LOL... really! We can’t judge anything till we see results on both.But will the C70 beat the a7siii for the independent filmmaker ?
-Dynamic range will be similar
-Portability will go to Sony
-Cine body functionalities will go to Canon
-Low Light for Sony
-Reliability will be a tie
-Ibis for sony
what about image quality ? Im torn when I see the c300mkii footage vs the a7siii one...
---Ah okay, jeah on this level of quality its certainly true.Impressive stuff your company does btw
Have to agree on this. I’ve never seen another camera shoot in low light as well as the A7SII. Even a ton of the Netflix Earth at Night series was filmed with them and looks fantastic. I keep on in my bag for such scenarios as a complement to my C300ii and 5div. Color marching is a pain, but when the sun is gone, that A7SII can be a true shot saver.don't we already konw what the sensor is capable of, given its already been used? (and assuming CR is right, and it always is right). a7siii is the low light winner for any consumer/prosumer/professional camera in the world, and i dont' think its even a competition. (i swithced from E to RF recently w/ the R5 so i'm not biased to sony in any way, but realistic).
Sounds awesome. And for those with deep pockets definitely some great tools. I think the point was that for most of us having a relatively cheap tool with really decent low light filming capabilities is very convenient.---
Technically, I should note that I am NOT an actual employee of the company.
I actually work for a video production/multimedia systems company at my day job.
I am a personal friend of the aerospace company owner (30+ years!) who gives me access to technical resources (i.e. supercomputing time) for my personal projects in exchange for my graphics programming expertise and grid-networking maintenance/setup/employee training expertise.
I DO NOT HAVE a S (ecret) or TS: SCI security clearance in his company, so I do not have access to "The Really Good Stuff" but I do have access to an AWESOME INVENTORY of Canon 1Dc's, 1Dx 2/3's, 7D2's, 5D 2/3's, Arri Alexas, Sony Venices, Sony A7s2's, Phase Ones, Phantom Visions, Hasselblad's and some R5's if I need them so long I have full Replacement Value Insurance and 3rd party liability insurance plan on them when I sign them out.
The satellite imagery stuff this company does is mostly proprietary commercial so they are quite high tech and I get to partake sometimes in those projects because of my graphics systems expertise. I also do CODEC (Video/Audio Compressor/Decompressor) development for them and you will see the results of that development in the public arena soon enough!
This company is WHY I know about the developments in full RGB nightvision quite surpassing the Sony A7 s2/s3 cameras. The X27 is a commercially available product while the 50 micron photosite sensor we make is internal-only. BOTH cameras look like daylight even at Midnight but the 50 microns per photosite sensor we make has much less thermal and electrical noise so the image looks much clearer than the X27. In fact, I would say is it very similar to what a Canon 1Dx2 has noise-wise at ISO-6400 at Sunset. (i.e. darn good noise floor!). It is DCI 4K resolution too at up to 60 fps!
I’m not judging. I’m speculating. Based on history, and comparable existing products. Nothing wrong with that.Few thoughts based on various earlier comments:
it’s the C300 Mk 3 sensor. CR established this a few weeks ago with the initial rumor. It almost 100% will NOT have IBIS. The C300-3 doesnt. Neither will this. This is a C300-3 sensor plug and play In a smaller HALF PRICE body.
Comparing usage of $6200 pro Cinema body to a consumer hybrid Is a bit folly. NDs and proper audio with pro mic preamps and other such functions are crucial. The Alpha has no such things.
and this is still a Super 35 sensor. Not a FF. Im looking forward to this thing and also what it’s going to do to the C200 price. It will probably hit $4500 retail.
A7S III and whatever cinema camera is not the same thing and you cannot compare them at all! As I said two different markets. A7S is a hybrid camera that does the job for ppl who are looking one system that takes stills and video at the same time and that's why there are compromises with these bodies. Built-in NDs, waveform, false color, ergonomics, no heat issues, XLRs and many other things separate completely a cinema camera from a hybrid camera. But ppl expect to get all this in one package! It cannot... how simple is that?Why are you bringing Arri into this ?
the C70 doesn’t compare to the ARRI. Far from it. It compares to the Komodo. Then to Sony, probably the fs6. But the truth is, it might even be beat by the a7siii. This is why we ask this question.
And being the most portable cine camera that canon will make, it does make sense to wonder if we should order the a7siii or wait for the c70...
How hard is it to understand that ?
I hope you can understand that it's not the a7s's sensor that is superior in low light against cinema cameras BUT that there is huge noise reduction implementation that takes all that noise along with color information also. That's why when you expose a lot of under or over you see all this banding from hybrid cameras. That's not the case in cinema cameras. Of course you need lights when you do a professional shooting but if you assume that is the same against an a7s then Big productions would not using expensive cameras.Most people using Arri are controlling light. Not so much the case when shooting as a one man band with a mirrorless hybrid.
Hi Stev. I haven’t shot with either camera yet, but I’m sure that by early next year I’ll most likely have all three incorporated into my shooting. But I’m almost positive based off my current experience shooting with the A7S2 and C300II regularly that I will prefer the look from the C3003 sensor over the A7S3 and it will have a better image quality with less banding/artifacts as the need for dynamic range increases in uncontrolled lighting situations. But In low light situations I’ll definitely choose the A7S3. This is speculation, but as soon as these cameras become available I’ll go ahead and rent them for a test shoot and post my results and share my thoughts on it.I’m not judging. I’m speculating. Based on history, and comparable existing products. Nothing wrong with that.
Also, like I explained ok my previous post, this question/debate is not about the butting on the side of the camera. It’s not about sound or anything like that either.
It’s PURELY about imagine quality. Not about the process of the producing the image, such as saying things like one has ND the other one you have to screw it on as an extra cost ..... just the IMAGE QUALITY.
TRying to be as objective as possible, which will have a nice image is most run and gun scenarios ? The a7siii, or the c70/c300iii?
As simple as that. The image quality only. Nothing else.
That's because RED makes separate audio modules they want you to drop an extra $3000 - $4500 on to attach to the brain. For example, To get what you have in a $16K Canon C-500-2, you have to drop about $45,000 into a full Red kit. Carlos Quintero did a GREAT youtube video on comparing the real cost of ownership of these cameras.Where is it written that “Pro” cinema cameras need to have built in ND and XLR? I’m seeing many quote these as the signature of a pro body. Does Komodo have these? Not at all... How about the top of the line Red Monstro 8K? Nope... Arri Alexa LF? No built in ND, but has an XLR.
I think that the C70 can and will be compared to hybrid bodies. The price is close enough. The small format is there. And for many hybrid shooters it’s more size that drives the decision.
Sony also makes a separate audio module... as does Panasonic.That's because RED makes separate audio modules they want you to drop an extra $3000 - $4500 on to attach to the brain. For example, To get what you have in a $16K Canon C-500-2, you have to drop about $45,000 into a full Red kit. Carlos Quintero did a GREAT youtube video on comparing the real cost of ownership of these cameras.
---Sounds awesome. And for those with deep pockets definitely some great tools. I think the point was that for most of us having a relatively cheap tool with really decent low light filming capabilities is very convenient.
of course you can't compare the cameras. but someone simply asked about low light/ high iso performance. this isn't about how the camera is used, or professional or not, or cinema usage or not. its just comparing sensors. has little to do what what one can do with teh camera. i just responded to someone's question. you need to take a chill pill hahaYou can't compare a7s3 with c300iii sensor. a7s3 low light winner in "pro" camera world? Then let's abandon ARRI and RED and go buy sonys from now on! "TWO" different markets... how hard is to understand that? Omg what else are we going to hear these days...