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Patrick Quesnel

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  1. I have used both the canon C300 mkii and the Sony F5 (not F55, but similar enough to compare) when I was in film school to shoot short films. These cameras were built for 2 different styles of shooting, one for more doc style solo shooting (c300), and studio film production, where there are camera assistants to deal with the camera (F55). Ergonomically I prefer the F5 when shooting with it on my shoulder, I like the size/shape of it more than the c300. Mainly though I prefer looking through a viewfinder and the oled viewfinder for the F55 is better than any solution you will get for the C300, and I never been able to find a position I liked when using the lcd that comes with the c300. The c300 will be faster to work with than the F55 as a solo shooter as it is easier to change most settings on the c300 than the F55. Although the F55 has that nice lcd panel on the side with quick access to the most commonly changed settings, a lot of the options are dependent on settings in the deeper menu of the camera. The F5 also uses a lot more scientific/advanced wording in their menus, which I think deterred a lot of people in my program from using it, it does have a slight bit more of a learning curve if coming from most other cameras to understand what each setting does and how it will effect other settings. As far as colours go, the canon leads a little more into the magenta/reds, and the Sony is a little more neutral in its look, similar to most other canon/sony of that era. I didn't do much low light stuff, but i did find with the F5 having a proper exposure was more critical for a clean image than the canon. On a personal level, I find the Sony cine cameras of that time have a look that I can't seem to explain but there has been moments like when watching "A Million Ways to Die in the West", where I was able to tell that was shot on a Sony. For both cameras you need an external raw recorder to shoot Raw, but for the F55 you will need an R5 or R7 unit that uses AXS cards. The F55 also has the ability to shoot in ProRes and DNxHD codecs if you have the optional board installed. Internally I have shot in XAVC on the Sony F5 and probably all codecs on the C300 Mkii. I rarely touched the files as I didn't do any editing or colour work, but I can't remember having any issues when I did use them in premiere. The C300 Mkii is a newer camera by a few years, but like always it comes down to the user and I am sure you can get a great image out of either of them. Personally I prefer the overall image quality and options of the C300 mkii, it does feel a little more modern of a camera over the F5. But I do prefer the body, viewfinder, shape, menus and lcd side panel of the F5 over the C300 for my uses on short films, with an assistant. All of this is just from memory of my experiences using them a few years back as a student, and I am sure there are a lot more people who have worked with them professionally and have more knowledge on them than I do.
  2. Yeah, it is quite dirty. My other rolls were cleaner but they were also processed at a different date. I will give another lab a try on my next roll. Thanks everyone for their responses!
  3. Yes, my eye was to the viewfinder, and it was machine processed. And yeah, that lack of consistency in the leaks is definitely throwing me off. Could be static related. But I have shot some stuff in warmer months that also had similar flashing. Is it possible for a static discharge to be produced by the mechanics of a camera? Fresh raw stock
  4. Hi all, looking for your expertise in helping identify the cause of some light leaking/flashing (I'm not quite sure what to call them). I have shot a few rolls of Tri-x and have noticed quite a bit of random flashes of light happening. Iv noticed the flashes most often appear in the last two seconds of a shot before I cut, but not always. Here is a link to an example: https://youtu.be/zzo9Ox6MQxc The example I posted is one of the worst cases of it, usually it is not near as strong or frequent. My camera is a Arriflex 16ST with a Tobin TM23 motor and an Angenieux 12-120. I shot 100ft daylight rolls that I loaded in low light, and I taped around the camera cover after loading. Any insights are appreciated, Thank you 🙂
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