with 30 frames and shooting 120. This is far from ideal.
The other thing was the IBIS. IBIS is a major plague when rigging a camera to a vehicle, so we use fixed sensor cameras. The R5 C solves that by getting rid of the IBIS.
Again, these things are minor, but it works seamless for me and the work that I do.
Yes, apologies. You're correct. But I thought it was also established in many comparisons between the R3 and R5 they had pretty much the same dynamic range? So if the R5C is an established 2 stops wider than the R5 why would a direct R5C to R3 comparison show anything different?Nothing you have posted compared or referenced the Canon Eos R3 in respects to the R5C. Cined has yet to do any test of Canon’s newest sensor technology that is found in the R3. I believe you are thinking of comparisons to the R5 vs R5C… of which there are numerous to choose from. Zero for the R3. That goes for Mr.Undone also.
As I understand it turning if off just essentially parks the sensor in the middle of the magnets that suspend it. That doesn't mean it can't be jiggled around and inadversly affect the image when off in things like fast pans or car mounts - unlike an actual fixed sensor that doesn't have IBIS. I think CVP? in the UK did a great car rig comparison video showing this.I thought IBIS was something that could be turned off. So how could that be an issue when rigging to a vehicle. Just turn it off, or am I missing something?
Then why does everybody care that they're using Netflix approved equipment in their productions if Netflix isn't already in touch with them about their production? In the hopes that Netflix will notice and pick them up first as a Netflix original? This is where I have my issue... In that case, Netflix isn't really the producer, they're just simply first in line, and should be just giving minimum video specs for finished video like most other broadcasters do. If memory serves, for standard over the air broadcast, it's 1080 in mpeg2, 8 bit 422 at 50Mbps or something like that, at least here in the US. I haven't had to submit anything for standard broadcast for a while so I could be wrong there, but what equipment you use in those scenarios is irrelevant as long as your finished video conforms. Don't get me wrong, I'm all for standardizing things across the board as it generally makes everybody's life easier, but that standardization shouldn't be in the hands of Netflix alone.But here's the thing: if it's a Netflix original, Netflix is the producer. This certification only counts towards Netflix original productions.
Kind of going off down a rabbit hole, but you do bring up a good point. There are (big) differences in acquisition, delivery and broadcast(to the viewer) specs. I'd say the majority of us on here don't have to worry about anything except the acquisition specs, as we're not delivering finished content(i.e: fully produced, ready-to-air shows) to networks or "airing" that finished content ourselves(in the more traditional sense, not YouTube channels, etc.).Then why does everybody care that they're using Netflix approved equipment in their productions if Netflix isn't already in touch with them about their production? In the hopes that Netflix will notice and pick them up first as a Netflix original? This is where I have my issue... In that case, Netflix isn't really the producer, they're just simply first in line, and should be just giving minimum video specs for finished video like most other broadcasters do. If memory serves, for standard over the air broadcast, it's 1080 in mpeg2, 8 bit 422 at 50Mbps or something like that, at least here in the US. I haven't had to submit anything for standard broadcast for a while so I could be wrong there, but what equipment you use in those scenarios is irrelevant as long as your finished video conforms. Don't get me wrong, I'm all for standardizing things across the board as it generally makes everybody's life easier, but that standardization shouldn't be in the hands of Netflix alone.
Not really. A good example was The Edge of Democracy, a doc shot in Brazil. Netflix didn't have any hand on it until the post production - when they've closed the deal, they had to recut the whole doc to acomodate +90% of a certified camera. Good thing they had shot most of it on a C300 Mk II, which is certified.Then why does everybody care that they're using Netflix approved equipment in their productions if Netflix isn't already in touch with them about their production? In the hopes that Netflix will notice and pick them up first as a Netflix original? This is where I have my issue... In that case, Netflix isn't really the producer, they're just simply first in line, and should be just giving minimum video specs for finished video like most other broadcasters do.
That’s not video dynamic range. That is stills.Yes, apologies. You're correct. But I thought it was also established in many comparisons between the R3 and R5 they had pretty much the same dynamic range? So if the R5C is an established 2 stops wider than the R5 why would a direct R5C to R3 comparison show anything different?
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Have you ever watched Hyperdrive? There's a lot of cameras placed everywhere. You can reach 10% of a whole production pretty quickly.It's a B cam. Who would need to use it more than 10% on a Netflix production? Ten percent is a lot of B roll for one individual camera. Certainly wouldn't be used as a main camera for Netflix anyhow.
Doubt it. If they really cared about this, they would ask for SDI in all of certified cameras.Thought… could it be the micro HDMI?