You nailed it when you said the reason people complain about the color science of Sony is because they can’t color grade. BINGO! I was in this same camp years ago because color grading Canon is like having training wheels. But once you start to understand color and how to really push it you’ll quickly realize how much better Slog3 is over C-Log2. I know this is probably going to ruffle a few feathers but when I hear people say Sony has “Zombie” colors or it looks “Plasticky” my immediate reaction is that it's not the camera’s fault you just don’t know how to color grade. I’ve used a Venice II and compared the footage from my FX3 and it’s almost identical. If Sony colors are bad, based on inexperienced users, why are so many films utilizing Sony? Top Gun Maverick, Black Panther, Wakanda Forever, Avatar the Way of the Water all used Sony Venice. Tons of Netflix productions like Dahmer also used Venice. Just look at the predicted nominees: ymcinema.com/2023/01/05/oscars-2023-the-cameras-behind-best-picture-and-cinematography-predicted-nominees/ The fact that Sony Venice might actually win best picture and beat Arri shows a lot on how incredible Sony image quality is. And all of their tech from their high end Venice camera is pushed down to their mirrorless cameras which is why Sony is crushing it. Also where is Canon in that list? Anyway, welcome to the club Cam I know your stuff is legit and you’ll do amazing things with it because you know how to use your gear and not make excuses.
This logic can be said the same thing about using mirrorless cameras vs using cinema cameras. Using mirrorless is like having training wheels since the camera does all the work for you... while Cinema cameras everything is manual
Some push back for Armando… Yes while it may be true that experienced color graders can make any camera look good. You are comparing movies and films with specialized lighting and color graders that were trained and get paid to just fix the colors. To amateurs and prosumers who shoot TH-cam videos and family vacations. If color science didn’t matter then Sony wouldn’t be working on making their colors better with every new camera release. Most people just want to capture their footage and have it look good with the least resistance possible. And back in the day, the Sony’s provided the highest amount of resistance. Now in 2023 not so much anymore. So yeah the Sony color argument may not be a valid complaint in 2023. It did stem from the struggles with the earlier versions…
Imagine all of the pro colorist and color house who are just laughing at everyone.. cause you can give them any footage and they'll make it look amazing. Because they KNOW HOW TO GRADE haha. And you put it perfectly, Canon has great colors out of the box. Training wheels. But once you're ready to start rolling at full speed.. Canons lineup is going to hold you back unless you drop a bank account on them.
Lifelong Canon shooter here and Cam’s right about all of it. I still prefer the C70 to FX6 so that’s enough to keep me, but Sony makes more sense for more people right now. But if Panasonic plays it’s cards right, there might be a lot of Lumix switching videos next year
Dude the C70 footage is still some of my fav. Can stretch the footage all over. But yeah super excited to see what Panasonic brings to the table. If they put that phase detection in a cinema body……. I’d be very intrigued. Respect you man. Thanks for tuning in 🤘🏽
Lol to those complaining, I’ve had a seat in this dude’s audience for a while, like I’m talking Fuji XT3 times. This guy ain’t no shill to a brand name, he jumps around looking for the best paint brush for his canvas, and when he finds it, its credit where it’s due. So why not sit back and benefit. For real tho kid rock, I appreciate these vids man; some of your day 1s over here, we the beneficiaries. Let’s gooo
My number one complaint with my R5C (battery life isn’t an issue for how I use it) is not having clog2 in a non RAW format. It is a $4,500+ cinema camera and they won’t give us CLOG-2!
Thank you for this, I just recently switched from Fuji to Sony, I love the Fuji look, I love that dirty film look that it gives, but I was just losing out in low light, and some autofocus, had seen my peers using sony and was just blown away, so here I am, I got the A74 btw
Yeah dude hahah I kept seeing friends switch to Sony….. and their life just seemed easier afterwards. All the camera options, each of them being jam packed with features. And then I’m over here looking at my super simple canon with limited options, slowing me down. I still have my x100v though. Special camera.
All 100% Correct. Seriously, you are 10000% spot on. I have been shooting for over 25 years, motion and stills, from highest end jobs anyone can imagine for biggest brands to small creative projects, you nail it.
This is the pep talk from " a real photographer videographer" with existing projects, clients, and shoots. The others TH-camrs are mostly just noise. They reviewed the gear without totally using it for an actual client shoot. They are paid good enough by the brand to talk shit. Thanks, Mackey!
On the color science bit, Resolve's CST is indeed the sauce. A little background: A big reason people have had issues with certain cameras color science is because the general thought process on TH-cam (and even among colorists in the early days of digital log formats) was that normalizing footage from it's log state to Rec709 was a combination of pushing the contrast slider and the saturation slider until it looks normal. The problem is that color science is complicated and the contrast and saturation sliders are extremely simplistic mathematical functions that can't consider the spaces they are manipulating. "Color science" is math, and pretty rigid math at that. Applying the same mathematic function to different spaces will get you to a bunch of different final looks, depending on which source it is. And you're virtually guaranteed to be inaccurate (read: gamut clipping) when you do . Almost every camera (excluding Kinefinity, Z Cam and Sigma I think) has their log profiles documented. You can look up the whitepapers and see the math behind their EOTF and color space. BMD then takes that information and builds it into the CST function because it is indeed just math. As someone who colors various cameras fairly regularly, my grading approach is exactly the same for virtually everything because of Resolve's color management system. I put almost no thought into the camera nuances because the math is accounted for already. This is why colorists can grade anything: because no one is actually hand-grading log. They are working under a solid transform, whether that be the CST operator or a LUT, and that does the proper translation to get color that looks right. It's like pouring liquid through a funnel; you can slosh it all along the sides, but it's still all gonna slide down the funnel into the spout and not spill over the sides. Another thing, and this may ruffle feathers: You never really see a camera's color science. Cameras record data in exorbitantly large color spaces in scene linear gammas. We neither have the displays to show anywhere close to that amount of color information nor do we as human beings see linearly. As such, whether with photo or video, the image must be translated into something viewable. This means changing to a power function gamma like Gamma 2.4 or BT1886 and squeezing that massive color space into a vastly smaller representation like sRGB or Rec709. Because of that squeezing, you are always getting ***someone else's interpretation*** of that squeeze. Maybe it's Adobe, Capture One, MacOS Preview, the manufacturer's raw converter, the manufacturer LUT, RED IPP2, Resolve, Baselight, etc. They all have different and still technically correct interpretations of that data translation because the very act of narrowing it allows them to impart their own flavor. This is a good thing. This means it's all changeable. Extremely changeable. The manufacturer can account for the general pipeline, but the exact final flavor is out of their hands. That's up to your software and you. This hopefully frees you from the unnecessary bind of camera brand color science alliance at the cost of everything else that can aid workflow. Take everything Cam said to heart because it's true. It's time for us to collectively stop complaining about color because it's a problem that's already been solved. All we need to do is a click a couple buttons in a dropdown menu in Resolve and continue about our day.
What a post! For the longest time I trained my eye to process footage without a transform and convinced I was gaining something. Now I see a color space transform is not optional, especially with mixed media productions. Resolve has enabled a level of precision our eyes fail to perceive even if we did have the monitors.
I guess I finally need to dump FCP and take the time to learn resolve. I love FCP but no color management, lack of practical features, and out-dated effects layering. I guess it is time.
@@jessejayphotography Of course I support the move. But I’ll admit my bias, which is that my only involvement in the motion world is in color. I have no editing background and I’ve barely touched FCP, so I take others words on the difficulty of switching editing practices. Still, I’ve heard enough people say they’re eventually able to get used to Resolve’s editing workflow that I believe it to be worth it for the far superior color tools.
As a Canadian whose Grandfather is from England and Grandmother Indigenous Canadian, I look forward to seeing the documentary! Also, best of luck with the new gear, Cam. I myself have been on the fence about switching from Sony to Canon. I really love the colours that come straight out of cam as well as the ergonomics and interface that Canon has to offer. But, with that said, yhe whole 3rd party lens fiasco is pretty awful and is probably losing Canon a lot of potential customers to Sony. If Canon decides to open up the RF system to 3rd party, it would benefit everyone.
I have a great book by Antti Tuuri about finnish guys coming to Canada to chop wood and one of them falling in love with an indigenous girl against all prejudice and integrating in their community. There's also a great story about a Canadian chief becoming orthodox and befriending a greek guy. This one wrote down the story very lovingly.
I don’t see the big deal with canon and 3rd party lenses. People are using this as an excuse to bash Canon some more. Just go buy red ring EF glass and get an adapter. It’s cheaper second hand and there are thousands of EF lenses out there on the second hand market.
You have to do what works for you, bro. I don't care what gear you use; I'm always glad to see your badass work! I'm a Nikon myself, but I'm going to check out the new Lumix SII!
When I started taking photography seriously about 15 years ago, someone pointed out that a) Canon's main effort was aimed at marketing and attracting new customers b) Fuji led the way on colour science and c) Nikon produced cameras that supported their old lenses dating back to the 50's and beyond - unlike Canon who, I believe, required their loyal customers to buy a completely new set of lenses each time they introduced a new series of cameras. It struck me, even then, that Canon weren't for me.
PLEASE do a review of the Tamron 35-150! I've been really thinking about picking one up, but I'd have to rethink my current lens selection. I have a 24 1.4 GM, a 35 1.4 GM, and the 24-70 2.8 GM. I'd have to sell the 24-70 and the 35, probably pickup the 16-35 2.8 GM which is just a lot of steps. Seeing your thoughts on the Tamron would help a ton!
Your points about colour science reminds me of the recent articles and videos I've read from cinematographer Steve Yedlin (Knives Out, Last Jedi) and how he's able to pretty much match any camera system to any film stock. It's confirmed for me something I've always thought in the back of my mind, most modern cameras are flexible enough to manipulate to any look you want, as at the end of the day it's all math. Although very technical, it was interesting to see how he makes his own colour space transforms to almost perfectly match film colours and contrast.
I just found your channel and I feel like I connected with your color style and mindset right away. I quit my sales job a year ago and started doing wedding photography but my passion is to be a DP/Colorist. My main camera is the canon R6 but the more I do video and the more I learn about color grading the more frustrated I get about what canon doesn’t offer (although they can). My plan is to transition over to Lumix because I did t want to give in to Sony but you are the first TH-camr that has made me consider switching to Sony.
Phantom luts for Sony will instantly give you beautiful skin tones and footage. Plus he makes the same luts Canon, Blackmagic, Arri, Red, etc so it makes matching footage a lot easier.
The phantom ‘neutral’ lut really gives you Alexa color out of s log3. I know I know not ‘real’ Alexa color but damn close. you can then apply stylistic grading on top of that and it looks amazing
Colour since is a dumb thing to get bent out of shape about. Slog3 is so easy to grade and make look anyway you want with colour transform in Resolve. And when it comes to photos shooting RAW you literally can do anything with the Sony files. That said. I will say Sony cameras aren't inspiring to use but they get the job done and will confidently crush any situation.
Thanks for your input brother!! Your work stands out regardless of what camera is in your hand. Just one talented mofo!!!!!!!! And agree with everything. That’s why imma hold on to my X100V haha
Thank you, i am a canon user, thinking of switching. Youve have covered every questions that i had in thoughts that needed answers. Like working in DaVinci. Do you have color grading video? Thanks for this tutorial
Just found your channel. Really cool stuff man! I like your style. I have a blackmagic 6k looking to get into the Sony Ecosystem, how do you like the FX30?
As a hobbyist I don't have your needs/constraints, I simply invest my money to get back some joy. And I feel exactly like you. Buying Canon is like giving my hard earned money to a company that I feel wants to cheat me (those cripples, not allowing third party lenses...) while Sony seems more straightforward with their practices. I also love my Fuji and Panasonic for other reasons but Canon... I am done with them unless they revert their selfish practices. Good video, as always, I always love to hear your honest opinion as a pro and I feel that I always learn something from you 👌
Yeah, Cam. You nailed it, it’s how you post process your image that makes the difference. Steve Yedlin doesn’t really care what camera or film stock he uses to shoot his movies. Also, everyone thought Kendy Ty was shooting his films on ARRI when he really harnessed the power of his RebelT3i and honed the image in post to make it visually tell his stories.
Real talk, I appreciate your passion and the communication. I am a newbie creator....well new making a business based on creating and I don't like Canon's business model either. I am probably joining the Sony family this year as well. Anyway thanks for what you do....just subbed
Wow, love what you said about your passion for documenting indigenous people. Recently i spent 5 weeks in Colombia and seen all these indigenous people. And we filmed a short piece with Arhuaco family, and wow! What an experience, right now in the editing room with it. And already learning spanish because I want to go back and do more of that. :)) Nice, looking forward for your short films.
FX3 user. I got the phantom luts early on and built a workflow around them. You can push the Sam hell out of the all-i codec. It’s just incredible. Plus plenty of times I’ve been in a pinch with no gimbal, and Catalyst just saves your ass. Love this system. It’s minimal, gets tf out of the way and does the job
Yeah I was playing with the phantom LUTs and love them. They’re a little to sterile for my taste still tho. I used my own LUT on this one. Slowly refining them!
If you want a straight out of camera image, I suggest shooting in hdr pq mode. That is fully ready and in 10bit color. Now, older devices can't do rec2021 so you can convert it to rec 709 or rec 2020 but newer devices like smartphones can do rec 2021 now
It's often about the lessons learned and the skills gained throughout the journey of finding the right camera for you that makes the temporary annoyances all worth it in the end. Glad you're happy with the new setup, can't wait to see what you create!
first thing i ever learned to being a photographer or videographer is DON'T get attach to a brand, all the Sony haters are attached to them brands .. and they complain about colors from Sony ... just answer them by (( you dump go learn how to color grade)) .. Man don't west your time with Sony haters they don't know how to coloring .
Your points are definitely valid but there is still gatekeeping in Sony. It's been super frustrating to see Sony not put basic firmware updates into their top of the line stills camera. The A7iv and the A7Rv get focus breathing comp but the A1 and FX3 don't? Really doesn't make sense.
I shot with Canon when I started in 1999. Switched to Fuji/Sony back in 2012. Decided to switch back to Canon when the Cano R came out but didn't like it. Then tried switching again to Cano R6 when it came out. But lack of lenses made me rethink. Sony has SO much 3rd party support it was a no brainer. Still till today I shoot with Sony/Fuji. Then Canon not supporting 3rd party that just limited you lens selection unless you got deep pocket. Great video and I agree with you!!!! 100 percent brother...
What about how Sony teamed up with Atomos & wont allow ProRes in Blackmagic products. Kinda the same if not worse as Canon not allowing people to rip off their patents for RF lenses.
As someone who owned that camera, let me warn you, be careful with Polarisation filters when using the eVND. I have come across some serious colour shifts when using CP filters. You might wanna try linear polariser filters? (haven’t tried them, but i have heard they do mess up with AF)
I actually picked up my first Sony a couple of months ago (FX30) and I've been enjoying it a whole lot for video. Before that I was using an R5 and I feel like this is so much easier to get the footage I want, and I used to be a Sony colors hater.
Thank you man! How’s the a7s3 fit in? I’m assuming you use it as a b cam? The a7rv color matches well with the fx6. But still might a fx3 as a b cam/TH-cam camera
@cammackey I use a7s3 for youtube mainly and bcam for client work. The colours don't match as well as people think. I also use a7s3 for social photos, family photos etc. Love only having 12 mega pixels. I also have an a7r3 for client photography.
Dude I’m so like scared but feel so freakin prepared at the same time. It’s a whole new challenge for me so I am beyond excited. Never felt more ready.
Great video bud. I totally understand the frustration. Its like a kick in the gut, when the system you want to use is compromised intentionally. 21:54 *I felt that* 🙋🏾♂️
I was in a similar situation a year or two ago. Shot Canon for stills since the 30D but also actually do more video work. I waited and waited for Canon to actually try in the hybrid space but the R5 was not enough. So I sold all of my Canon gear and moved to the A7IV & A7sIII. I too had a negative bias towards Sony and their look or color science. But as you discovered, we just see a lot of footage from people using Sony cameras that do not know how to get good looks. So the brand suffers. When I started working with the RAW images in Lightroom I realized that Sony has a much more flat starting point than the Canon Raws. A little time and I had presets that allowed me to match and exceed my 5DMKIII images. I will say though, I did purchase the Cobalt color profiles which really improved the Sony color accuracy. These are at the core of my Sony presets in Lightroom. One thing that stands out to me is that Canon continues to have the video white balance set from taking an actual photo and applying the settings to create the white balance in their hybrid cameras! So inflexible and stuck in the past. Just had to move away from a company that rigid. Always doing the bare minimum that they have to for the marketplace. That is not how I run my business. Lumix will probably by right up there with Sony now that they are allowed to use modern AF in their cameras. But switching takes a lot of time, energy and money. Thanks for the video and best of luck!
As a Canon R6 user and a FULL on amateur when it comes to Film making in general this is such a useful video I think Canon cant afford to hold back on CLOG2 to hybrid shooters any longer as your story is being repeated amongst soo many TH-camrs switching to other brands (Gods knows how many outside of youtube) such as their rival Sony and Panasonics etc Look at Panasonic changing their dynamic implementing Phase Detect in their S5 sensor. I think Canon will change and add Clog2 in their future hybrid cameras since now to lure people back into their eco system as now Panasonic has fully joined the race and potentially taken a lot of customers with them Since i am not fully committed into a eco system i think Sony seems to be the safest and best possible option Love your work Cam!!
Thank you for sharing! Yes it’s super important to invest into the tools that give you space to grow. I always love recommending Fujifilm to photographers who just wanna shoot for fun. Or that new Panasonic is fun for anyone who wants to start with anamorphic. Or Sony for jsut everything
I have been waiting for this video. I still have my A7r4 and the A7iii I mostly shoot photos and your right spend the time and get the look you want. Get intimate. I love what you wrote on Instagram "Log footage is just a blank canvas. Up to the Painter to bring the image out." I feel the same for stills. Thank you for putting your passion and experience into this and I appreciate you sharing it with me. I'm here for the journey. I'm looking forward to your projects. -Frank You do some magic with the X100V.
The color science distinction was a pretty valid one back in the day when Sony made everyone look jaundiced from models like the Sony a7sii that generation of cameras. However, this has changed greatly to the point that it is almost nonexistent. I think Canon still has the slight edge in mixed lighting scenarios and when trying to get a grade quickly together or you are handing of footage. Canon has been gate keeping for quite some time but there is strong signs the company is starting to change their ways. I don't think the c70 in particular would have so many great updates like it has if canon had it's previous mindset from previous years. Overall I am thankful for Sony for putting pressure on the other manufacturer's.
No. I’m not about to be jumping between codecs in a middle of a gig all day. I shouldn’t have to do that. And then majority of the times where I’m handing the footage off, in house editors don’t want raw footage they jsut want log or a baked in LUT. That’s just not realistic to do on actual jobs. That is the beauty to RED is their raw is a lot easier to work with from file size to editing. And the red cameras prores is insane too
I had looked at Sony before getting the R5c but I felt the down side of Sony is there are to many bodies that are hampered in certain ways e.g. the A7iv has to shoot compressed RAW at 10fps then 6fps uncompressed (which imo is to slow, but I mostly shoot sports), then on the video it is cropped at 60p. FX3 is a cinema camera but lacks any of the UI you would expect (false colours specifically). My main point is for the cheaper 3rd party lens you have to carry 2 bodies to be "hybrid", but if you are going mostly video I can 100% see why this choice to switch makes sense and the FX6 on paper is almost pefect (esp for the auto ND). I have frustrations with Canon still so I can relate to some of what you're saying as well, but I am hoping the R5c will see some firmware love that R5 got. Can't agree more about the Davinci comments though.
7:50 Panasonic has all of that. I am curious what you make of the S5II. And the prospect of seeing all future Panasonic bodies coming with very good phase detect auto-focus. Sony has competition now. And the L mount alliance gives you access to even more lenses than Sony's mount.
I am pretty sure he could make it work with any brand these days but Panasonic has no answer to the FX6 / c70. Sony also gives you all the autofocus, all the codecs and all the frame rates rates in their cinema line cameras. From the FX30 to the FX9. You can choose, ABCD camera
@@eyeballbilly the 8 stops of Stabilization on the A7RV is much better than the S5II. I tested both side by side and the S5II feels wobbly when the A7RV feels naturally and like a gimbal.
Nice congrats! We worked with Sony since the fs2, a7r3, a6400... I hate working with them. A total mess. the fx6 and the funky little fx30 are huge improvements. But it's mostly corporate stuff. For the documentary stuff I prefer Panasonic. Just about to finish a music video shot on gh6. I complement it with the S5 at the moment But dude, the perfect b-cam (or anamorphic cam for that matter) for the fx6 seems to be the lumix S5ii: 1. Awesome stabilizer (with anamorphic mode) 2. Convert v-log to s-log 3. Anamorphic desqueeze Everything IN CAMERA. Love it! Rarely touched the damn gimble since I will pair mine with sigma 28-70 2.8 but you could also adapt ef glass with the sigma thingy. Or go crazy with some leica glass... No experience with it yet but it seems the Achilles heel is solved.. I'm fine with manual focus anyway (but only if I have to :)
Agree. I camera manufactures are delivering amazing products these days. As for me, I am a Nikon Z9 and Z7ii shooter and edit my stuff in my style and have zero complaints from clients. In fact, continue to grow as a business. Thanks for these honest, transparent videos. :)
I stick with canon. I get the results I need best out of these cameras. Color science helps but it’s more than that. Super easy menu, touch screen and a very accurate monitor where I know immediately what the footage will look like. I am not a professional videographer I just do TH-cam by myself and for that for me canon is still the best. Would I like a better choice of lenses? Sure, but I am sure Canon will fix that step by step.
I am a a7Siii shooter and I saw your video talking about why you don't like Sony and I wasn't offended by it because I thought you were one of those guys who love a look and are obsessed with it. I also understood that Sony forces you to go that extra mile and color grade which you didn't like. It was all quite sensible. But I am glad that you made this video now because the comment section is so rich with information, I myself am learning this stuff and it is good to hear from professionals who have been doing this for a long time.
Been saying for the past 4 years that the color science talk is only used by people who don't know how to grade and are scared of hue vs hue curves, etc.
I actually talked to my camera gear rep, who I trust. Sony does hold third party manufacturers back apparently, but in a different way. Apparently the biggest difference is burst speeds. He told me that the main difference between Sony and non Sony lenses is often the maximum amount of FPS that are useable. He gave this example: The Sigma 35 1.4 is apparently (artificially) capped at around 15 FPS, the Sony 35 1.4 does not have that limitation. Apparently Sony limits the amount of useable burst speeds for the third party manufacturers. For most and for many situations that would not even matter. (The other difference is often a slightly better performance and lower weight, but that is more of a cutting costs thing)
I'm a photographer, and my look I desire is backlight, with the sun in the background. I love it! But you get nasty lens flares. I bought the Sony 50mm 1.2, and those green ghost flares are in the past! Outside of my signature style, my other lens is the tamron 35-150mm. I started my career in June 2020 on the Canon RP. January 2021, I purchased the Sony a74, with the intentions of using 3rd party glass.
Great stuff as always Cam and reasonable justification for another system switch! Just curious - you mention constantly that you are creating increasing amounts of paid video work and are very invested in color - how’s your experience with HDR output? Is an HDR/Dolby Vision grade a common request in RFPs/contracts these days? HDR feels like the final frontier for maximizing the output from these robust log profiles. As they tend to do, Apple has also set a pretty high bar and consumer precedent with the native DV/HDR capture and editing pipeline contained right on iPhones, so the 10bit+/HDR/DV workflow is highly optimized on mobile already. Apple features for photo and video usually seems to be an indicator of where camera companies end up playing catch up
Oh man I haven’t dove into HDR at all. I’ll wait till it becomes an actual standard or requested by clients. Just like vertical video.. I’m barely accepting its reality hahaha
@@cammackey ha that’s fair. Sony has a decent HLG profile from what I remember, so you can pretty much test it in camera. My personal preference for a simple HDR setup in DR is editing in a Resolve managed color project w/ their wide gamut as the working color space and the HDR output option. I bet you’d have fun with it and it’s a whole new world no one really is focused on right now since Rec2020/Rec2100 output can’t make use of the 1000s of Rec709 LUTs out there (unless you want SDR output) Lol it’s funny you mention vertical too since it should be so much easier to get something nice looking than it is on some of these cameras. Vertical has been pretty much “free” to shoot at a decent aspect ratio if you can shoot open gate/3:2/4:3 but I’m not sure if Sony offers that option. I’m making it work with Panasonic and open gate on that front
Soo excited for this journey Cam! I've always held the belief that Sony colors are so broken they can't be fixed and believe me I gave Sony a lot of time like I mentioned to you during your live. Since your live stream I've gone out on the hunt for downloads for Sony and Canon raw file comparisons. Found a few most of them are R5 VS A7R IV and the results when editing in Capture One are shocking. I have your film curve presets and when you apply those to the Canon and Sony raw files they look identical and so do my own Capture One presets. Funny thing is I've never had issues on the video side with Sony colors if I use Slog3. I've always edited in Davinci and used a CST like you mentioned. I think the culprit here for all the Sony color issues is Adobe. Adobe's "Camera Matching" profiles for the R5 and the A7R IV look wildly different. That's not the case in Capture One.
I started using C1 in November and am a Sony user. Immediately, I recognized a difference in color in LR. Cant really explain it, but the files look better!
@@jkinze Capture One is partnered with Sony so they have a hand in developing the camera profiles etc. You are getting the colors Sony intended when you are using Capture One. On the other hand Adobe is Adobe. Their raw processing is a mystery and they don't share or collaborate with anyone.
@cammackey yeah at the end of the day, I have to put my needs above my bias. I started my career on Canon and made lots of money shooting their gear. My dad was a Canon shooter, and without him, I would have never gotten into media. So Canon is a very sentimental attachment for me. But after the r5 problems I had to make a logical decision. Sony was it, and TBH, I'm glad. Everything I kept bitching about in Canon, I found Sony had it, so to me, it was the best decision at the current stage of my career. There was a time I would hire Sony shooters for projects and the results were poor. I said back then I would never shoot Sony but in 2022, it's a different game. And the market doesn't lie. Sony is constantly eating away Canon market share.
I'm thinking about switching from Sony to Nikon for photography. I think Nikon will try the Z9 tech on the base models sooner or later. About colors, with Sony at least for photo is a must to set the white balance manually. If your white balance is off then the colors could be a mess, and even today I see people taking important stills with costly Sony cameras with auto white balance, not even configured.
I don’t get auto white balance in general. I want my scene too look like it does to my eye in real life. Not perfect grays.. cause even in real life ambient colors affect gray tones and our eyes don’t adjust the damn white balance lol. If I’m shooting oroduct and I need perfect whites and grays, I’ll use a gray card. Otherwise, I trust me eye and manual WB
I love the colors of this video. Could you advise which of your luts would be suitable for me? I'm working with panasonic V-log, but I can of course change it to arri or something in davinci resolve.
Yea Hollywood can afford to get huge lights and super fast glass but when you’re shooting fast run-and-go like cam you need that extra light and the ability to grab some affordable glass when its not in the client budget… You can’t speculate on what other people need… So what if he uses a different camera every year! That’s the artist choice… Bums me out when people tell me what i need… ❤
Exactly. Ive been lucky that every year my career grows and grows. Im extremely grateful for it. But as I grow, as my career grows.. so does my needs and expectation on what I spend my money on.
A co-shooter and I both bought R5C’s around the same time. He actually had switched from Sony, but he ended up going back because there was no power saving on the R5C, which means it needs to be rigged out for power. Basically the sensor is permanently on, even when you’re in the menu. If you press the play button to review, the sensor turns off and the battery lasts way longer. This is something Canon could have included in software, some sort of power efficient options, instead of entering review mode. But they haven’t, and they haven’t had a software update in 6 months. They’ve forgotten about the R5C, and it’s a pity, because it’s an epic camera. Just crippled by poor software.
INTERESTING. Would love to see a test done on this! I personally turn my cameras off frequalty. Like I click record. Stop. Turn off. And even that.. the battery was garbage. Rigged up it would last me forever. Just so odd.
@@cammackey I think those little Canon batteries don't like the higher current. If I use a power bank which has been designed for higher current (it's a 50w), it lasts all day. The closer you come to a batteries max current limit the less efficient it becomes. If you use it on low draw you will get close to its full capacity, high draw it can drop to half capacity. Try pressing the play button inbetween shots and you'll see the estimated time go up drastically. They could have just put in an eco mode or sleep mode... like most other cameras. They didn't feel like adapting the cinema software, designed to run on V-locks etc, to a mirrorless.
I thought Sony made you switch to Canon. Maybe I'm confused... anyways. If you're part Native Indian you should check out a book called Empire of the Summer Moon. My mind was blown by the stories.
Agreed. My only complaint with Sony (and this will make it clear that I am far from being at your level!) is that you cannot shoot tethered in Lightroom. You can do it in Capture 1 but that is three times the price. Other than that I regret shifting not one bit.
Oh man capture one is the way to go haha. The sad fact is, software is all subscription base now. It’s another investment we have to make if we want to grow. So once you can afford it, or swallow the price haha I would say check it out. It’s a bit of a learning curve. But the quality different is night and day. I always say LR is like crayons and C1 is like fine paint brushes
i remember we talked about it 2-3 years ago... you need time to adapt when you switch from a brand to another, but Sony's colors science are as good as Canon. I also love no matter the cam price, they will give you every option possible whitout compromise
@@martiniustollin i tried to switch to the GH5 once...got many problems with it..sold it and never look back.. :/ ( pretty sure Panasonic do great cam, it was just not for me.
I had the Canon C200 and loved it, although the size and weight were not ideal for run n' gun (used it mainly for YT & controlled environments). I've been so tempted to jump back into the Canon camp with the firmware upgrades to the C70 and rumors of a Canon C200 MKii...but I'm in the Sony ecosystem. It's a SHAME that Canon doesn't listen to their user base, and we've all seen how Sony's been crushing the full-frame battle. The R-mount roadmap & greed of Canon has been a bit of a mess; Canon's hanging on due to their loyal users (I was one of them), but Sony keeps innovating, which benefits us in the end. Thanks for the video!
I am not ditching Canon, but I wanted a Tamron 35-150mm F2-2.8 lens, so I now have a Sony 7A IV and a couple of lens. Many of my newer Canon EF lenses work perfectly on my Sony via the Artisan EF/EFS to Sony E adapter. . My older EF Lens just loose auto focuses but is fine in manual focus.
what you said about sending film in to be developed in a lab is why I always roll my eyes at people who over fantasies film and insist film is always better. Film needs to be developed it doesn't come out of the camera ready to be shown on a projector. I see Color grading just the digital version of developing the film.
Same. I find it funny that most people like the “film look” that comes from cheap stocks and Walgreens 1 hour photo development and scans. Like that’s what the kids these days think is good film colors haha.
I left Canon and honestly after a month of getting use to my new fx3 I'm in love I'll never go back.....ever...because I'm gonna remember the generosity of sony and the greed of Canon...I'm sony forever💗📸
Great video! Over the last year or so, I have been leaning between staying with Canon and buying the C70 or switching to Sony FX6. Money-wise, I want to stay Canon; but, for my use, Sony is looking like the better value. It would just hurt have to buy a FX6, Sony lenses, batteries, ect.
I hope your message will reach to Canon Japan. I agree with what your saying. Canon isn’t concern much of their consumer. They are just holding back most of the features we needed. Btw your video was suggested by youtube itself.
Love being back on Sony myself! Switching to the canon R5 from the A7r4 was the biggest mistake I ever made…but live and learn I guess! Something I missed so much about sony is shooting photos in slog 3! It sounds odd but I have been grading all my photos in resolve with my video workflow and it’s AMAZING! You can even do 10 bit 4:2:2 stills in slog 3! So excited for your Sony content that I watched this video while driving home from work 😂 love your stuff brother! Keep it up!
that log + LUT workflow is great in Photoshop with adjustment layer LUTs as well. I also enjoy stills processing in Resolve the import/export isn’t as simple
@@cammackey highly recommend trying to grade photos in DaVinci, i even made a video about it a year ago, but then some things happened (hint: I'm from Ukraine) , so i stopped making YT vids for awhile, now back to it. Anyway, I use DaVinci for 90% of my photography work, it's amazing. Great video, btw! Made me considering Sony system again, i got tired from Blackmagic's bulkyness.
dude the moment Canon put out the R6 mkii I lost it. I had recently purchased the r6 and still dealing with overheating even after the update and recording externally with a ninja V so I am ready to sell my gear and switch.
I shot film, processed, and printed for almost 15 years. In 2004 I transitioned from a film Nikon F5 to a digital Nikon D2x. Never had an issue with the supposedly “horrible Nikon color science” in the D2x, D610, or the D750. In fact, art directors used to ask me how I got such great skin colors from my Epson prints, LOL. Last year I picked up an A7S3 and last week an A7R5 and LOVE the colors I get in video and stills. Like @cammackey my needs changed and now I shoot more video in addition to e-commerce product work. OH, I switched to Capture One Pro and wondering why I took so long. If your colors suck it is you, not your gear. BTW, I get pretty swell colors out of my GoPro Hero cams as well.
Yes, open gate. please Sony. Pretty new to your channel. Really loving it. FYI ...lol . I chose Sony because of the lenses And because e-mount can be adapted so easily as well.
I'm glad a creator with larger online presence such as yourself is speaking out about Canon rather than being a sheeple like some people that rhyme with Heater Mclinen. I said the same thing when canon released the R5 and I dumped them immediately for Sony. Canon does not care about their consumers, their bottom line is to protect their top line of cinema cameras by intentionally crippling their cameras. The R5 could've shot 8k continuously and never had a overheating problem, but they engineered it that way, there was a breakdown from a real engineer who tore the R5 apart and there are so many red flags on that design showing that it was intentional, no real engineer would've designed the heatsink and camera that way. If Canon had made those cameras with no overheating, and raw and all of the abilities, no one would buy their higher end cinema line of cameras. I love Sony, they are always packing as much and as many features as they can into their bodies.
One of the main reasons I didn’t go with canon was lack of third party glass! I’ve been with Sony now for about 3ish years and I’ve been using the a7siii and a7iv as my combo dúo and haven’t decided to change anything since that! Just too good for me!😊
Have you played with the R3? I find myself using it over my R5c for fast b-roll. It’s really the best of both worlds, and the eye autofocus makes it so much more fun to shoot photos
Nah never touched it. Everything still applies to that camera. And I can’t stand using hybrid menu systems as a dedicated video camera. That’s why I loved the r5C so much cause it had cinema menus. But that’s all it had really.
@@cammackey My favorite thing about using the R3 is that it doesn't have the cinema menu like the r5c. And you you get all the great AF zone modes like we did on the R5. You should have a play with it!
I thought this was going to be another click-bait 'I'm switching' video, so I was pleasantly surprised by your points. Unless influencers like yourself switch to other brands, Canon will have no incentive to allow third-party RF lenses or provide the 'pyramid' features such as C-Log2 (another one that annoys me is the lack of bluetooth/wifi for the R5C in video mode). Bravo for your decision, and hopefully Canon will listen to you. Best of luck for your new projects with the new equipment.
Agreed! I was bummed to find out the R5C didn’t have wireless. Just found out my FX6 had a whole damn wireless app. Can tap track focus and everything. It’s snappy too.
I agree, but I can't afford to jump to the best on the day.i have the R3, it doesn't need accessories to run and gun. But no clog2 and the colours are very magenta. It is a pain but I can manage it for my YT content.
You nailed it when you said the reason people complain about the color science of Sony is because they can’t color grade. BINGO! I was in this same camp years ago because color grading Canon is like having training wheels. But once you start to understand color and how to really push it you’ll quickly realize how much better Slog3 is over C-Log2.
I know this is probably going to ruffle a few feathers but when I hear people say Sony has “Zombie” colors or it looks “Plasticky” my immediate reaction is that it's not the camera’s fault you just don’t know how to color grade.
I’ve used a Venice II and compared the footage from my FX3 and it’s almost identical. If Sony colors are bad, based on inexperienced users, why are so many films utilizing Sony? Top Gun Maverick, Black Panther, Wakanda Forever, Avatar the Way of the Water all used Sony Venice. Tons of Netflix productions like Dahmer also used Venice.
Just look at the predicted nominees: ymcinema.com/2023/01/05/oscars-2023-the-cameras-behind-best-picture-and-cinematography-predicted-nominees/ The fact that Sony Venice might actually win best picture and beat Arri shows a lot on how incredible Sony image quality is. And all of their tech from their high end Venice camera is pushed down to their mirrorless cameras which is why Sony is crushing it. Also where is Canon in that list? Anyway, welcome to the club Cam I know your stuff is legit and you’ll do amazing things with it because you know how to use your gear and not make excuses.
This logic can be said the same thing about using mirrorless cameras vs using cinema cameras. Using mirrorless is like having training wheels since the camera does all the work for you... while Cinema cameras everything is manual
Some push back for Armando…
Yes while it may be true that experienced color graders can make any camera look good. You are comparing movies and films with specialized lighting and color graders that were trained and get paid to just fix the colors. To amateurs and prosumers who shoot TH-cam videos and family vacations. If color science didn’t matter then Sony wouldn’t be working on making their colors better with every new camera release. Most people just want to capture their footage and have it look good with the least resistance possible. And back in the day, the Sony’s provided the highest amount of resistance. Now in 2023 not so much anymore. So yeah the Sony color argument may not be a valid complaint in 2023. It did stem from the struggles with the earlier versions…
Imagine all of the pro colorist and color house who are just laughing at everyone.. cause you can give them any footage and they'll make it look amazing. Because they KNOW HOW TO GRADE haha. And you put it perfectly, Canon has great colors out of the box. Training wheels. But once you're ready to start rolling at full speed.. Canons lineup is going to hold you back unless you drop a bank account on them.
@@Photomeike what he said
@@cammackey Question, you're CST from SLOG 3 to ARRI, then ARRI to 709? If so, which ARRI gamma and color space did you choose?
Lifelong Canon shooter here and Cam’s right about all of it. I still prefer the C70 to FX6 so that’s enough to keep me, but Sony makes more sense for more people right now.
But if Panasonic plays it’s cards right, there might be a lot of Lumix switching videos next year
Dude the C70 footage is still some of my fav. Can stretch the footage all over. But yeah super excited to see what Panasonic brings to the table. If they put that phase detection in a cinema body……. I’d be very intrigued. Respect you man. Thanks for tuning in 🤘🏽
Lol to those complaining, I’ve had a seat in this dude’s audience for a while, like I’m talking Fuji XT3 times. This guy ain’t no shill to a brand name, he jumps around looking for the best paint brush for his canvas, and when he finds it, its credit where it’s due. So why not sit back and benefit. For real tho kid rock, I appreciate these vids man; some of your day 1s over here, we the beneficiaries. Let’s gooo
Hahaha I appreciate you man. Real recognizes real.
My number one complaint with my R5C (battery life isn’t an issue for how I use it) is not having clog2 in a non RAW format. It is a $4,500+ cinema camera and they won’t give us CLOG-2!
Panasonic gives full v log in a $2000 camera
@@CO8848_2 yeah, Panasonic is doing it right.
Yeah, r5c deserves clog2.
great time to be a creator! so many good cameras, that fx6 is incredible- stoked to see what you make with it!
RIGHT?! Were so freakin spoiled haha
@@art_means_artificial haha hey man they’re just trying to express themselves, we all need an outlet! But I get what you’re saying haha
Thank you for this, I just recently switched from Fuji to Sony, I love the Fuji look, I love that dirty film look that it gives, but I was just losing out in low light, and some autofocus, had seen my peers using sony and was just blown away, so here I am, I got the A74 btw
Yeah dude hahah I kept seeing friends switch to Sony….. and their life just seemed easier afterwards. All the camera options, each of them being jam packed with features. And then I’m over here looking at my super simple canon with limited options, slowing me down. I still have my x100v though. Special camera.
@@cammackey I still have my xt4 but sold 2 xt3’s had to keep 1.
Welcome to family bro! Getting the best of my FX3 since 3.0 update (OpenGate, Cine Ei...etc) in such a small body my gosh.
All 100% Correct. Seriously, you are 10000% spot on. I have been shooting for over 25 years, motion and stills, from highest end jobs anyone can imagine for biggest brands to small creative projects, you nail it.
This is the pep talk from " a real photographer videographer" with existing projects, clients, and shoots.
The others TH-camrs are mostly just noise. They reviewed the gear without totally using it for an actual client shoot. They are paid good enough by the brand to talk shit.
Thanks, Mackey!
On the color science bit, Resolve's CST is indeed the sauce.
A little background: A big reason people have had issues with certain cameras color science is because the general thought process on TH-cam (and even among colorists in the early days of digital log formats) was that normalizing footage from it's log state to Rec709 was a combination of pushing the contrast slider and the saturation slider until it looks normal. The problem is that color science is complicated and the contrast and saturation sliders are extremely simplistic mathematical functions that can't consider the spaces they are manipulating. "Color science" is math, and pretty rigid math at that. Applying the same mathematic function to different spaces will get you to a bunch of different final looks, depending on which source it is. And you're virtually guaranteed to be inaccurate (read: gamut clipping) when you do .
Almost every camera (excluding Kinefinity, Z Cam and Sigma I think) has their log profiles documented. You can look up the whitepapers and see the math behind their EOTF and color space. BMD then takes that information and builds it into the CST function because it is indeed just math. As someone who colors various cameras fairly regularly, my grading approach is exactly the same for virtually everything because of Resolve's color management system. I put almost no thought into the camera nuances because the math is accounted for already. This is why colorists can grade anything: because no one is actually hand-grading log. They are working under a solid transform, whether that be the CST operator or a LUT, and that does the proper translation to get color that looks right. It's like pouring liquid through a funnel; you can slosh it all along the sides, but it's still all gonna slide down the funnel into the spout and not spill over the sides.
Another thing, and this may ruffle feathers: You never really see a camera's color science. Cameras record data in exorbitantly large color spaces in scene linear gammas. We neither have the displays to show anywhere close to that amount of color information nor do we as human beings see linearly. As such, whether with photo or video, the image must be translated into something viewable. This means changing to a power function gamma like Gamma 2.4 or BT1886 and squeezing that massive color space into a vastly smaller representation like sRGB or Rec709. Because of that squeezing, you are always getting ***someone else's interpretation*** of that squeeze. Maybe it's Adobe, Capture One, MacOS Preview, the manufacturer's raw converter, the manufacturer LUT, RED IPP2, Resolve, Baselight, etc. They all have different and still technically correct interpretations of that data translation because the very act of narrowing it allows them to impart their own flavor. This is a good thing. This means it's all changeable. Extremely changeable. The manufacturer can account for the general pipeline, but the exact final flavor is out of their hands. That's up to your software and you. This hopefully frees you from the unnecessary bind of camera brand color science alliance at the cost of everything else that can aid workflow.
Take everything Cam said to heart because it's true. It's time for us to collectively stop complaining about color because it's a problem that's already been solved. All we need to do is a click a couple buttons in a dropdown menu in Resolve and continue about our day.
Amen.
What a post! For the longest time I trained my eye to process footage without a transform and convinced I was gaining something. Now I see a color space transform is not optional, especially with mixed media productions. Resolve has enabled a level of precision our eyes fail to perceive even if we did have the monitors.
I guess I finally need to dump FCP and take the time to learn resolve. I love FCP but no color management, lack of practical features, and out-dated effects layering. I guess it is time.
I also blame the camera manufacturers for not providing good technical LUTs. They don’t seem to follow any logistical targets
@@jessejayphotography Of course I support the move. But I’ll admit my bias, which is that my only involvement in the motion world is in color. I have no editing background and I’ve barely touched FCP, so I take others words on the difficulty of switching editing practices. Still, I’ve heard enough people say they’re eventually able to get used to Resolve’s editing workflow that I believe it to be worth it for the far superior color tools.
As a Canadian whose Grandfather is from England and Grandmother Indigenous Canadian, I look forward to seeing the documentary!
Also, best of luck with the new gear, Cam. I myself have been on the fence about switching from Sony to Canon. I really love the colours that come straight out of cam as well as the ergonomics and interface that Canon has to offer.
But, with that said, yhe whole 3rd party lens fiasco is pretty awful and is probably losing Canon a lot of potential customers to Sony. If Canon decides to open up the RF system to 3rd party, it would benefit everyone.
I have a great book by Antti Tuuri about finnish guys coming to Canada to chop wood and one of them falling in love with an indigenous girl against all prejudice and integrating in their community.
There's also a great story about a Canadian chief becoming orthodox and befriending a greek guy. This one wrote down the story very lovingly.
I don’t see the big deal with canon and 3rd party lenses. People are using this as an excuse to bash Canon some more. Just go buy red ring EF glass and get an adapter. It’s cheaper second hand and there are thousands of EF lenses out there on the second hand market.
@@jasonmasterman9735 for amateurs like me indeed, for a pro wanting the best glass probably not.
You have to do what works for you, bro. I don't care what gear you use; I'm always glad to see your badass work! I'm a Nikon myself, but I'm going to check out the new Lumix SII!
Seems like s5iix is a great camera for its price
@@azfilmmaking6734 yeah , that's what I'm waiting for.
Yep Panasonic S5iix
When I started taking photography seriously about 15 years ago, someone pointed out that a) Canon's main effort was aimed at marketing and attracting new customers b) Fuji led the way on colour science and c) Nikon produced cameras that supported their old lenses dating back to the 50's and beyond - unlike Canon who, I believe, required their loyal customers to buy a completely new set of lenses each time they introduced a new series of cameras. It struck me, even then, that Canon weren't for me.
Canon has been on the ef mount for 36 years. Ef glass still adapts better than nikon f mount glass
PLEASE do a review of the Tamron 35-150! I've been really thinking about picking one up, but I'd have to rethink my current lens selection. I have a 24 1.4 GM, a 35 1.4 GM, and the 24-70 2.8 GM. I'd have to sell the 24-70 and the 35, probably pickup the 16-35 2.8 GM which is just a lot of steps. Seeing your thoughts on the Tamron would help a ton!
Your points about colour science reminds me of the recent articles and videos I've read from cinematographer Steve Yedlin (Knives Out, Last Jedi) and how he's able to pretty much match any camera system to any film stock. It's confirmed for me something I've always thought in the back of my mind, most modern cameras are flexible enough to manipulate to any look you want, as at the end of the day it's all math. Although very technical, it was interesting to see how he makes his own colour space transforms to almost perfectly match film colours and contrast.
I just found your channel and I feel like I connected with your color style and mindset right away. I quit my sales job a year ago and started doing wedding photography but my passion is to be a DP/Colorist. My main camera is the canon R6 but the more I do video and the more I learn about color grading the more frustrated I get about what canon doesn’t offer (although they can). My plan is to transition over to Lumix because I did t want to give in to Sony but you are the first TH-camr that has made me consider switching to Sony.
Phantom luts for Sony will instantly give you beautiful skin tones and footage. Plus he makes the same luts Canon, Blackmagic, Arri, Red, etc so it makes matching footage a lot easier.
Already gottem! I use them for monitoring. The one in this video was my own LUT I made.
The phantom ‘neutral’ lut really gives you Alexa color out of s log3. I know I know not ‘real’ Alexa color but damn close. you can then apply stylistic grading on top of that and it looks amazing
yeah phantom luts are so underrated
Colour since is a dumb thing to get bent out of shape about. Slog3 is so easy to grade and make look anyway you want with colour transform in Resolve. And when it comes to photos shooting RAW you literally can do anything with the Sony files. That said. I will say Sony cameras aren't inspiring to use but they get the job done and will confidently crush any situation.
Thanks for your input brother!! Your work stands out regardless of what camera is in your hand. Just one talented mofo!!!!!!!! And agree with everything. That’s why imma hold on to my X100V haha
@@cammackey Gotta keep one Fuji on hand for fun
Thank you, i am a canon user, thinking of switching. Youve have covered every questions that i had in thoughts that needed answers. Like working in DaVinci. Do you have color grading video? Thanks for this tutorial
Just found your channel. Really cool stuff man! I like your style. I have a blackmagic 6k looking to get into the Sony Ecosystem, how do you like the FX30?
As a hobbyist I don't have your needs/constraints, I simply invest my money to get back some joy. And I feel exactly like you. Buying Canon is like giving my hard earned money to a company that I feel wants to cheat me (those cripples, not allowing third party lenses...) while Sony seems more straightforward with their practices.
I also love my Fuji and Panasonic for other reasons but Canon... I am done with them unless they revert their selfish practices.
Good video, as always, I always love to hear your honest opinion as a pro and I feel that I always learn something from you 👌
Man if I was just doing all of this for a hobby.. I’d be all over fuji haha
@@cammackey I literally have a secret savings account called "gfx" 😅 if I manage to be disciplined maybe this year it will happen 🤞🤞🤞
Yeah, Cam. You nailed it, it’s how you post process your image that makes the difference.
Steve Yedlin doesn’t really care what camera or film stock he uses to shoot his movies. Also, everyone thought Kendy Ty was shooting his films on ARRI when he really harnessed the power of his RebelT3i and honed the image in post to make it visually tell his stories.
You always bring the truth with no hidden agenda, Cam. I really appreciate that. LOVE your work and commentary so much.
Real talk, I appreciate your passion and the communication. I am a newbie creator....well new making a business based on creating and I don't like Canon's business model either. I am probably joining the Sony family this year as well. Anyway thanks for what you do....just subbed
Wow, love what you said about your passion for documenting indigenous people. Recently i spent 5 weeks in Colombia and seen all these indigenous people. And we filmed a short piece with Arhuaco family, and wow! What an experience, right now in the editing room with it. And already learning spanish because I want to go back and do more of that. :)) Nice, looking forward for your short films.
Like all the knowledge you share, don’t give a crap which tool you use. Keep the great TH-cam content coming.
More non gear related stuff coming I promise
This whole video is camera church! Man’s spitting truth! Looking forward to the new things you make cam!
FX3 user. I got the phantom luts early on and built a workflow around them. You can push the Sam hell out of the all-i codec. It’s just incredible. Plus plenty of times I’ve been in a pinch with no gimbal, and Catalyst just saves your ass. Love this system. It’s minimal, gets tf out of the way and does the job
Yeah I was playing with the phantom LUTs and love them. They’re a little to sterile for my taste still tho. I used my own LUT on this one. Slowly refining them!
If you want a straight out of camera image, I suggest shooting in hdr pq mode. That is fully ready and in 10bit color. Now, older devices can't do rec2021 so you can convert it to rec 709 or rec 2020 but newer devices like smartphones can do rec 2021 now
It's often about the lessons learned and the skills gained throughout the journey of finding the right camera for you that makes the temporary annoyances all worth it in the end. Glad you're happy with the new setup, can't wait to see what you create!
first thing i ever learned to being a photographer or videographer is DON'T get attach to a brand, all the Sony haters are attached to them brands .. and they complain about colors from Sony ... just answer them by (( you dump go learn how to color grade)) .. Man don't west your time with Sony haters they don't know how to coloring .
Your points are definitely valid but there is still gatekeeping in Sony. It's been super frustrating to see Sony not put basic firmware updates into their top of the line stills camera. The A7iv and the A7Rv get focus breathing comp but the A1 and FX3 don't? Really doesn't make sense.
I shot with Canon when I started in 1999. Switched to Fuji/Sony back in 2012. Decided to switch back to Canon when the Cano R came out but didn't like it. Then tried switching again to Cano R6 when it came out. But lack of lenses made me rethink. Sony has SO much 3rd party support it was a no brainer. Still till today I shoot with Sony/Fuji. Then Canon not supporting 3rd party that just limited you lens selection unless you got deep pocket. Great video and I agree with you!!!! 100 percent brother...
What about how Sony teamed up with Atomos & wont allow ProRes in Blackmagic products. Kinda the same if not worse as Canon not allowing people to rip off their patents for RF lenses.
FX6 is a beast! Best cine cam rn
As someone who owned that camera, let me warn you, be careful with Polarisation filters when using the eVND. I have come across some serious colour shifts when using CP filters. You might wanna try linear polariser filters? (haven’t tried them, but i have heard they do mess up with AF)
Don’t think I’ll ever need any external NDs on this. I’m not scared to close down my aperture haha
I actually picked up my first Sony a couple of months ago (FX30) and I've been enjoying it a whole lot for video. Before that I was using an R5 and I feel like this is so much easier to get the footage I want, and I used to be a Sony colors hater.
Bro really loving the channel! I think I found your channel at the perfect time! Lol
Can't wait to see what you create with your passion projects. Your work is fantastic
21:45 This is my favorite moment in the video! My brother went on a similar monologue and I just watched and nearly said “bravo, bravo”.
Fellow documentary filmmaker. I rock fx6 and a7s3. You made the right choice. It's just a tool and currently offers the best for what we do.
Thank you man! How’s the a7s3 fit in? I’m assuming you use it as a b cam?
The a7rv color matches well with the fx6. But still might a fx3 as a b cam/TH-cam camera
@cammackey I use a7s3 for youtube mainly and bcam for client work. The colours don't match as well as people think. I also use a7s3 for social photos, family photos etc. Love only having 12 mega pixels. I also have an a7r3 for client photography.
I am SOOOOOOO LOOKING forward to your next phase of documentary work!!!
Dude I’m so like scared but feel so freakin prepared at the same time. It’s a whole new challenge for me so I am beyond excited. Never felt more ready.
@@cammackey Campfire discussions with elders man!
Great video bud. I totally understand the frustration. Its like a kick in the gut, when the system you want to use is compromised intentionally.
21:54 *I felt that* 🙋🏾♂️
I was in a similar situation a year or two ago. Shot Canon for stills since the 30D but also actually do more video work. I waited and waited for Canon to actually try in the hybrid space but the R5 was not enough. So I sold all of my Canon gear and moved to the A7IV & A7sIII. I too had a negative bias towards Sony and their look or color science. But as you discovered, we just see a lot of footage from people using Sony cameras that do not know how to get good looks. So the brand suffers. When I started working with the RAW images in Lightroom I realized that Sony has a much more flat starting point than the Canon Raws. A little time and I had presets that allowed me to match and exceed my 5DMKIII images. I will say though, I did purchase the Cobalt color profiles which really improved the Sony color accuracy. These are at the core of my Sony presets in Lightroom.
One thing that stands out to me is that Canon continues to have the video white balance set from taking an actual photo and applying the settings to create the white balance in their hybrid cameras! So inflexible and stuck in the past. Just had to move away from a company that rigid. Always doing the bare minimum that they have to for the marketplace. That is not how I run my business. Lumix will probably by right up there with Sony now that they are allowed to use modern AF in their cameras. But switching takes a lot of time, energy and money. Thanks for the video and best of luck!
As a Canon R6 user and a FULL on amateur when it comes to Film making in general this is such a useful video
I think Canon cant afford to hold back on CLOG2 to hybrid shooters any longer as your story is being repeated amongst soo many TH-camrs switching to other brands (Gods knows how many outside of youtube) such as their rival Sony and Panasonics etc
Look at Panasonic changing their dynamic implementing Phase Detect in their S5 sensor.
I think Canon will change and add Clog2 in their future hybrid cameras since now to lure people back into their eco system as now Panasonic has fully joined the race and potentially taken a lot of customers with them
Since i am not fully committed into a eco system i think Sony seems to be the safest and best possible option
Love your work Cam!!
Thank you for sharing! Yes it’s super important to invest into the tools that give you space to grow. I always love recommending Fujifilm to photographers who just wanna shoot for fun. Or that new Panasonic is fun for anyone who wants to start with anamorphic. Or Sony for jsut everything
I have been waiting for this video. I still have my A7r4 and the A7iii I mostly shoot photos and your right spend the time and get the look you want. Get intimate. I love what you wrote on Instagram "Log footage is just a blank canvas. Up to the Painter to bring the image out." I feel the same for stills. Thank you for putting your passion and experience into this and I appreciate you sharing it with me. I'm here for the journey. I'm looking forward to your projects. -Frank You do some magic with the X100V.
This more of an evolution than a camera switch. It's not the typical I switched systems video, don't worry
The color science distinction was a pretty valid one back in the day when Sony made everyone look jaundiced from models like the Sony a7sii that generation of cameras. However, this has changed greatly to the point that it is almost nonexistent. I think Canon still has the slight edge in mixed lighting scenarios and when trying to get a grade quickly together or you are handing of footage.
Canon has been gate keeping for quite some time but there is strong signs the company is starting to change their ways. I don't think the c70 in particular would have so many great updates like it has if canon had it's previous mindset from previous years.
Overall I am thankful for Sony for putting pressure on the other manufacturer's.
Agree with everything you said. I hope canon makes me eat crow. It’s sadly too late for me though. The FX6 won me to the E Mount.
so you say the r5c get 2 more stops of dr if you film in raw? So wouldnt it be a solution to use raw in high dynamic situations only? thanks a lot
No. I’m not about to be jumping between codecs in a middle of a gig all day. I shouldn’t have to do that. And then majority of the times where I’m handing the footage off, in house editors don’t want raw footage they jsut want log or a baked in LUT. That’s just not realistic to do on actual jobs. That is the beauty to RED is their raw is a lot easier to work with from file size to editing. And the red cameras prores is insane too
I had looked at Sony before getting the R5c but I felt the down side of Sony is there are to many bodies that are hampered in certain ways e.g. the A7iv has to shoot compressed RAW at 10fps then 6fps uncompressed (which imo is to slow, but I mostly shoot sports), then on the video it is cropped at 60p. FX3 is a cinema camera but lacks any of the UI you would expect (false colours specifically). My main point is for the cheaper 3rd party lens you have to carry 2 bodies to be "hybrid", but if you are going mostly video I can 100% see why this choice to switch makes sense and the FX6 on paper is almost pefect (esp for the auto ND). I have frustrations with Canon still so I can relate to some of what you're saying as well, but I am hoping the R5c will see some firmware love that R5 got. Can't agree more about the Davinci comments though.
7:50 Panasonic has all of that. I am curious what you make of the S5II. And the prospect of seeing all future Panasonic bodies coming with very good phase detect auto-focus. Sony has competition now. And the L mount alliance gives you access to even more lenses than Sony's mount.
gimbal like stabilisation in body has to be a huge selling point , you can film a wedding without a gimbal, that's so compelling on a 12 hour shoot
Yes! I want anamorphic support. Open gate ! S5IIX 🙌🏻
I am pretty sure he could make it work with any brand these days but Panasonic has no answer to the FX6 / c70. Sony also gives you all the autofocus, all the codecs and all the frame rates rates in their cinema line cameras. From the FX30 to the FX9. You can choose, ABCD camera
@@eyeballbilly the 8 stops of Stabilization on the A7RV is much better than the S5II. I tested both side by side and the S5II feels wobbly when the A7RV feels naturally and like a gimbal.
... and burning in the lut...
the EVA2 and the S1H2 unfortunately not here to Switch kompletely.... but one could convert v-log to s-log too...
Nice congrats! We worked with Sony since the fs2, a7r3, a6400... I hate working with them. A total mess.
the fx6 and the funky little fx30 are huge improvements. But it's mostly corporate stuff. For the documentary stuff I prefer Panasonic. Just about to finish a music video shot on gh6. I complement it with the S5 at the moment
But dude, the perfect b-cam (or anamorphic cam for that matter) for the fx6 seems to be the lumix S5ii:
1. Awesome stabilizer (with anamorphic mode)
2. Convert v-log to s-log
3. Anamorphic desqueeze
Everything IN CAMERA.
Love it! Rarely touched the damn gimble since
I will pair mine with sigma 28-70 2.8 but you could also adapt ef glass with the sigma thingy. Or go crazy with some leica glass... No experience with it yet but it seems the Achilles heel is solved.. I'm fine with manual focus anyway (but only if I have to :)
Agree. I camera manufactures are delivering amazing products these days. As for me, I am a Nikon Z9 and Z7ii shooter and edit my stuff in my style and have zero complaints from clients. In fact, continue to grow as a business. Thanks for these honest, transparent videos. :)
That’s what it’s all about!!! Happy your system works for you brutha 🤘🏽
People say Sony don't care about customers re: lack of firmware updates, but they kind of gave you everything with the A7SIII/FX3 anyway.
I stick with canon. I get the results I need best out of these cameras. Color science helps but it’s more than that. Super easy menu, touch screen and a very accurate monitor where I know immediately what the footage will look like. I am not a professional videographer I just do TH-cam by myself and for that for me canon is still the best.
Would I like a better choice of lenses? Sure, but I am sure Canon will fix that step by step.
The new Sony menus are actually super easy. Like the FX6 menus are actually easier than my canon was oddly.
@@cammackey problem is that you do not get them on all cameras and touch screen is as well not there for the most 😅
I am a a7Siii shooter and I saw your video talking about why you don't like Sony and I wasn't offended by it because I thought you were one of those guys who love a look and are obsessed with it. I also understood that Sony forces you to go that extra mile and color grade which you didn't like. It was all quite sensible.
But I am glad that you made this video now because the comment section is so rich with information, I myself am learning this stuff and it is good to hear from professionals who have been doing this for a long time.
I love your theme, your focus and your passion!
Been saying for the past 4 years that the color science talk is only used by people who don't know how to grade and are scared of hue vs hue curves, etc.
Have you had any experience with the Zeiss cine lenses and the Sony cam?
I actually talked to my camera gear rep, who I trust. Sony does hold third party manufacturers back apparently, but in a different way. Apparently the biggest difference is burst speeds. He told me that the main difference between Sony and non Sony lenses is often the maximum amount of FPS that are useable. He gave this example: The Sigma 35 1.4 is apparently (artificially) capped at around 15 FPS, the Sony 35 1.4 does not have that limitation. Apparently Sony limits the amount of useable burst speeds for the third party manufacturers. For most and for many situations that would not even matter. (The other difference is often a slightly better performance and lower weight, but that is more of a cutting costs thing)
Shoot that’s nothing lol
I'm a photographer, and my look I desire is backlight, with the sun in the background. I love it! But you get nasty lens flares. I bought the Sony 50mm 1.2, and those green ghost flares are in the past! Outside of my signature style, my other lens is the tamron 35-150mm. I started my career in June 2020 on the Canon RP. January 2021, I purchased the Sony a74, with the intentions of using 3rd party glass.
Great stuff as always Cam and reasonable justification for another system switch!
Just curious - you mention constantly that you are creating increasing amounts of paid video work and are very invested in color - how’s your experience with HDR output? Is an HDR/Dolby Vision grade a common request in RFPs/contracts these days?
HDR feels like the final frontier for maximizing the output from these robust log profiles. As they tend to do, Apple has also set a pretty high bar and consumer precedent with the native DV/HDR capture and editing pipeline contained right on iPhones, so the 10bit+/HDR/DV workflow is highly optimized on mobile already. Apple features for photo and video usually seems to be an indicator of where camera companies end up playing catch up
Oh man I haven’t dove into HDR at all. I’ll wait till it becomes an actual standard or requested by clients. Just like vertical video.. I’m barely accepting its reality hahaha
@@cammackey ha that’s fair. Sony has a decent HLG profile from what I remember, so you can pretty much test it in camera. My personal preference for a simple HDR setup in DR is editing in a Resolve managed color project w/ their wide gamut as the working color space and the HDR output option. I bet you’d have fun with it and it’s a whole new world no one really is focused on right now since Rec2020/Rec2100 output can’t
make use of the 1000s of Rec709 LUTs out there (unless you want SDR output)
Lol it’s funny you mention vertical too since it should be so much easier to get something nice looking than it is on some of these cameras. Vertical has been pretty much “free” to shoot at a decent aspect ratio if you can shoot open gate/3:2/4:3 but I’m not sure if Sony offers that option. I’m making it work with Panasonic and open gate on that front
Soo excited for this journey Cam! I've always held the belief that Sony colors are so broken they can't be fixed and believe me I gave Sony a lot of time like I mentioned to you during your live. Since your live stream I've gone out on the hunt for downloads for Sony and Canon raw file comparisons. Found a few most of them are R5 VS A7R IV and the results when editing in Capture One are shocking. I have your film curve presets and when you apply those to the Canon and Sony raw files they look identical and so do my own Capture One presets. Funny thing is I've never had issues on the video side with Sony colors if I use Slog3. I've always edited in Davinci and used a CST like you mentioned. I think the culprit here for all the Sony color issues is Adobe. Adobe's "Camera Matching" profiles for the R5 and the A7R IV look wildly different. That's not the case in Capture One.
Yeah great point I should have brought capture one up. Lightroom is like crayons and capture one is like fine paint brushes haha
Yup, Lightroom trashes a lot on import, unfortunately.
I started using C1 in November and am a Sony user. Immediately, I recognized a difference in color in LR. Cant really explain it, but the files look better!
@@jkinze Capture One is partnered with Sony so they have a hand in developing the camera profiles etc. You are getting the colors Sony intended when you are using Capture One. On the other hand Adobe is Adobe. Their raw processing is a mystery and they don't share or collaborate with anyone.
@cammackey yeah at the end of the day, I have to put my needs above my bias. I started my career on Canon and made lots of money shooting their gear. My dad was a Canon shooter, and without him, I would have never gotten into media. So Canon is a very sentimental attachment for me. But after the r5 problems I had to make a logical decision. Sony was it, and TBH, I'm glad. Everything I kept bitching about in Canon, I found Sony had it, so to me, it was the best decision at the current stage of my career. There was a time I would hire Sony shooters for projects and the results were poor. I said back then I would never shoot Sony but in 2022, it's a different game. And the market doesn't lie. Sony is constantly eating away Canon market share.
I'm thinking about switching from Sony to Nikon for photography. I think Nikon will try the Z9 tech on the base models sooner or later.
About colors, with Sony at least for photo is a must to set the white balance manually. If your white balance is off then the colors could be a mess, and even today I see people taking important stills with costly Sony cameras with auto white balance, not even configured.
I don’t get auto white balance in general. I want my scene too look like it does to my eye in real life. Not perfect grays.. cause even in real life ambient colors affect gray tones and our eyes don’t adjust the damn white balance lol. If I’m shooting oroduct and I need perfect whites and grays, I’ll use a gray card. Otherwise, I trust me eye and manual WB
I love the colors of this video. Could you advise which of your luts would be suitable for me? I'm working with panasonic V-log, but I can of course change it to arri or something in davinci resolve.
I just relaxed my new ones! But they’re for slog 3 so use at your own will haha
@@cammackey I see there are several lut options in the store. What Lut name is the most similar to what I see in this video?
@@lhorizonfilms7784 oh sorry, the natural LUTs. Imma take down the
Legacy ones rn
Yea Hollywood can afford to get huge lights and super fast glass but when you’re shooting fast run-and-go like cam you need that extra light and the ability to grab some affordable glass when its not in the client budget…
You can’t speculate on what other people need…
So what if he uses a different camera every year! That’s the artist choice… Bums me out when people tell me what i need…
❤
Exactly. Ive been lucky that every year my career grows and grows. Im extremely grateful for it. But as I grow, as my career grows.. so does my needs and expectation on what I spend my money on.
A co-shooter and I both bought R5C’s around the same time. He actually had switched from Sony, but he ended up going back because there was no power saving on the R5C, which means it needs to be rigged out for power. Basically the sensor is permanently on, even when you’re in the menu. If you press the play button to review, the sensor turns off and the battery lasts way longer. This is something Canon could have included in software, some sort of power efficient options, instead of entering review mode. But they haven’t, and they haven’t had a software update in 6 months. They’ve forgotten about the R5C, and it’s a pity, because it’s an epic camera. Just crippled by poor software.
INTERESTING. Would love to see a test done on this! I personally turn my cameras off frequalty. Like I click record. Stop. Turn off. And even that.. the battery was garbage. Rigged up it would last me forever. Just so odd.
@@cammackey I think those little Canon batteries don't like the higher current. If I use a power bank which has been designed for higher current (it's a 50w), it lasts all day. The closer you come to a batteries max current limit the less efficient it becomes. If you use it on low draw you will get close to its full capacity, high draw it can drop to half capacity.
Try pressing the play button inbetween shots and you'll see the estimated time go up drastically. They could have just put in an eco mode or sleep mode... like most other cameras. They didn't feel like adapting the cinema software, designed to run on V-locks etc, to a mirrorless.
I thought Sony made you switch to Canon. Maybe I'm confused... anyways. If you're part Native Indian you should check out a book called Empire of the Summer Moon. My mind was blown by the stories.
I’ll check it out!!! Thank ya
Agreed. My only complaint with Sony (and this will make it clear that I am far from being at your level!) is that you cannot shoot tethered in Lightroom. You can do it in Capture 1 but that is three times the price. Other than that I regret shifting not one bit.
Oh man capture one is the way to go haha. The sad fact is, software is all subscription base now. It’s another investment we have to make if we want to grow. So once you can afford it, or swallow the price haha I would say check it out. It’s a bit of a learning curve. But the quality different is night and day. I always say LR is like crayons and C1 is like fine paint brushes
C1 offers crazy black Friday deals.
i remember we talked about it 2-3 years ago... you need time to adapt when you switch from a brand to another, but Sony's colors science are as good as Canon. I also love no matter the cam price, they will give you every option possible whitout compromise
@@martiniustollin i tried to switch to the GH5 once...got many problems with it..sold it and never look back.. :/ ( pretty sure Panasonic do great cam, it was just not for me.
I had the Canon C200 and loved it, although the size and weight were not ideal for run n' gun (used it mainly for YT & controlled environments). I've been so tempted to jump back into the Canon camp with the firmware upgrades to the C70 and rumors of a Canon C200 MKii...but I'm in the Sony ecosystem. It's a SHAME that Canon doesn't listen to their user base, and we've all seen how Sony's been crushing the full-frame battle. The R-mount roadmap & greed of Canon has been a bit of a mess; Canon's hanging on due to their loyal users (I was one of them), but Sony keeps innovating, which benefits us in the end. Thanks for the video!
I am not ditching Canon, but I wanted a Tamron 35-150mm F2-2.8 lens, so I now have a Sony 7A IV and a couple of lens. Many of my newer Canon EF lenses work perfectly on my Sony via the Artisan EF/EFS to Sony E adapter. . My older EF Lens just loose auto focuses but is fine in manual focus.
what you said about sending film in to be developed in a lab is why I always roll my eyes at people who over fantasies film and insist film is always better.
Film needs to be developed it doesn't come out of the camera ready to be shown on a projector.
I see Color grading just the digital version of developing the film.
Same. I find it funny that most people like the “film look” that comes from cheap stocks and Walgreens 1 hour photo development and scans. Like that’s what the kids these days think is good film colors haha.
I left Canon and honestly after a month of getting use to my new fx3 I'm in love I'll never go back.....ever...because I'm gonna remember the generosity of sony and the greed of Canon...I'm sony forever💗📸
The most open and honest and true explanation of what is Canon. Awesome!
That feeling when you walk into an intervention happening….welcome to Sony, friend…(Muahahaha)
😂😂😂😂 sorry I’m late to the party
Great video! Over the last year or so, I have been leaning between staying with Canon and buying the C70 or switching to Sony FX6. Money-wise, I want to stay Canon; but, for my use, Sony is looking like the better value. It would just hurt have to buy a FX6, Sony lenses, batteries, ect.
Well after selling all my gear, I didn’t really lose any money! Granted that can take time
What happen to your RED ?? And ZCAM ??
I hope your message will reach to Canon Japan. I agree with what your saying. Canon isn’t concern much of their consumer. They are just holding back most of the features we needed. Btw your video was suggested by youtube itself.
Love being back on Sony myself! Switching to the canon R5 from the A7r4 was the biggest mistake I ever made…but live and learn I guess! Something I missed so much about sony is shooting photos in slog 3! It sounds odd but I have been grading all my photos in resolve with my video workflow and it’s AMAZING! You can even do 10 bit 4:2:2 stills in slog 3! So excited for your Sony content that I watched this video while driving home from work 😂 love your stuff brother! Keep it up!
Oh wow I might have to test that out on day!
What?
that log + LUT workflow is great in Photoshop with adjustment layer LUTs as well. I also enjoy stills processing in Resolve the import/export isn’t as simple
@@cammackey highly recommend trying to grade photos in DaVinci, i even made a video about it a year ago, but then some things happened (hint: I'm from Ukraine) , so i stopped making YT vids for awhile, now back to it.
Anyway, I use DaVinci for 90% of my photography work, it's amazing.
Great video, btw! Made me considering Sony system again, i got tired from Blackmagic's bulkyness.
dude the moment Canon put out the R6 mkii I lost it. I had recently purchased the r6 and still dealing with overheating even after the update and recording externally with a ninja V so I am ready to sell my gear and switch.
I shot film, processed, and printed for almost 15 years. In 2004 I transitioned from a film Nikon F5 to a digital Nikon D2x. Never had an issue with the supposedly “horrible Nikon color science” in the D2x, D610, or the D750. In fact, art directors used to ask me how I got such great skin colors from my Epson prints, LOL. Last year I picked up an A7S3 and last week an A7R5 and LOVE the colors I get in video and stills. Like @cammackey my needs changed and now I shoot more video in addition to e-commerce product work. OH, I switched to Capture One Pro and wondering why I took so long. If your colors suck it is you, not your gear. BTW, I get pretty swell colors out of my GoPro Hero cams as well.
A round of applause. Film photographer know what good skin tones are haha.
the level is quite nice to use when you want to straighten your horizons then switch off when you dont need it. just cycle up on the dpad
Thanks a lot man for honest review!!!
Yes, open gate. please Sony. Pretty new to your channel. Really loving it. FYI ...lol . I chose Sony because of the lenses And because e-mount can be adapted so easily as well.
i'm doing the switch right now, love the Sony low light capabilities.
we have to stand up for C Log2🚨
I'm glad a creator with larger online presence such as yourself is speaking out about Canon rather than being a sheeple like some people that rhyme with Heater Mclinen. I said the same thing when canon released the R5 and I dumped them immediately for Sony. Canon does not care about their consumers, their bottom line is to protect their top line of cinema cameras by intentionally crippling their cameras. The R5 could've shot 8k continuously and never had a overheating problem, but they engineered it that way, there was a breakdown from a real engineer who tore the R5 apart and there are so many red flags on that design showing that it was intentional, no real engineer would've designed the heatsink and camera that way. If Canon had made those cameras with no overheating, and raw and all of the abilities, no one would buy their higher end cinema line of cameras. I love Sony, they are always packing as much and as many features as they can into their bodies.
Honesty is one of your many gifts. I'm a fan.
I agree 100% Canon is the biggest offender when it comes to giving value to their customers.
Have you tested any recent Sonys for stills? Or what’s your go to currently when needed
Ha I think you answered right after I asked in the video
One of the main reasons I didn’t go with canon was lack of third party glass! I’ve been with Sony now for about 3ish years and I’ve been using the a7siii and a7iv as my combo dúo and haven’t decided to change anything since that! Just too good for me!😊
Have you played with the R3? I find myself using it over my R5c for fast b-roll. It’s really the best of both worlds, and the eye autofocus makes it so much more fun to shoot photos
Nah never touched it. Everything still applies to that camera. And I can’t stand using hybrid menu systems as a dedicated video camera. That’s why I loved the r5C so much cause it had cinema menus. But that’s all it had really.
Lots of people sold their C70 for the R3.
@@robmcd imagine a box styled R3 with cinema menu.. AND CLOG 2 in XF-AVC. Canon needs something like that.
@@cammackey My favorite thing about using the R3 is that it doesn't have the cinema menu like the r5c. And you you get all the great AF zone modes like we did on the R5. You should have a play with it!
@@Aaron-Almquist ditto the R6 MK II
Any thoughts on Blackmagic?
I have the Fx6 and I really love it 🎥😍
I thought this was going to be another click-bait 'I'm switching' video, so I was pleasantly surprised by your points. Unless influencers like yourself switch to other brands, Canon will have no incentive to allow third-party RF lenses or provide the 'pyramid' features such as C-Log2 (another one that annoys me is the lack of bluetooth/wifi for the R5C in video mode). Bravo for your decision, and hopefully Canon will listen to you. Best of luck for your new projects with the new equipment.
Agreed! I was bummed to find out the R5C didn’t have wireless. Just found out my FX6 had a whole damn wireless app. Can tap track focus and everything. It’s snappy too.
May I suggest trying the Lumix S5 mark ii, test it and see if it works for you.
I agree, but I can't afford to jump to the best on the day.i have the R3, it doesn't need accessories to run and gun. But no clog2 and the colours are very magenta. It is a pain but I can manage it for my YT content.