 Hi, I'm Daniel, director DP colorist and I can't say this is scene lighting, but there's another review but we're not breaking down any scenes. Today I'll be looking at the C70 camera and with the whole pandemic and people trying to stay alive and with some classes though, so there's a lot going on that we can like get to like get to the camera quickly. But I finally got around to get to the camera and boy, it's been a very interesting ride or it's been very interesting experience in the sense that 2020 has been a year whereby we've seen several technological release in terms of cameras and in terms of different solutions to different format. But for me, most importantly, the new sensor that which is the DGO sensor, the do again, that was released in C303 and now it's not available in C70, it begs the question that most creatives would like to get answered like, who's this camera for? Is this what I've been waiting for? Is this would this be useful to me in any application? If that's the case, how does it fit? How does it adapt? And first and first, before we say anything, I would just start by showing you a clip, Canon advertised 16 stops of dynamic range and I took the camera out and had it pointed against the sun and against the shady walls between those between that and then you could actually count more than 16 stops and you get to see it first and tell me what you think. If you've seen the clip, a couple of things that play in my mind four or five years back ago, the way technology is now was not like that then there are several limitations and being attached to a setting brand. They used to be like technological advantage with each brand but that's not the case anymore. It's just the case of now you, the creator, what you're able to develop with the tools you're with and how much you know your tool sets and also what you actually are bringing to the table because there's a lot this camera does and this some of that footage was recorded in 120 frames which is where DGO is not even activated and I could get that range so for those of you who doesn't know what DGO means is the dual game sensor whereby a particular part of the particular secretary of the sensor exposes for the highlights and a particular secretary of the sensor exposes for the shadows and they produce the same readout at the same time and that way you are able to get cleaner blacks and present roll-offs in the highlights which you could actually see from some of the sample clips that I've actually been shot. So a whole lot of documentary shooters who really want to like up your game will be leaning on on this foot of this camera because there's now the speed booster that gives an extra stop to your normal Canon EF lenses. There's a normal adapter without the speed booster that just allows you to adapt your cameras into the EF lenses. If you take something like the 1880 and attach the speed booster and attach to that zoom lens you actually now have like a cinema combo for like a doco setup that gives a wide range focal length of probably 4x zoom from right to one and that will be specifically useful for documentaries and allows them to react with a T stop of 2.8 if it isn't the speed booster because you actually gain one stop of light when you're using the speed booster attached to the camera and with the fact that the camera that has DGO which from my experience here's a test shot actually on the exposed by two stops and I could bring back the skin's known so you could actually dig into the shadows and actually maintain cleaner blacks and even when you stress the coating because they're like at first looking at the white paper shade I was like why don't you just include raw on paper but so far the H265 on this camera holds its own very solid when it comes to post production. When I tried when I first got the camera and started like getting sample footage because at the time I didn't have the right card so I was using the cards I used to my 5th mark 4 that was that we record 4k. Those could actually record on this camera the H265 but you can record high speed but you could record no more 24 or 25 frames per second and all of the normal stuff at 4k resolution so you have like inexpensive media that allows you get into action okay. The V90 card is also not expensive it's about a hundred bucks for like 64 gig and that one that that card you could actually use in recording up to 120 frames per second and this is super amazing because a lot just opens up in terms of possibilities especially for indie shooters and especially for those who um look at this camera to be like a b-cam to like your c300 mark 3 that's actually with the raw capability so for me pairing that with my own c300 mark 3 already is an amazing choice because I get the ability to be able to um turn this camera into like for car rigs um for car rig solutions and know that it's going to hold up to the amount of dynamic range that's actually promised I'm actually going to have to um this camera's can go into overhead rigs go into crash cam positions go into very nimble rigs right to not have to actually like kick out the hopeful camera and become very big so there's just now the common denominator of personnels how good is your skill set how good do you understand cameras because the camera comes in with things like false color already built into the cameras you could load up to 16 lots that you could record directly into the file like right now I'm recording on c17 with a lot I load into the camera so I don't have to even edit a color correct this video it's just going to come out like that and that's there's no tweaks already done to it and this could be like for very fast on your own so people who are doing um low budget music videos that do not have like a shot the long time to color correct with a very properly built remember the keyword is properly built technical lot you could actually have a couple in there and you could go in into action and actually deliver and you would not be disappointed and this is because I have like another video coming up that we actually went through like the menu structure and everything that is quite a long video so you might that's going to be on youtube probably a bit of it will be on instagram if that's possible where then I'm also going to like make another video whereby we'll be seeing now in in post-production and looking at these clips because at first when the clips came out and resolve 17 could not read them I think the beta 4 that could actually now read the h265 clips or you could also record in X and V so whatever your flavor is and I had to transcode some of my h265 into ProRes to be able to like be able to read them but right now that all that issues a thing of the past this is really genuine if you actually I could send you some of sample clips if you ever required to actually see events I'm actually talking about and you stress test them on your own and see what what I'm saying the way the sensor process the highlight roll-off it's it's very filmic with with some silky veiling that usually happens to the lens when you actually have and there's no like clipping to those data this is without any kind of filter any kind of promise to any kind of halation that's just that's supposed to like assist in scattering of light and making it bloom and this is just direct from the glass itself to the sensor and I find it very interesting because all the things I actually notice are how you have like deeper saturations in the shadows and how you have more range and even when you actually dig in and you're exposed beyond you try to like bring up the exposure beyond two stops right and you just drop in resolves need noise noise reduction it actually just cleans it up as though they were not there was nothing there and just not looking at it from a perspective of of it being a one to fit all this is more like having a robust solution that's actually been able to irrespective of because nowadays everything that's happening with COVID has made us actually start cutting down budgets and because we're still cutting down budget it's not actually key for us to be able to experiment with solutions find things that worked move away from things that were the norm because we have to not become flexible and adapt to our constant changing environment on the intense stabilizer will find a way to actually grow above this challenge so it is actually key to actually find a solution that actually works in a sense that it actually brings to get a couple of things that will actually assist you in becoming a better storyteller and removing the limitations actually come because this camera goes on the recent running SC and could fit in a couple of spaces that like there's no more excuse of making bad content anymore there's no more excuse so I would tend to defend agree to most of all the reviews that idea who actually sees this camera as a big influence or there could be like a potential game changer because right now I think it's not up to the creators now up to you what are you going to create what you have there's no longer oh it is limited it only has this it only has that code you have 4k you have 2k you have HD you have 24 frames per second you have off frame rates like if you're shooting a fight scene I could tell the camera and dial it in to shoot at 20 frames per second when I'm in slow and fast mode and anything up to 60 frames right use dgo so over when I'm in slow and fast motion I also have access to dgo's I could do the it has a double card slots that you could actually put like a proxies into one corner that'll be victim with whatever look you want for your editor to start editing why you can record in xdvc or recording the hvec codec you get at first I had my doubts about the hvec being just a delivery codec and not an encoding codec but so far I've not had any of those challenges with that and it just begs the question that going into 21 this will really be an amazing tool that would actually come to actually prove itself in that system independent creators and taking away from the norm of what it used to be and I totally I'm definitely keeping one of this in my kit because there are nimble situations whereby this are just perfect solution falls whereby you actually need to move the camera in trust in ways and actually see how it actually contributes so I'll put up my next video and we're actually going to look at a couple of other factors in terms of going through the menus the menu layout which is actually similar to c300 mk3 like this camera is literally a c300 mk3 without an sdi function and rock capability and the fact that we have also like a quarter mile every inch of the camera is built with such thoughtfulness that vertical video become the problem I do not need like an L bracket or that added expense there's like a quarter screw in there you could just flip the camera on its side and boom you're ready the camera also supports anamorphic if you haven't get to use it for anamorphic project so there's quite a lot in there that I feel is is actually working for creators in this period actually there's quite a lot in there I think anybody who's deciding to be a cinematographer or a content creator this is the best age to actually become such a person because all the tools are literally become available and there's no one that the prosumers tools the prosumers tools in in in those days actually that was out of reach you get now democratization of media has become a thing and you could make things according to your intent and I look forward to what you guys would create whenever you get like rent or check out this camera or buy your own or whatever it is but I'll see you in the next video one actually goes through the walkthrough and do other things on the next time stay safe yeah it's almost ending keep improvising adapt and over come