 Welcome to SinLighting and today this video is basically about the cost of ownership like what's the real true cost of ownership There's the 5D Mark IV there which is actually an old camera that we've been using for a couple of which these videos are made on the C700 with the super dead 5 sensor the crystal-ville transmitter and the VLOG battery C500 Mark II the newest from the US line edition Yeah I'll start by saying that we're not in an age where most cameras produce amazing image quality, but The texture that you get from the data that's been acquired and how it's been interpreted by these cameras a Lot more Interesting and I find them a little bit more filming or in the way that actually appeals to me, which is basically subjective So going forward the C500 Mark II goes for about 16 grand, which is $59.99 basically and Basically you get the body, a battery 512 CF express and the grip, the mic holder and The 5-inch, 7-inch monitor, I guess, no 5-inch monitor And out of the box if you could find any old tripod in your house and an ODF lens, you could literally put it on it and start to shoot As opposed to we you could kill it up more if you want to like put a mad box put some extra rails put some Stuff, but at the barest minimum package it goes out of the box ready to shoot the battery lasts can last you up to about Two two house ten minutes of runtime shoot so far real-world usage from my own experience If you have like two or three of these it could probably power you through the whole day for a full day shoot The C700 goes for about 28,000 for the SuperDead 5 I don't know the full frame is I would probably confirm that and out of the box You get the body you get the V-Mart attachment if you have a V-Log battery and ODF lens Even if it's plastic whatever you're ready to shoot and both of them offers the C-Log The C-Log 2 and the C-Log 3 whatever in favor is which the C-Log has about 12 stops of dynamic range Which is on the territory of the old C500 the first C500 C-Log 2 has 15 stops guaranteed on this Which has been greatly improved from the C300 Mach 2 and the C-Log 3 is about 13.614 stops of dynamic range, which is also decent for faster turnaround times So when you look at the total cost of ownership It usually I call it like an out-of-the-box ready to shoot. There's some camera packages from several manufacturers that the brain alone cost Way more than both of these you get but these gives those who are ready to actually obtain a cinema level quality a Window into obtaining such kind of quality without actually breaking it back and without several Things that you would need that the camera is depending on function because basically what do you need? You have a monitor you have it there to shoot you have The battery that comes in with it you have a card and Whatever old lenses you have can just fit in and you can start shooting with your old tripod You get fuzzy 700 same thing although this at the studio level, so you get the body You should have your batteries There's a package back then that came with cards I don't know whether that's still on but back then it came with cards You get and you could get EVF or you could use like your old monitor and you're ready to go You get the EVF is quite expensive though But you could actually substitute that for like your own old monitor for give the plane passing by Yeah, so if you look at the entire lineup The 5D Mark 4 has the capability of shooting C log The C700 has the capability of shooting C log C log 2 C log 3 Also, this has the capability of shooting C log 2 C log 3 in scenarios whereby you need to go the big dolly You have like a three-man crew a larger production. You have a C 700 and the second AC the first AC around it Your crash come you need you can rig that up on the 5D Mark 4 and use even the interesting 1D X mark 3 which we get into the studio here and also try out and See how all of them becomes his large Unified ecosystem whereby each camera caters to several needs You get from the 1D X mark 3 you could get out of the raw which is the 5.4 There's right here. There's right here. We have a syn log here, which allows you acquire more range of data We have syn log here or a C log 2 that you can get 15 stops and all of these logs match seamlessly so like any cameras that has a C log profile that you put in the entire Structure of your acquisition chain still helps you in getting much data Which you could actually use in unifying the entire scheme So that's something to keep in mind and consider you will not need to like get I know can doesn't make gopers yet But the small deaccelerators are regable and could fit into crash cams and you could get way more out of them What do you think do you think that this cameras fit into your workflow or you think there's something else that you would like to try out? What do you have in mind as how the entire line up same but this could like your studio setup That could be like your gimbal camera or your steady cam camera and that could be like a crash camera They're weak for car chase or some other things whereby you need to be nimble or probably a dashboard cam you get So, yeah, this is just an overview brief My next video is going to go into the in-depth talking about many structure more focusing on this And C500 Mac 2 and how it compares to this in terms of body built and some other things you get and The body if you look at it, it's pretty much like so over your older run into your running ones We'll fit on because you can just take up the top handle. This has a 320 Screw here that you could use on the running to to actually keep the monitor there So you could actually see and control the camera the way you intend and or you like it Or you could even put a code shoe here Probably I wanted the top with the spotter screw and put the monitor there and be able to like have a monitor on the gimbal for you So your older run ins and your older equipment to work You don't you may not even need to go to the rain to this you definitely go to the rain too If you pull out 28 grand for this you should be ready to go out the way out because this is a studio camera designed for such cases It's not it's not for the it's for the big boys. So to speak So yeah, that's like a general review that we've made on this camera that we're going there We'll test out footage codex dynamic range from the summary glasses against the normal EFs and we would We get to see and learn in the process So until next time improvise adapt and overcome