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CAMERALAB | CANON C70

Greetings and welcome to my blog!

For those who are new here, I've previously posted articles about camera and filming gear tests which can be found on the right-hand side of this article.

Recently, I had the opportunity to test the new Canon C70 and I would like to express my gratitude to Canon for allowing me to use it for a week.

Canon C70 camera body

I want to clarify that I am not a Canon ambassador nor have I been paid by them. This review is solely my honest opinion about the camera's capabilities and features.

Without further ado, let's delve into the details. I tested the camera for 5-6 days, both indoors and outdoors, in various lighting conditions and formats, and I must say, the Canon C70 is a significant advancement for Canon.

I used the Canon C300 mk1 for my first documentary in 2015 (available on Amazon Prime), and since then, Canon has made significant improvements, and the C70 is the latest addition to their fantastic collection of cinema cameras. The C70 shares the same C300 MkIII sensor, a 4K Super 35mm DGO sensor, which produces clean low-light image quality and over 13 stops of dynamic range. (UPDATE: see the latest camera test for Cinema Light - RAW here).

Although I did not have the opportunity to test it on an actual job, what follows is an honest and objective opinion about the camera and its features.

design

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The body of the C70 feels sturdy and has a grip that resembles the Canon 1DX mk2. Holding it feels like having a large DSLR in hand, but surprisingly, it's not heavy. I believe that Canon has a better approach to usability design compared to other manufacturers.

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The device has 12 distinct buttons that are pleasant to the touch, easily identifiable, and responsive. However, the button located near the thumb on the right-hand grip feels somewhat awkward, as I occasionally felt it could be pressed accidentally.

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It's interesting to note that the Canon EOS C70 doesn't come with an electronic viewfinder, despite its mirrorless/DSLR design. Relying solely on the LCD screen could prove challenging, especially in bright or overcast conditions. While attaching a monitor is an option, it takes away from the camera's portability.

FEATURES

Below you can find the features of the camera

Sensor: 8.85MP Super 35mm Dual Gain Output 
Lens Mount: Canon RF
Processor: Digic DV7

Video formats: XF-AVC (MXF) ALL-I or Long GOP, 4:2:2 10-bit • MP4 H.265/HEVC, 4:2:2 10-bit • MP4 H.264, 4:2:0 8-bit • 26.2 x 13.8 mm (29.6 mm on the diagonal) in 4096 x 2160 or 2048 x 1080 • 24.6 x 13.8 mm (28.2 mm on the diagonal) in 3840 x 2160 or 1920 x 1080

Frame Rates: 59.94Hz mode (59.94P / 59.94i / 29.97P / 23.98P) • 50.00Hz mode (50.00P / 50.00i / 25.00P) • 24.00 Hz mode (24.00P) • Slow-motion 4K up to 120fps • Slow-motion 2K (crop) up to 180fps (audio recording at normal frame rate possible)

Gamma curves: BT.709 Wide DR (T.709 Gamut), C-Log2 (Cinema Gamut), C-Log3 (Cinema Gamut) PQ (BT.2020 Gamut), HLG (BT.2020 Gamut)

ISO: Base ISO800 • Dual Gain Output ISO160-25600 (expandable to ISO100-102400) 
Dynamic Range: 16 stops 

Autofocus: Dual Pixel CMOS AF, Contrast AF (Face Priority, Face Only and Tracking AF modes available), with EOS iTR AFX (head tracking)

Controls: Peaking, waveform, zebras, false color display, markers
Shutter speed: 1-1/2000 sec depending on frame rate
Shutter angle: 11.25º to 360º depending on frame rate
Filters: Built-in ND filters in 2, 4 or 6 Stops (10 in extended mode)
Memory card: 2 x SD/SDHC UHS-II
LCD: Fully articulating 3.5-inch touchscreen • 2.76 million dots (1280 x 720 x RGB)

Connectivity: Mini XLR 3-pin connector x2, 3.5 mm audio in stereo mini jack (input only), 3.5 mm stereo headphone mini jack (output only, camera body), HDMI Type A (output only), USB Type C (USB 3.2 Gen1), Time Code BNC / HDMI, Remote A connector 2.5 mm stereo mini-jack (input only

Size: 160 x 130 x 116 mm
Weight: 1,190g (with grip belt and measure hook)

I must say I was thoroughly impressed. The design of the camera is sleek and compact, making it easy to handle and carry around. The image quality is top-notch, with sharp details and vibrant colors that really bring your footage to life.

One of the standout features of the Canon C70 is its ability to shoot in 4K at 120 frames per second. This allows for incredibly smooth slow-motion footage that really adds a professional touch to your work. The autofocus system is also very impressive, with quick and accurate tracking that keeps your subject in focus even when it's moving around. But that's not all - the Canon C70 is also a great camera to use with gimbals.

The compact design and lightweight body make it easy to mount on a gimbal, which allows for even smoother footage when you're on the move. The image stabilization is also top-notch, which means you can get steady shots even when you're walking or running.

Another great feature of the Canon C70 is its audio capabilities. The camera has built-in XLR inputs and an audio control panel, making it easy to capture high-quality sound that's perfectly synced with your video footage. The camera also has a built-in ND filter, which helps to control exposure and maintain consistent lighting in any environment.

Overall, I would highly recommend the Canon C70 to anyone looking for a powerful and versatile camera that can handle a wide range of shooting situations. Whether you're a professional filmmaker or a hobbyist looking to take your videos to the next level, the Canon C70 is definitely worth considering. And if you're looking to use it with a gimbal, you'll be happy to know that it's a great choice for that too.

canon c70 gimbal DJI Ronin
CAMERALAB | SONY PXW-FX9 FF and ATLAS ORION ANAMORPHIC

Hi Everyone!

Here’s my first blog post, where I’ll showcase some behind the scenes from my work, posting some 35mm film stills and talking about some camera tests. I hope you’ll enjoy it even though I’m not a good writer and I’m not good at keeping a blog updated, sorry in advance!

This first post is focused on the PXW-FX9, the latest full-frame camera produced by Sony, and some tests I did back in June 2020 with Spherical and Anamorphic lenses @ Shootblue, right after they re-opened their offices. If you don't know them, have a look at their website or ask for a demo, they have a lot of equipment available and great facilities for professionals to test out filming equipment.

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Sony developed this camera based on the PXW-FS7, one of the most interesting and versatile cameras on the market. I personally used the FS7 on may shoots since it came out 6 years ago. I shot mainly interviews and corporate videos with it but also documentaries and branded content videos. To be brutally honest, I never liked the colourimetry and some other features of the camera, the user menu, the EVF and the monitor.

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Sony created something different this time, taking inspiration from the big sister SONY Venice and trying to put them inside a new FS7 camera body. A Full Frame camera, with a new colourimetry and new specifics:

  • 6K full-frame sensor.

  • Dual Base ISO 800/4000.

  • AF with face detection and Eye-AF.

  • 4K 4:2:2 10bit internal recording.

  • UHD up to 60 fps, HD up to 180 fps.

  • Four channels of audio.

  • External 16-bit RAW (added with the latest firmware)

  • 10-bit S35 4K at 120fps to an external recorder.

For full specifics, please visit the Sony website.

I went to Shootblue to test this camera for the first time with a lot of questions and expectations: I wanted to find a cheap alternative capable of filming with Anamorphic lenses instead of going for an Alexa Mini. Before testing the FX9, I went on the CVP lens tool page and tested how much difference I could get from the two sensors.
What you find below is a series of tests between the FX9 and the Alexa Mini sensor, using the 32mm Atlas Orion Anamorphic, and applying the 2:39:1 aspect ratio (green line).

FX9 sensors - Dimensions: 35.688mm (H) x18.818mm (V) x 40.345mm (diagonal)

Alexa Mini sensor - Dimensions: 26.400mm (H) x14.850mm (V) x 30.290mm (diagonal)

As you see, the Sony FX9 sensor can cover the lens in the 2:39:1 aspect ratio, even though you must cut the external area in post-production. IMPORTANT! The FX9 is not ready to manage anamorphic de-squeeze in-camera yet and this is what pushed me to go and test the camera directly at Shootblue. Below you can also see the comparison between the two sensors:

Lens Test

Happy with this comparison, I went to Shootblue so I could test in person. It’s always easy to find the pro-cons when you actually have the camera in your hands, especially because of the way you operate: your personal style is the key of your work and if you are not comfortable with the setup that’s going to give you more problems than you can imagine.

I first tested the camera with an EF Canon lens, mounted on an E to EF mount adaptor. I used a 14mm L f2.8 Canon lens in order to have an initial feeling with the camera on both FF and S35 cropped mode.

I then started playing with the Atlas Orion 32mm on FF mode. This is what you actually see on camera, as you can’t de-squeeze automatically.

This is what you get when you shoot anamorphic with this setup, with a recording format XAVC-I DCI4K 25p, bit rate 250 Mbps. and a pixel dimension of 3794x3168. I opened the file with SONY RAW Viewer, a software that I often use to have a preview of .MXF files. I then exported the file as PRORES4444HQ and applied a fast colour correction and 2x de-squeeze, so I could get this final image:

Following you can find what is the area covered in 2:39:1

In order to have a nice preview of this framing, I had a field monitor on camera (SmallHD 502) and a SmallHD Cine7 as client monitor. Those monitors will give you a 2x de-squeeze and you can zoom in enough to cut out the edges of the picture that you don’t want to see. It’s a tricky way but it works just fine.

The only problem I had was that when you switch to 50FPS the camera crops the sensor to S35. It’s not a huge problem, but to be brutally honest I don’t like it at all. You have the same issue with cameras like RED, and you must consider this aspect when planning to use anamorphic lenses. In this case, the widest lens in the Orion set is 32mm, so when you crop the sensor you’ll get something close to a 50mm anamorphic lens.

I really liked the quality of the image in post-production. Sony improved the colourimetry and it’s very similar to what you’ll get with the Sony Venice. Skin tones look goods and when playing around in Resolve DaVinci 16 I had the feeling that everything was more balanced and easier to play with.

I’m planning to use this setup for an upcoming project and I hope I’ll have the chance to share a bit more in the next couple of months about it. Generally speaking, a lot of people are selling their old FS7 and buying a new Sony FX9 and I can see why. Personally, I prefer to invest in lenses or accessories as the market moves very fast, a camera like this could be beaten in a matter of months by another competitor such as Blackmagic or Canon and I believe that you always have to consider the different aspects of a project and then choose the right tool for the occasion.

Don’t forget to leave a comment!

See you on the next one!