But Final Cut for large scale productions is not anywhere near the level I’d like from premiere or resolve. Also its color grading is not as extensive as resolve and even premiere. If speed is all you care about from your NLE then FC is so good. If you care about integration with after effects and audition then premiere is the no brainer. If you care about color then resolve is 100 percent better.
Ageeed its 100% a premier issue. This codec works perfect on DaVinci Resolve. Additionally I'm not seeing the issue with creating proxies thats apart of my workflow no matter what project or codec I'm on. Why stress the system if you dont need to for the basic edit. Once your in color grade then enable the full res video for accuracy and fine tuning.
@@RiceCubeTech my point was that he is blaming the codec but it is not the codec but the NLE. Yes Premier is more accepted overall but it trash in optimization.
@ 😂 Final cut is professional enough if you know what you are doing. Maybe your computer is laking in performance because a Mac Mini eats Canon RAW. Try again
great review! looking forward to the feature film. Would love to hear more about the challenges and triumphs in making your feature: from funding, timing, recruiting your team, post, and getting it out there.
Let’s put it this way, the C80 is great, the C70 is great, ANY CAMERA you get today is great. However I feel like if canon came out with a c70 mkii and did everything they improved on c80 like, build quality, SDI port, etc, BUT they keep the classic c70 DGO sensor, THAT would be a very good cinema camera
I understand the sentiment as a double c70 owner but this was the right move for Canon. Outside of not switching to cfexpress, the c8o improves on everything the c70 lacked while just giving up a marginal amount of DR. The move to full frame alone would be enough to people over the edge, but having autofocus improved, sdi, low light, WiFi, etc. This cam has it all
I agree with you on the photo lenses with AF in them. I am no camera or lens engineer but my theory has been the mechanical esk of AF creates this digital motion in the image, this is why I always prefered cinema lenses myself
Hey, nice video! I think that when you use iso 12,800 and then stop it down with ND you will have much more noise then use iso 800 and then brighten it up in post.
The C80 is a really amazing camera. The only thing that is stopping me from pulling the trigger is the dynamic range. CineD did their tests on the c400 (same sensor) and found it only had 10.5 stops of dynamic range when shooting in raw with no noise reduction. What do you think of the dynamic range on the c80? Is the noise reduction turned on by default?
@@dukebozikowski3801 I think that the dynamic range would be problem for me. Because it shoots raw, you can pretty much fake it how you want as in photos. But i would still buy c70, it has clearly better image. More "unprocessed" raw look, maybe more noise, but with these cameras the noise looks nice
@@dukebozikowski3801they’re testing 6k RAW at 6k. Most projects will be finished at 2 or 4k and there will be a DR benefit from downscaling. They’ve also been a bit dodgy on some other DR tests in the past and called out for it. Their r5c test being another suspect one where the clearly has way more dynamic range than what they reported. Gerald undone got much better results in his tests. I find the c80 incredibly usable under numerous conditions.
@@fraktor564 Yeah underexposing and bringing the shadows back and denoising can work sometimes for the C80 but it's not perfect. I would still get a c70 tho
I have the LUMIX S5ii. And I love the imagery I can capture with it. The one other camera I have my eye on, is the Canon C80. I don't think there are any cameras out there, except for maybe your high end ARRI and VENICE cameras, that won't have issues or things you have to work around. There are no perfect cameras. But, if and when I can, I definitely want to shoot with the C80. And you just sold me on it. LOL.
Get your self a tether usb c ( 20gb per sec speed) your raw file will play smooth as butter. I edited 8k raw and have no problem if i use the right cable with my ssd .
that 12,800 shot showed reflections of the light in the pool. Not sure if the pool was mean to simulate the ocean, but that shot would have been a no-go for me...BUTTTT it does show it can capture it! I hit this weird...point I guess with ISOs and base ISOs. I tried to stop feeling so limited in my lighting because of "base" ISOs as if I HAVE TO shoot in those ISOs and not divert from them. There was a film Potato Jet just covered with the DP and he decided to shoot most of this film at 12,800...on a Sony Venice. 12,800 is FARRRRRR higher than the Sony Venice second base ISO of I believe 3200? And the film looks incredible. I stopped letting base ISO limit me. Im an FX30 shooter, i have multiple FX30s and its the camera I played with the most where I said "This has everything I need" and everyone talks down on them saying "ohhhh its not good in low light!" Sorry, yes it is. Its not AS GOOD as an FX3 would be and post production will require some work to clean up that image...but YOU CAN clean up the image and you would have no idea. I defintely stopped playing by these "rules" we have set as cinematographers that we kinda gave ourselves and started bending the rules a bit to see what I can get out of them and - the results are usually appalling. This all kinda hit me when people complained the FX30 in 4k 120p was too noisey and I thought "well, ok. Let me go below base ISO to like 200 ISO and see what happens." People said "DONT DO THAT! Youll lose dynamic range!!!" Thats not how that works and I learned that by actually trying it. I have shot a multitude of different shots at base ISO 800 in 4k 120p and then the same shot in 200 ISO where Sony gives those little warning bars "hey, youre outside the base ISO!" and the dynamic range was exactly the same. Bend the rules, its fun! LOL
Sounded great up until the codecs, then got worse as you went into the input/output. Definitely better than a BMPCC, I’d take this over a Pyxis if both were free. I like 2 mini-xlr inputs, SDI is nice but for this price I’d like it closer to an URSA, FX6/9 setup which includes multiple SDI ports. Obviously that’s done on purpose since this needs to be differentiated from the more complete cinema set up of the C400 (as they both have the same full frame sensor, from what I’ve read). It’s basically an updated but less bells and whistles and smaller version of the C400. But no eyepiece viewfinder option or advanced audio controls, smaller (but possibly less ergonomic), and less controls. Needs external battery support for a full-on setup. It’s essentially a competitor to the Pyxis, a nice step above the Canon 5R series. Gives you enough features to turn it into a suitable full-setup for a cinema camera but could get annoying with limited input/outputs and other limitations like SD card only and weird ergonomics. But at the same time is amazing for taking out onto the streets, events, run and gun, b-roll, b-cam, throwing on all sorts of devices like sliders, gimbals, tripods, jibs, etc. So a great all around versatile camera, I would say the ideal market wouldn’t necessarily be vloggers or freelance videographers, but internal production departments or units or companies that handle mid-level but high quality work, who need a dependent camera and proven workflow, access to good customer service (canon), a reliable set of company branded lenses that interact with the camera best (canon R autofocus ), or want to take advantage of the versatility of the RF lens mount which supports all full frame lenses with the right adapter when necessary. Ideally I see news publications use stuff like this. I just spoke to someone at the SI Advance and they use the Canon 5R and C70. I can see the Wallstreet Journal using this as a main or B Camera. And advertising agencies shooting internal work and work for clients for mid- tier budgets using an internal production team. Or a production company shooting commercials that use their own gear for mid-tier and low-tier budgets. I can see this as a perfect camera for wedding and event videographers especially, as well as film/video journalists, especially travel journalists. UN correspondents internationally who need quick reliable setups (small batteries and SD cards and having advanced functionality when needed is amazing). Plus it’s reliable - you’ll have that nice rich Canon look you can depend on. Not the best camera to stylize with LUTS, but you can if you know what you’re doing. The 3600 base ISO is amazing for events and on-location film journalism. If you have Canon already, this is a no-brainer. If you own EF/RF glass, makes sense. If you want to shoot film and movie-quality work even for Netflix, this wouldn’t be my choice but you probably can. It’s a great B camera but could be cumbersome to match this camera to other cameras you may be using as a main camera (like Alexa or Venice). If I worked for a publication that wanted me to travel around, I’d consider this. Or if a company that owned Canon gear wanted to upgrade, I’d recommend this. I’d definitely choose this over a C400. If spending C400 $, there are other options I’d go with from other manufacturers - prob would go FX9. But if I were choosing for myself, I would choose something else depending on what I was going for. If I were doing a podcast and I wanted a reliable tripod or slider camera and it’s something like the Joe Rogan podcast, I think this would be a perfect camera actually. Easy to use, rich color and superb quality, autofocus, pro inputs and outputs (If you don’t need multiple SDIs). I believe it has Ethernet so you can use for studio control and greets for livestreams. Please correct me if I’m wrong. Above all, I’m sure it’s just a very reliable camera and has a good quality picture at the end of the day. If you just need something that looks great and you don’t wanna worry, especially about things like getting duds, which is typical for black magic (not to blast them, but I have had multiple products that have been faulty or completely DOA). That’s why I would definitely recommend this for professional use for companies who want a reliable product with good customer service and access to a wide range of third-party peripherals that work with Canon products. It’s a safe choice.
Premiere? yeah.. Adobe doesn't utilize your hardware. My C400 Raw footage also was lagging. Then I told my editor to switch to DaVinci, and all my GPU's 64gb, CPU 16 core, and 128 ram was utilized. I had 3 raw files in a timeline, all at 50 percent stacked, and it was smooth as a butter.
Yes, but Canon has notoriously bad 1080p on their 4k/6k cine cameras... I'm not sure why either. It's almost better to just film in 4k and add the footage to a 1080p timeline.
OK - So to all the wonderful folks who DON'T use autofocus, you guys are great. HOWEVER, please stop wondering why the rest of us do use autofocus lenses. Not everybody is hoping to make a real movie. Some of us just want the easiest way to to duplicate all the hard stuff that you do. I just bought a used Sony A7S3 for $1900. And I am so happy to through my basic 35MM Samyang on there and shoot at 12,800 ISO with an VND 🤣. If i ever get to the point where i need a focus puller, I will be sure to have real cinema lenses on deck. Until then, I'm just out here having fun.
The new camera is a good camera no doubt just like any other new camera made these days but: No open gate Poor anamorphic desqueeze options Slow rolling shutter Lame codecs It’s not worth the price. It’s best features are auto focus and nd’s built in
Cinema Raw light being hard to edit is Adobe problem as for FCP and Resolve cuts like butter, Also as someone who uses Cinema lenses should be no issue with Canon Menu system when you familiar. Keep up the solid work enjoying the content
I wouldn't call it a budget camera, but it's actually a very strong option in this segment. Unfortunately, due to the lack of a cfexpress slot, I'm leaning more towards Pyxis (switched from c200) ps. can you write title of first song used in film? :)
@0:20 you say, "this video is not sponsored by Canon" That's a long way from a full disclosure. Did you purchase the camera at full retail price or was it a loaner? Any other incentives or contras?
I've used the C70 and the FX3. The internal NDs in the C70 are nice, but 2 stops of ND is too much or too little of step of ND. The FX3 having the high base ISO is great, but jumping up, then stopping down with an ND is really annoying. The FX6 and FX9 seem to be nice with the Electronic VND that can be shockless and work in 1/3rd stops I believe. The images are very similar, the Canon C70 is softer, but charming in a way. The RF lenses are annoyingly expensive, but so are cinema lenses and need asapters anyway. The E-mount lenses are great, but again arent cinema lenses. The C80 being 6K is cool for punching in if need be, but most things online are still delivered in 1080. The C70/C80 is great for team projects being bulky, while the FX3 is smaller and can be rigged up or down for one man projects.
The FX3 and all Sony cams are not Canon color by a long shot. What have you seen between the Fx3 and C70? I have the A1, R5, R3 and used the FX3. The FX3 has better color than the A1.
Premiere pro is not friendly with the raw Plus you don’t get all the benefits Use Davinci resolve I was editing 8K raw LT from the R5C in Davinci with no issues on a 8gb m2 MacBook Pro. And you get to change ISO, distortion, WB, expo, sharpness, contrast, etc… all before even getting into the actual color grading
from what I have seen on many videos, yes. The fx3 does have built in noise reduction that you can not turn off. th-cam.com/video/LLQ_ksMd-o8/w-d-xo.htmlsi=NyS-0doOBmTMCP2L
@@J_Johnson.Productions it’s a bad idea because you are creating another point of failure regardless of how fast it is. And you cannot record internally as backup so if something goes wrong your SOL I personally would never would use SSD external recording because I’ve seen and heard too many moments where ssd got corrupted, stopped working mid recording or someone used the wrong cable.
canon claims 16 stops of dynamic range while its around 12 stops at best in real life.. i saw a test and this canon sensor was more noisy than a sony fx30 with its apsc sensor...
BOOM!! As a C400 owner I appreciate your thoughts here. Yes, the 6k is a bit rough. I shoot Super35 RAW LT almost always. I wish we could record to an SSD using the usbc instead of SD's.
@@dukebozikowski3801 I know. I have one. I'm talking about the similar C80 in that regard. I would have bought one of them. Thanks for the insight here. :D
I think this camera tested around 13 stops dynamic range in latitude tests. Canon seems to exaggerate their numbers and they've been doing this for decades!
Does this mean they exagerrated the canon c70 as well? I have both cameras and i've been hesitant to sell the c70 comes i'm worried the c80 doenst have the same dynamic range.
I’ve gone with Sony cinema cameras for the built in ND over my Red not because I’m not using filters in the trays but it’s just faster to do in camera. I’ve put an ND filter in the tray and still use the built in ND at times to get closer to what I need if things are very bright and I’m wide open. Especially useful if using fx filters in your matte box
Yes you can via HDMI on the C80. I also have the Ninja Ultra, and it recently got a firmware update that allows it to record 6k60 ProRes RAW via HDMI from the C80, which is great, since it tops at 6k30 internally. A huge caveat, Davinci Resolve does not support ProRes RAW, only regular ProRes. Unfortunately no camera controls via the Atomos recorders, at least not yet!
Yea. But it’s never the same. At that point, you may as well use a different camera system altogether that gives you the recording media format and codec you want. However, if you already owned the recorder and occasionally wanted to record really long takes or not worry about changing, that’s a good workaround. But personally if I were shooting long clips, I wouldn’t default to this method, I would consider a different camera.
As for the fx3 comparison, honestly I dont think you need to be afraid of using a non base ISO (on the fx3 specifically), even if you need a little bit of noise reduction in post, tho in most lighting scenarios where you need between 800 and 12800, you wouldnt get much noise
Exactly 💯, you said this pretty well. Truly tired of the whole iso argument. Base ISO is a company suggestion based on what the camera was tested for in factory. But any iso between the bases are usable. Especially as long as you light the scene appropriately that matters more than anything.
Every gear (on used market) more expensive than 1400$ is not really scalable for my “financial” demographic . It would be if I shot feature films (1% of TH-cam filmmakers). But I only make amateur short movies and the Canon Cinema line from 2012 is more than enough. Full stop.
I've been in a lot (A LOT) of shootings where the DOP requested cinema lenses (even anamorphic), and I never found any difference with good photo zoom lenses. And side by side, I really doubt anyone could do it in a blind test. They are completely overrated. Just my opinion.
Nikon Z9 beats it in every way. 8k60 12 bit raw, 8k30 prores HQ 12bit, dual CF Express type B slots instead of dual SD cards, better battery life, equal high ISO performance, it's cheaper, more durable, RED color science, plus it does photo. You can even use Sony glass on it with full autofocus tracking. If you don't mind the different form factor, the Z8 can do mostly the same with a few trade offs for half the price of the C80, on the used market.
@@rialsgazelle9380the R5C had 8k60p and it came out 3 years ago so it’s not like canon can’t make good 8k sensors, majority of the pros don’t use 8k when they work, resolution ain’t all, tests of the Z6III shows insanely low DR same with Z8/Z9 they are no DR monsters 😅
The Z9 beats it on paper maybe. Show me the footage on You Tube because Z9 professional video does not exist. If you post great video from the Z9 that would be amazing.
I’ve gone with Sony cinema cameras for the built in ND over my Red not because I’m not using filters in the trays but it’s just faster to do in camera. I’ve put an ND filter in the tray and still use the built in ND at times to get closer to what I need if things are very bright and I’m wide open. Especially useful if using fx filters in your matte box
![Overrated: Camera features that don't matter [ft Gerald Undone]](/img/n.gif)
for me a budget camera is between 1k to 2.5 usd😭
Yes for me too, but this is a budget CINEMA camera
This is a IPhone budget
@@AndresArosemenaYeah... You can buy the S5IIX or the FF BMCC6K (same sensor in both) for ~$2,000
He said budget... and that's subjective.
That's because you're poor
3:57 your problem is premier not the codec. Final cut manages them just fine
But Final Cut for large scale productions is not anywhere near the level I’d like from premiere or resolve. Also its color grading is not as extensive as resolve and even premiere.
If speed is all you care about from your NLE then FC is so good. If you care about integration with after effects and audition then premiere is the no brainer. If you care about color then resolve is 100 percent better.
Ageeed its 100% a premier issue.
This codec works perfect on DaVinci Resolve.
Additionally I'm not seeing the issue with creating proxies thats apart of my workflow no matter what project or codec I'm on.
Why stress the system if you dont need to for the basic edit.
Once your in color grade then enable the full res video for accuracy and fine tuning.
@@RiceCubeTech my point was that he is blaming the codec but it is not the codec but the NLE. Yes Premier is more accepted overall but it trash in optimization.
canon codec is very bad in davici resolve as well. final cut is not professional enough in my opinion.
@ 😂 Final cut is professional enough if you know what you are doing. Maybe your computer is laking in performance because a Mac Mini eats Canon RAW. Try again
great review! looking forward to the feature film. Would love to hear more about the challenges and triumphs in making your feature: from funding, timing, recruiting your team, post, and getting it out there.
All of that coming soon my friend
Brilliant video Alex! power as always!
Thanks my friend
Let’s put it this way, the C80 is great, the C70 is great, ANY CAMERA you get today is great. However I feel like if canon came out with a c70 mkii and did everything they improved on c80 like, build quality, SDI port, etc, BUT they keep the classic c70 DGO sensor, THAT would be a very good cinema camera
Agreed. The c70 sensors is what's needed as full frame. C80 looks good though
I understand the sentiment as a double c70 owner but this was the right move for Canon. Outside of not switching to cfexpress, the c8o improves on everything the c70 lacked while just giving up a marginal amount of DR. The move to full frame alone would be enough to people over the edge, but having autofocus improved, sdi, low light, WiFi, etc. This cam has it all
I agree with you on the photo lenses with AF in them. I am no camera or lens engineer but my theory has been the mechanical esk of AF creates this digital motion in the image, this is why I always prefered cinema lenses myself
10000%
Is that the teleprompter I see at the bottom of your frame?
Hey, nice video! I think that when you use iso 12,800 and then stop it down with ND you will have much more noise then use iso 800 and then brighten it up in post.
Exactly
The C80 is a really amazing camera.
The only thing that is stopping me from pulling the trigger is the dynamic range.
CineD did their tests on the c400 (same sensor) and found it only had 10.5 stops of dynamic range when shooting in raw with no noise reduction.
What do you think of the dynamic range on the c80? Is the noise reduction turned on by default?
@@dukebozikowski3801 I think that the dynamic range would be problem for me. Because it shoots raw, you can pretty much fake it how you want as in photos. But i would still buy c70, it has clearly better image. More "unprocessed" raw look, maybe more noise, but with these cameras the noise looks nice
@@dukebozikowski3801they’re testing 6k RAW at 6k.
Most projects will be finished at 2 or 4k and there will be a DR benefit from downscaling.
They’ve also been a bit dodgy on some other DR tests in the past and called out for it.
Their r5c test being another suspect one where the clearly has way more dynamic range than what they reported.
Gerald undone got much better results in his tests.
I find the c80 incredibly usable under numerous conditions.
@@fraktor564 Yeah underexposing and bringing the shadows back and denoising can work sometimes for the C80 but it's not perfect. I would still get a c70 tho
OTHER HUGE PROBLEM WIHT C80 IS SENSOR DUST, WHICH IS REALLY VISIBLE. THE C70 DOESN'T HAS THAT! WEIRD!
I have the LUMIX S5ii. And I love the imagery I can capture with it. The one other camera I have my eye on, is the Canon C80. I don't think there are any cameras out there, except for maybe your high end ARRI and VENICE cameras, that won't have issues or things you have to work around. There are no perfect cameras. But, if and when I can, I definitely want to shoot with the C80. And you just sold me on it. LOL.
Get your self a tether usb c ( 20gb per sec speed) your raw file will play smooth as butter. I edited 8k raw and have no problem if i use the right cable with my ssd .
that 12,800 shot showed reflections of the light in the pool. Not sure if the pool was mean to simulate the ocean, but that shot would have been a no-go for me...BUTTTT it does show it can capture it!
I hit this weird...point I guess with ISOs and base ISOs. I tried to stop feeling so limited in my lighting because of "base" ISOs as if I HAVE TO shoot in those ISOs and not divert from them. There was a film Potato Jet just covered with the DP and he decided to shoot most of this film at 12,800...on a Sony Venice. 12,800 is FARRRRRR higher than the Sony Venice second base ISO of I believe 3200? And the film looks incredible. I stopped letting base ISO limit me. Im an FX30 shooter, i have multiple FX30s and its the camera I played with the most where I said "This has everything I need" and everyone talks down on them saying "ohhhh its not good in low light!" Sorry, yes it is. Its not AS GOOD as an FX3 would be and post production will require some work to clean up that image...but YOU CAN clean up the image and you would have no idea. I defintely stopped playing by these "rules" we have set as cinematographers that we kinda gave ourselves and started bending the rules a bit to see what I can get out of them and - the results are usually appalling. This all kinda hit me when people complained the FX30 in 4k 120p was too noisey and I thought "well, ok. Let me go below base ISO to like 200 ISO and see what happens." People said "DONT DO THAT! Youll lose dynamic range!!!" Thats not how that works and I learned that by actually trying it. I have shot a multitude of different shots at base ISO 800 in 4k 120p and then the same shot in 200 ISO where Sony gives those little warning bars "hey, youre outside the base ISO!" and the dynamic range was exactly the same. Bend the rules, its fun! LOL
Great comment
More like 12 stops of dr
Exactly
lol yup
I've also seen confirmation that Canon has exaggerated this number!
Around 14 when shooting in LOG, 11,8 when shooting in RAW. CineD has a lab testchart
@@baumnico log 2 or any log?
Sounded great up until the codecs, then got worse as you went into the input/output. Definitely better than a BMPCC, I’d take this over a Pyxis if both were free. I like 2 mini-xlr inputs, SDI is nice but for this price I’d like it closer to an URSA, FX6/9 setup which includes multiple SDI ports. Obviously that’s done on purpose since this needs to be differentiated from the more complete cinema set up of the C400 (as they both have the same full frame sensor, from what I’ve read). It’s basically an updated but less bells and whistles and smaller version of the C400. But no eyepiece viewfinder option or advanced audio controls, smaller (but possibly less ergonomic), and less controls. Needs external battery support for a full-on setup. It’s essentially a competitor to the Pyxis, a nice step above the Canon 5R series. Gives you enough features to turn it into a suitable full-setup for a cinema camera but could get annoying with limited input/outputs and other limitations like SD card only and weird ergonomics. But at the same time is amazing for taking out onto the streets, events, run and gun, b-roll, b-cam, throwing on all sorts of devices like sliders, gimbals, tripods, jibs, etc. So a great all around versatile camera, I would say the ideal market wouldn’t necessarily be vloggers or freelance videographers, but internal production departments or units or companies that handle mid-level but high quality work, who need a dependent camera and proven workflow, access to good customer service (canon), a reliable set of company branded lenses that interact with the camera best (canon R autofocus ), or want to take advantage of the versatility of the RF lens mount which supports all full frame lenses with the right adapter when necessary. Ideally I see news publications use stuff like this. I just spoke to someone at the SI Advance and they use the Canon 5R and C70. I can see the Wallstreet Journal using this as a main or B Camera. And advertising agencies shooting internal work and work for clients for mid- tier budgets using an internal production team. Or a production company shooting commercials that use their own gear for mid-tier and low-tier budgets. I can see this as a perfect camera for wedding and event videographers especially, as well as film/video journalists, especially travel journalists. UN correspondents internationally who need quick reliable setups (small batteries and SD cards and having advanced functionality when needed is amazing). Plus it’s reliable - you’ll have that nice rich Canon look you can depend on. Not the best camera to stylize with LUTS, but you can if you know what you’re doing. The 3600 base ISO is amazing for events and on-location film journalism. If you have Canon already, this is a no-brainer. If you own EF/RF glass, makes sense. If you want to shoot film and movie-quality work even for Netflix, this wouldn’t be my choice but you probably can. It’s a great B camera but could be cumbersome to match this camera to other cameras you may be using as a main camera (like Alexa or Venice). If I worked for a publication that wanted me to travel around, I’d consider this. Or if a company that owned Canon gear wanted to upgrade, I’d recommend this. I’d definitely choose this over a C400. If spending C400 $, there are other options I’d go with from other manufacturers - prob would go FX9. But if I were choosing for myself, I would choose something else depending on what I was going for. If I were doing a podcast and I wanted a reliable tripod or slider camera and it’s something like the Joe Rogan podcast, I think this would be a perfect camera actually. Easy to use, rich color and superb quality, autofocus, pro inputs and outputs (If you don’t need multiple SDIs). I believe it has Ethernet so you can use for studio control and greets for livestreams. Please correct me if I’m wrong. Above all, I’m sure it’s just a very reliable camera and has a good quality picture at the end of the day. If you just need something that looks great and you don’t wanna worry, especially about things like getting duds, which is typical for black magic (not to blast them, but I have had multiple products that have been faulty or completely DOA). That’s why I would definitely recommend this for professional use for companies who want a reliable product with good customer service and access to a wide range of third-party peripherals that work with Canon products. It’s a safe choice.
Premiere? yeah.. Adobe doesn't utilize your hardware. My C400 Raw footage also was lagging. Then I told my editor to switch to DaVinci, and all my GPU's 64gb, CPU 16 core, and 128 ram was utilized. I had 3 raw files in a timeline, all at 50 percent stacked, and it was smooth as a butter.
Not gonna lie, I'm more excited about the feature film than the cameras lol. The lighting on these shots... butter!
@@marcgilles4520 🙏🏻 thanks brother
What about 1080P? Does it oversample from 6K like the FX9 too?
Yes, but Canon has notoriously bad 1080p on their 4k/6k cine cameras... I'm not sure why either. It's almost better to just film in 4k and add the footage to a 1080p timeline.
OK - So to all the wonderful folks who DON'T use autofocus, you guys are great. HOWEVER, please stop wondering why the rest of us do use autofocus lenses. Not everybody is hoping to make a real movie. Some of us just want the easiest way to to duplicate all the hard stuff that you do. I just bought a used Sony A7S3 for $1900. And I am so happy to through my basic 35MM Samyang on there and shoot at 12,800 ISO with an VND 🤣. If i ever get to the point where i need a focus puller, I will be sure to have real cinema lenses on deck. Until then, I'm just out here having fun.
The old Canon EF 24-105 f4 gives a very organic look.
The new camera is a good camera no doubt just like any other new camera made these days but:
No open gate
Poor anamorphic desqueeze options
Slow rolling shutter
Lame codecs
It’s not worth the price.
It’s best features are auto focus and nd’s built in
Your Ursa 12k footage looks much better
Sure does. If you want a 13lb rigged camera to run and gun with, like this was designed for, then go for it.
Very nice video except for too loud music. No hate. Just for me the music was disturbing to clearly get your message.
Cinema Raw light being hard to edit is Adobe problem as for FCP and Resolve cuts like butter, Also as someone who uses Cinema lenses should be no issue with Canon Menu system when you familiar. Keep up the solid work enjoying the content
I wouldn't call it a budget camera, but it's actually a very strong option in this segment. Unfortunately, due to the lack of a cfexpress slot, I'm leaning more towards Pyxis (switched from c200) ps. can you write title of first song used in film? :)
@0:20 you say, "this video is not sponsored by Canon"
That's a long way from a full disclosure. Did you purchase the camera at full retail price or was it a loaner? Any other incentives or contras?
car mount details please
We used the small rig suction cup rig
I can edit my Cinema 6k BRAW with no issue on a 2020 iMac.
I've used the C70 and the FX3. The internal NDs in the C70 are nice, but 2 stops of ND is too much or too little of step of ND. The FX3 having the high base ISO is great, but jumping up, then stopping down with an ND is really annoying. The FX6 and FX9 seem to be nice with the Electronic VND that can be shockless and work in 1/3rd stops I believe. The images are very similar, the Canon C70 is softer, but charming in a way. The RF lenses are annoyingly expensive, but so are cinema lenses and need asapters anyway. The E-mount lenses are great, but again arent cinema lenses. The C80 being 6K is cool for punching in if need be, but most things online are still delivered in 1080. The C70/C80 is great for team projects being bulky, while the FX3 is smaller and can be rigged up or down for one man projects.
The FX3 and all Sony cams are not Canon color by a long shot. What have you seen between the Fx3 and C70? I have the A1, R5, R3 and used the FX3. The FX3 has better color than the A1.
Premiere pro is not friendly with the raw
Plus you don’t get all the benefits
Use Davinci resolve
I was editing 8K raw LT from the R5C in Davinci with no issues on a 8gb m2 MacBook Pro. And you get to change ISO, distortion, WB, expo, sharpness, contrast, etc… all before even getting into the actual color grading
there were already 300 of these videos out when you made this one
Does 3200 ISO on a FX3 have noise?
from what I have seen on many videos, yes. The fx3 does have built in noise reduction that you can not turn off.
th-cam.com/video/LLQ_ksMd-o8/w-d-xo.htmlsi=NyS-0doOBmTMCP2L
You lost me when you mentioned the P word. Lol.
But great review
Nice Video. Any thoughts on the Budget Camera for TH-cam? Just commenting this for helping the algorithm
I have a
panasonic G85 its small films 4k and has stabilisation itsa m43 but I use a speedboster to counter the 2x image crop!!
lol I appreciate it brother but to answer your question for TH-cam I like the FX30 affordable and solid
@@Alexzarfatifilms Thanks for reply and keep bringing us such content.
I can recommend panasonic s5 or s5ii. Nice cameras
@@ThiagoVasBellizia Thanks mate appreciate the help.
Sick! Luvvvvv it
Doesn't the c80 have ssd recording??
If not why, would it not have it?
It does not
Why? Maybe because it’s the worst method of recording media
@@clivebrincat88 explain how recording to the fastest from of media is a worst method for a Cinema Camera??????? I'm interested in you reasoning
Yeah, they really messed up by not adding USB-C to SSD recording... At the very least, they could have used CF Express type B instead of SD
@@J_Johnson.Productions it’s a bad idea because you are creating another point of failure regardless of how fast it is. And you cannot record internally as backup so if something goes wrong your SOL
I personally would never would use SSD external recording because I’ve seen and heard too many moments where ssd got corrupted, stopped working mid recording or someone used the wrong cable.
Budget?
canon claims 16 stops of dynamic range while its around 12 stops at best in real life.. i saw a test and this canon sensor was more noisy than a sony fx30 with its apsc sensor...
Which channel ?
Bad test from a guy that didn't expose correctly. The C80 has more than 12 stops.
BOOM!! As a C400 owner I appreciate your thoughts here. Yes, the 6k is a bit rough. I shoot Super35 RAW LT almost always. I wish we could record to an SSD using the usbc instead of SD's.
I know, the SD card situation is a bummer.
C400 takes CFexpress, you might want to look into that
@@dukebozikowski3801 I know. I have one. I'm talking about the similar C80 in that regard. I would have bought one of them. Thanks for the insight here. :D
I think this camera tested around 13 stops dynamic range in latitude tests. Canon seems to exaggerate their numbers and they've been doing this for decades!
Does this mean they exagerrated the canon c70 as well? I have both cameras and i've been hesitant to sell the c70 comes i'm worried the c80 doenst have the same dynamic range.
Triple has one "P"
sorry but for me that price i can buy red old version like epic dragon i can get 6k 75 fps full format and 6k 2.4:1 100 fps
In Australia this camera is super expensive
I’ve gone with Sony cinema cameras for the built in ND over my Red not because I’m not using filters in the trays but it’s just faster to do in camera. I’ve put an ND filter in the tray and still use the built in ND at times to get closer to what I need if things are very bright and I’m wide open. Especially useful if using fx filters in your matte box
bro do you know a camera called GH7? you will forget C80
I love my Sony autofocus.
No one ask
Can you use an atomos ninja v and use SSD to record prores?
I don’t see why you couldn’t given that the Atomos can record on a separate SSD independently
Yes you can via HDMI on the C80. I also have the Ninja Ultra, and it recently got a firmware update that allows it to record 6k60 ProRes RAW via HDMI from the C80, which is great, since it tops at 6k30 internally. A huge caveat, Davinci Resolve does not support ProRes RAW, only regular ProRes. Unfortunately no camera controls via the Atomos recorders, at least not yet!
Yea. But it’s never the same. At that point, you may as well use a different camera system altogether that gives you the recording media format and codec you want. However, if you already owned the recorder and occasionally wanted to record really long takes or not worry about changing, that’s a good workaround. But personally if I were shooting long clips, I wouldn’t default to this method, I would consider a different camera.
Brother, you need some Magic in your life.....BlackMagic!
He said he uses only BM cameras lol
@@MS88nyc
and clearly, he doesn’t
As for the fx3 comparison, honestly I dont think you need to be afraid of using a non base ISO (on the fx3 specifically), even if you need a little bit of noise reduction in post, tho in most lighting scenarios where you need between 800 and 12800, you wouldnt get much noise
Exactly 💯, you said this pretty well. Truly tired of the whole iso argument. Base ISO is a company suggestion based on what the camera was tested for in factory.
But any iso between the bases are usable. Especially as long as you light the scene appropriately that matters more than anything.
budget? wow comparing to what budget cameras? :D
Thanks for the video. I love my c80! Ditto on the 6k raw and the SD cards as a big cons.
Budget is relative
Every gear (on used market) more expensive than 1400$ is not really scalable for my “financial” demographic . It would be if I shot feature films (1% of TH-cam filmmakers). But I only make amateur short movies and the Canon Cinema line from 2012 is more than enough. Full stop.
Blackmagic Raw is beautiful gold. It's wild you can edit 12k BRAW but not 6k Canon "lite"
Autofocus sucks
youre stoked about it because of those canon colors theyre undeniable..
There is no noise!? And then, there is the FPN here: th-cam.com/video/97LAjneEi-4/w-d-xo.html
Switch to Davinci, buddy! It’s a “must” nowadays
16 stop dr ?) lol
C70's DGO will be missed
Budget? 6000 dollars
On paper it's perfect...
And that's where it ends too
@watzmaaname exactly.
I've been in a lot (A LOT) of shootings where the DOP requested cinema lenses (even anamorphic), and I never found any difference with good photo zoom lenses. And side by side, I really doubt anyone could do it in a blind test. They are completely overrated. Just my opinion.
Valid
Nikon Z9 beats it in every way. 8k60 12 bit raw, 8k30 prores HQ 12bit, dual CF Express type B slots instead of dual SD cards, better battery life, equal high ISO performance, it's cheaper, more durable, RED color science, plus it does photo. You can even use Sony glass on it with full autofocus tracking. If you don't mind the different form factor, the Z8 can do mostly the same with a few trade offs for half the price of the C80, on the used market.
Red color science 😂
I think even the Z6iii does 6k at 60fps
@@rialsgazelle9380the R5C had 8k60p and it came out 3 years ago so it’s not like canon can’t make good 8k sensors, majority of the pros don’t use 8k when they work, resolution ain’t all, tests of the Z6III shows insanely low DR same with Z8/Z9 they are no DR monsters 😅
Lol u realise canon R5, R5c and R52 can do all the z9 can do ? People who buying cinema cameras are buying it for other reasons
The Z9 beats it on paper maybe. Show me the footage on You Tube because Z9 professional video does not exist. If you post great video from the Z9 that would be amazing.
Budget??? Lmaooo
C80 12 stop rolling shater 😢
BUDGET?
Canon Color Space is trash. End of story .
I’ve gone with Sony cinema cameras for the built in ND over my Red not because I’m not using filters in the trays but it’s just faster to do in camera. I’ve put an ND filter in the tray and still use the built in ND at times to get closer to what I need if things are very bright and I’m wide open. Especially useful if using fx filters in your matte box