Need update, so what’s out there?

Hi I’m looking for a new camera for short films. All the way from dramas to action. I like shooting long takes with a gimbal. I’m open to What it might cost.

I need good autofocus and low light performance.
I have a gimbal, speed booster with my sigma So something that fits.
I dont need 4K, stabilization.
 
I need good autofocus and low light performance.

So, that already sets the price a bit higher.

I have a gimbal, speed booster with my sigma So something that fits.

Well, this may limit you quite a bit. Which gimbal do you have? If you’re wanting to continue using it, you’re potentially limited by the size/weight capacity.

And you have a speed booster. Which lens mount is it? That’s gonna impact your options as well.
 
no i havent, ive watched alot of sonys but its so many cameras and i dont have time, so i figured it would be smart to ask here.

why are u suggesting that camera? im gonna take a look.
 
why are u suggesting that camera? im gonna take a look.

- Excellent auto-focus.
- Canon EF-mount.
- Good low-light performance.
- Compact camera body can fit on several gimbal sizes (similar to Ronin-M).
- 1080p, since you aren’t worried about 4K.
- Not terribly expensive in the world of cine camera bodies.
- Canon color science looks lovely.
 
i like the low light! But i cant seem to understand how that autofocus would work on a sport event or maybe like an action scene? It seems fast but its only good when the object is in the middle. And i cant find enough of good tests to see how well it tracks if the object is moving alot.

Its a very expensive camera so maybe there isnt any better that fits my need.
Maybe manual focus is the best solution here. But then the cameraman has to be good at it!
 
Dual-pixel autofocus is pretty good at following action, but it isn’t anywhere near perfect. It’s handy for gimbal work. It’s just not a 100% replacement for learning how to pull focus manually.

That’s actually not an expensive camera body if you compare it to higher EOS cinema bodies, or the EVA-1, or Sony cinema bodies.

May the Canon EOS-80D is more your speed? It’s DSLR, but still has a very good DPAF and respectable lowlight performance.
 
Why im so picky with the autofocus is because the people that will hold the camera for our projects are ACTORS... We dont know much about it. So to make it as simple as possible we need good autofocus.

Yes, maybe the 80d! I hear that its the best AF in the market for dslr?? If you know a better AF camera then that, plz tell me-
 
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Yes, maybe the 80d! I hear that its the best AF in the market for dslr?? If you know a better AF camera then that, plz tell me-

C100mkII...

But considering the other point you made (quoted below), the 80D is probably a better bet.

Why im so picky with the autofocus is because the people that will hold the camera for our projects are ACTORS... We dont know much about it. So to make it as simple as possible we need good autofocus.

Then you all will need to learn and practice. Letting the camera drive in auto mode is not going to help your projects at all.

And you need to account for sound. Sh**ty sound can destroy your project. There are plenty of posts, even recent ones on this forum, that talk about this. Since you seem to have a team of folks assembled for this, your best bet is to get one of them (or recruit someone new to the team) who wants to learn and focus strictly on sound. Get the right gear - even a very basic kit - for this person to do the job.

And you need someone on the team who can learn the camera and learn how to shoot. Learn to expose and focus manually. Learn to set picture profiles. Learn to white balance. The camera is just a tool. If it isn’t used properly, it doesn’t really matter how much you spend on it.
 
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Then i Should probably forget the autofocus and spend more money on the low light/lighting.

So maybe this is the way and if so, are you still suggesting the c100?:
A good camera for low light and iso performance without 4k and autofocus. Put it on a gimble that has some sort of focus puller on it. And then some lighting gear. I have this and then we learn from there.

When it comes to the camera I’m gonna be the one who knows the cameras settings and prep it for the scene. But I won’t be the one who holds it. So someone else has to learn to manage the camera and focus.

The sound is important but that’s another thread ;)
 
Then i Should probably forget the autofocus and spend more money on the low light/lighting.

So maybe this is the way and if so, are you still suggesting the c100?:
A good camera for low light and iso performance without 4k and autofocus. Put it on a gimble that has some sort of focus puller on it. And then some lighting gear. I have this and then we learn from there.

I think you might, on the level you’re working, do fine with the 80D. Both have very good DPAF. Both deal well in lower light, though the sensor and codecs are a bit cleaner in the C100mkII.

Back to the 80D, it’s not as much camera to learn for beginners. It’s also much less expensive and you can use extra budget to fortify lighting and sound. And a good tripod/fluid head.

When it comes to the camera I’m gonna be the one who knows the cameras settings and prep it for the scene. But I won’t be the one who holds it. So someone else has to learn to manage the camera and focus.

So your plan is to do all the image setup yourself, then hand off the camera? “Here, hold this and don’t change anything.” That’s a bad plan.

The person holding the camera during recording is the camera operator and needs to know the camera inside and out. If the cam op doesn’t know the settings, the production is screwed.
 
thanks for the input, Im considering the 80d!

The plan is to have someone else hold the camera that has been involved in the project as much as anybody else. So we do the image setup together. Set the angles, storyboard, positions, focus, lights etc. I may go through the settings for him in the camera but he won’t know the camera inside and out. If he needs something I will help him and teach him as much as I can but he won’t know the camera like that.

If that’s the case he would have to teach him and make him study etc. Which would require of him more time and ambition over something he is really not interested in. And Since this is no pay only ideally I think that would be hard. And they are also working actors outside of this, so hard to find time already.

But if that’s what you think is the better option then sure, I will think about this. Have a talk with them. This is filmmaking and maybe we were overthinking this. Or maybe in the end, the best is to just find a professional cameraman and pay him.
 
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What is the purpose of your shoot? By that I mean - is this an exercise in getting actors to think about framing? To experience the decisions and mind-set that happens behind the camera? Are you trying to put together a showreel? Or are you trying to make a fully fledged film...?
 
Well, we want ro make a showreel. But in order to do that we figured its more fun and challenging to make our own. Where i live its a small market for an actor like me so i have to show my speciality myself instead of waiting for the right project to come up to do it for me. So i make my own materials! And if thats the case we werent gonna be satisfied with doing just a clip. Not just a scene taken from another film. So we are gonna make our own shortfilm.

And most importantly. We learn what it takes to be an actor in film and the process of doing it in every apartment!
 
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