[Sareesh Sudhakaran]

I would say Canon 5D Mark III, with or without the HDMI out. I have yet to find a DSLR that offers an HDMI stream that is worth the trouble.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

I’ll definitely recommend a move to the 5D III. The advantages are many.

But I would also recommend a C100 over both, if you have the budget.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Not as far as I know. Shoot the color bar under ideal conditions and you can use it to set white balance. But then again, that’s what color and grey cards are for.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

I’m sorry, but I’m not understanding your question. All the cameras you mention are reliable prosumer cameras that offer decent green screen results under good lighting and data control.

Personally I wouldn’t mix and match cameras with different codec specifications and sensor sizes. If I am forced to use the XF305, I’d pick the EX3 or another XF305. Or I’d pick three 5D Mark IIIs and so on.

E.g. if you’re in a studio environment, cameras with HD-SDI linked to a genlocked (if you can swing it) switcher will give you the fastest workflow. By using similar cameras you can set similar green screen settings, exposure, etc., and have a fast multi-cam edit. Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Do the files contain data? The sizes will tell you if this is the case. Can you try the card on another machine?

If the card does contain data, then try renaming the file manually with the right extension and see what happens. Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

That’s some great work, Tim. Thanks for sharing!

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

If you’re using a 5D Mark II, then any lens will be okay. The differences in quality are negligible for line-skipped 2MP HD.

On the other hand, you’ll like a lens with an f-number of f/2.8 or lower.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Exposure to the right is easier for still photography, and even then you have RAW to save your rear if you misread the histogram. Lower-end cameras (by which I mean professional 35mm DSLRs) don’t have the ability to display a RAW histogram over all three channels (or even one channel).

I would recommend you study the Zone System and learn to use a light meter. Use the histogram and in-camera meter only as a backup.

Hope this helps.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

With DSLRs nothing beats slating. Higher-end cameras have genlock.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Take a look at the Sony EA50 or the FS100.

https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.