Hey much appreciated!👍 that’s a combo I hadn’t thought about, but I imagine it’s a solid set up! The R7 is an interesting camera man, it’s a bit bare bones but has a lot of great specs that I think makes it a really viable option in these scenarios. Thanks for commenting!
Great video, dude! Thanks for sharing. I was researching B-cams for the C-70 and came to the same conclusion about the R7. Plus, for most of the work I do (corporate interviews, short-form docs, talking head training videos) it has worked out well to make something like the R7 (A7iv in my case) the wider A-Cam with the C70 (FS5 in my case) as the tighter B-Cam cut away (using audio from the C70). The reason I say that is because of the finer detail option in the R7 (and A7iv) with the 7K sensors, which is great for the wider A-Cam angle I often use if I decide to crop in or do a Ken Burns effect on a long sound bite or something. Since the C70 is a tighter shot, the longer focal length of the lens and detail of the shot will make it it appear sharper especially since I typically don’t crop in as much on the cutaway angle if at all. Again, thanks for sharing your thoughts. It’s helpful to hear when researching this stuff.
Hey thanks for commenting and checking out the video! (I'm glad it helped a little!) That's a really interesting point you make there about flipping which camera is used for each angle, I like the idea, I'll have to experiment with that... Thanks for sharing!
Great insight! I've been using this combo for a while now. And for all the same reasons. Price, size, gimbal use, photo functionality of the r7. Clog3 isn't a deal breaker. Most of my clients would never know the difference which is all that really matters. I can drop the 35mm 1.8 RF on the c 70 and the 18-150 RF on the r7 for tighter focal length...use a canon LUT in post...damn close match!...can also use adapters on both for EF-S lenses. And since it's small I can mount the r7 on a monopod which saves me from having to carry a second full tripod. Totally satisfied with my choice especially working one man band.
Hello. i have been using the C70 and just bought a R7 as a B cam and for gimbal use. I can see the quality is very good but i'm really struggling with the menus. I have seen all the videos on the settings, but none about how to use it (for instance i cannot find how, in camera mode, to get rid of the auto exposure, can't modify the shutter speed,..), which i can in the picture mode.. Any advice ? Thanks !
@@yvesbarbieuxCompositeur Sure thing not sounds like you may have the top dial set to something other than “M” (Manual) - Set that dial to M and that should give you control over all of those parameters! Let me know if that works or we need to investigate further👍
Thanks for the comment Henri! I appreciate you taking the time and I'm glad to have you here in the conversation! :) I'm g;ad you found that bit helpful! I'm trying to make the videos I would want to watch, and that's usually a piece I'd like to see myself!
I use the same duo. I’m shooting my first documentary with them both together. Still getting my workflow together. I was bummed about having to use the clog3 on the c70 but I still get a phenomenal image for the type of story I’m shooting. Following a bodybuilder through prep should look a little gritty. I might even have to introduce some grain to complete the feel.
What a great setup for a doc! I've found that if you're strategic about it, you can get both bodies/lenses in a single bag which I would imagine is a real asset for doc work! I've always loved a well executed gritty/grainy look. It can be easy to go over the top with the grain but when it's dialed in just right... *chef's kiss! Thanks for commenting! Pumped to have you here!
I’ve been shooting the c70 in clog 2 for wide and R6 in clog 3 for the tight shot where you can usually avoid the DR challenges of the wide. Can usually get the colours to match well enough.
I own two C70s, and I have been considering replacing one of them with a different camera. I almost exclusively use my second C70 for a second angle during interviews - otherwise it is sitting on a shelf. The R7 is a cheaper shelf decoration, and when needed, it appears that it will get me 90% there. I'd like to touch on your Clog3 comment. Although I do not use it myself, Canon prefers their users to use Clog3 across their entire cinema camera line. While I was meeting with them in May, I had a discussion with them about dynamic range and why I prefer Clog2, but they assured me that Clog3 is the better profile. I'm not sure that I agree with them, but we used it for a documentary that we shot with them in Portland, OR - and after the final grade, I couldn't tell you there was any noticeable difference. So, if the R7 is limited to Clog3, and costs next to nothing - wouldn't it be a good replacement for my second C70? Especially if I shoot my interviews exclusively in Clog3? I'm starting to think that it might be the better option.
Hey glad to have you in the comments! I just happened to read a comment this week in a thread online that someone had a conversation with Canon and they were arguing that Clog3 was the better profile (perhaps it was you!) That was the first I had ever heard of this idea! I would agree that the difference between the two is probably negligible. My only argument would be that when you look at the log curves plotted on a graph, the CLog2 curve allows for better highlight retention (so long as the sensor can handle it). So it should make for an image with better dynamic range and therefor a better image overall. However, I'm not the one to go toe-to-toe with Canon on which log curve is better! Lol It does speak to the idea that an R7 might make a better shelf decoration for your workflow though! (Works much better on a gimbal too if you ever find yourself in that scenario!) We just have to sacrifice the DGO sensor, and that's a tough call to make
@@TroyMairs It probably was me! I haven’t shot in Clog3 since that doc, but may use it when matching with the mirrorless bodies. Life will be easier. Clog2 was my saving grace while traveling the American Southwest this summer.
@@TroyMairs I've been shooting with the R5C and the C70 both on CLOG3 and really it's excellent. I think I even prefer it to CLOG2 but am not sure why. It might've been that my first time shooting with LOG of any kind was when I got the C70 a couple of years ago when it came out. It was a bit tricky to get the exposure right at first but now I seem to be doing great with it. I try to nail exposure in camera as much as possible so I'm used to not doing heavy grading. But the other thing I wanted to mention is that I heard somewhere that it might not be necessary to shoot both in CLOG 3 and that you could still get a fine match between a camera in CLOG3 and one in CLOG2 by just using the proper LUTs to transform them back and then you're working in rec709 anyway. I haven't tested it yet so it might not be true.
@Edmund Elijah Small world! Lol that comment about CLog3 being "better" than Clog 2 has been living in my head rent free since I read it! I'm not sure what the correct answer is (if there is one) but it is quite interesting! Thanks for the motion graphics comment! The are from MotionVFX (they've taken a lot of my money! Lol) :)
I'm going to screenshot this and send it to my wife. I keep trying to tell her how cool I am but she never believes me :) Lol Thanks for the kind words! I really appreciate it!
Have you tried doing a colour space transformer on the C 70 CLOG2 in resolve to CLOG3 to match with the R seven? Could this give you the benefit of the dynamic range of CLOG 2 well having access to the higher dynamic range
It certainly could and you're absolutely right! Using CSTs would be a perfectly viable option for getting two sources into a matching color space. The reason I've been exploring Clog 3 on both cameras come down to a workflow decision, it is noticebly easier to batch transform all clips from a project when they are in the same log profile. Having to specify two different log profiles on post opens up some room for human error (I've accidently mapped Clog 2 as Clog 3 etc) so I wanted to explore a way to streamline that and protect myself from ... well, me! Lol Thanks for sharing the idea! It's a perfectly valid way of working with these two cameras!
@@TroyMairs Totally, you could also consider trying out the colour management pipeline more in Resolve too. Really a big time saver when working with difference cameras and different colour spaces.
Troy, just got the c70 today. Does yours make noises when you turn it off? When I turn mine off, I basically hear the same sound as when the ND filter is enabled.. It’s almost a machine like sound that repeats 3 or so times before it shuts off. Does yours do this too?
Welcome to the C70 gang! You'll love it! Except it sounds like its off to an odd start. It should make some noise as it turns on and off, and you're right it's the ND filters you should here! The NDs are lowered on shut off and raised when turned back on. However, on my C70 I hear a single ND sound when I turn it on/off. So it seems there is a bit of a difference between your and mine. I assume the NDs are working as they should when you activate the buttons on the left side?
@@TroyMairs hey Troy, I just got my replacement today! I noticed that as well, it seems to put the ND down when you turn it off. My previous one sounding like I was printing multiple pages from a printer, it made that shutdown sound like 3-4 times before turning off. I talked to the Canon rep and sent them videos of it. So glad I was able to get a good one. I also checked out the hinge of the lcd as I heard many peoples were loose on arrival. Mine seems to be in great shape, can’t wait to get rocking. I have the cage and the rig all ready, just needed the body, so I’m good!!!
Wow that’s great to hear! I’m glad they were able to get you a new one (and pretty quickly it sounds like!) “Printing multiple pages” that’s funny!😂 (unfortunate but funny!) lol happy shooting!
Thank you much! I appreciate the comment!! In this specific scenario, shooting alongside the C70, I would opt for regular 4k. The C70 is naturally a bit soft so I find this helps the two pair together a little better from a sharpness perspective.
Hey came across this as I've just bought an R7 as a b-cam to the C70. I hope it will work well. For syncing with Tentacle Sync, I'm curious...are you plugging it into the audio jack and syncing with audio timecode that way through the Tentacle software? I've just tried it and it is 1 frame out compared to the C70 through the timecode port. No big deal of course you can just add +1 frame offset to all your R7 clips but curious to know if it's the same for you. Thanks!
Hey Liam! Thanks for commenting, great question! I do plug my Tentacle Sync into the audio jack on the R7 (Not quite as great as having a dedicated timecode IN port but its a sufficient work around!) I do all of my editing/grading within Resolve. There is an option to "Update Timecode from Audio Track" on the Media Tab. So I simply "Select All" of my R7 footage, right click, and chose that Update Timecode option from the drop down menu. This assign the correct timecode to the file metadata within Resolve and I've never had any issue with syncing that footage with my C70 footage. That's been my experience! I've never liked having to sync within Tentacle's software given the extra step in post so perhaps there is a way for you to bypass that step as well in your editing workflow? What program are you using to edit? Thanks again for joining the conversation!
@@TroyMairs Ah amazing I did not know that feature was in Resolve! Very useful to know. I often find myself using Premiere due to a number of production companies I work with using it as their default. It’s a bit annoying to have to stick with it, and I’ve really enjoyed when I’ve used Resolve but here I am years later still using Premiere just in case people want the project files. Bummer. Still good to know that I can use resolve for my own stuff or even transcode media in resolve and spit it out with the correct timecode attached. Thanks!
I bought an R7 a few months ago as a B cam for my c70. I’m considering selling because the frame cadence looks off and I’m seeing the same thing on your video. I’ve tried adjusting the shutter speed to 1/40 (instead of 1/50)and it seems to help but shooting 4K 60 @ 1/120 still looks off. I wanted the r7 for gimbal and photo work but I’m very disappointed with it. Anyone else seeing the frame cadence issue or am I crazy?
I’m afraid “frame cadence” isn’t a term I’m familiar with! So unfortunately I haven’t noticed that or found an issue in my use. Would you be able to expand on that a little more?? Thanks for commenting!
@@TroyMairs I may be using the wrong term but basically it looks like I’m using the wrong shutter speed when shooting 23.97 fps and 1/50. It looks like there’s ghosting or something when there is any movement. It’s slight but it’s there. If I switch to 1/40 it’s still not perfect but it’s much better. I don’t see any of this on my c70, Gh5s, or other cameras that allow you to select shutter angle. It’s the type of thing you can’t unsee once you notice it.
Thanks for helping clarify! It sounds like you might be referring to the amount of motion blur you’re seeing in movement within your frames? If that’s the case, bumping your shutter speed up to 1/60 would reduce that, 1/40 would actually increase motion blur, with 1/50 being the most technically correct for a 23.98fps timeline. If it isn’t a matter of motion blur, I’d be curious to know if you see this ghosting in post production as well, or is it only showing up on the on-camera monitor?
