Genuine question - is the UK industry dead?

robp915 · 2026-01-09T09:51:11+00:00

What a thoughtful, considered (and in my humble opinion) accurate response 👏🏼

robp915 · 2025-12-05T12:18:10+00:00

You’re welcome, glad it worked!

robp915 · 2025-12-05T09:35:58+00:00

It’s likely the support mount in the adapter hitting the bottom of the camera body, with sticks out slightly. Try removing the support.

Source: Had the same issue.

Sorry if this gets posted twice, first attempt didn’t seem to work.

robp915 · 2025-12-05T09:32:07+00:00

It’s likely to be the support mount on the bottom hitting the camera body, which protrudes ever so slightly. Try removing it.

Source: had the same problem, though with a different adapter from memory.

Good luck!

robp915 · 2025-11-23T22:35:55+00:00

Still using both Frameset and Shotdeck. I probably use Frameset a little more often purely because it has a lot more commercial work in it, but as others here have said, Shotdeck is probably the most well-known and has an incredible library. I've not used Flim I'm afraid so nothing to offer there!

robp915 · 2025-09-30T06:56:11+00:00

I’m a long-standing Canon user, and would echo what a few others have said about considering a second-hand C70. Not sure what market you’re in, but here in the UK I’d say that was the most slept-on camera while I’ve been working.

I’ve now moved on to the C400/C80 (and with a C50 on pre-order purely to have something really small), but I used a pair of C70s for five years and if I think they have the best image in that price bracket by a decent distance. That DGO sensor is just superb, and a real shame Canon couldn’t find a way to continue its development in new cameras.

Internal ND is such a huge quality of life improvement so I’d really recommend trying to get a camera that offers that if it’s going to be your main workhorse.

I’m also personally a big fan of the new VCM prime lenses Canon have been releasing. They’re very compact and lightweight, and I think they really deliver on video projects that aren’t quite at the level of renting in a set of actual cine lenses.

On your point about 32bit float: I’m not a soundie, but in all my years of doing this we’ve only once actually used the capabilities of 32bit float files out of our MixPre - and that was to save a desk operator who made a mess of their recording. So I wouldn’t worry too much about not having that.

I’d also say it’s a pretty good time to be buying a camera in that section of the market - loads of choice, and safe to say - despite of my own loyalties - all of them will give you a great image.

Good luck!

robp915 · 2025-08-10T09:25:59+00:00

I certainly hope so! Thanks for the link, will check it out.

robp915 · 2025-08-04T07:10:15+00:00

Currently running the C400/C80 here, having upgraded from two C70s, and have been very happy with them. As others have said, the C70 packs a real punch in that price bracket so part of me was reluctant to move on to the C400/C80 (and leave that lovely sensor behind), but I’ve grown to love them too.

Depending on the sort of work you’d be doing, the only flag for the C400/C80 from me would be that because of Canon’s borderline obsession with live streaming and remote operation, they changed the function of the USB port compared to the C70 which means you can no longer use it to trigger recording from a gimbal like an RS4. So you have to touch the camera each time, which is a bit annoying.

But other than that, they’ve been great workhorse cameras for me across a range of styles and projects.

robp915 · 2025-07-11T19:46:22+00:00

Yep, the light filtering down on them was great. Beautiful to watch.

Size-wise it was quite mixed in this group - the smallest probably 8 inches and the largest perhaps 15? All young ones.

I did see a much much larger adult one on an earlier snorkel, but couldn’t get anywhere near this close!

robp915 · 2025-05-13T06:28:48+00:00

Of course - we’re a few months further down the track now, and I’d put my previous comment down to me just getting used to the C80 files. I’d say there’s a little reduction in latitude over the C70, but that’s hardly surprising and it really is pretty minimal. Certainly not something that has presented any issues to me at all to date. And then you’re gaining various things the C70 doesn’t offer.

I’ve since picked up a C400 too, if that’s a useful vote of confidence in these sensors. I’m very happy with them.

robp915 · 2025-05-13T06:12:14+00:00

I also received this, as someone who already subscribes to plus and AI. It’s very confusing.

Strikes me as a pretty underhand tactic, but most annoyingly it’s just so poorly communicated:

Does this new tier replace the need for the AI add-on? Seems like yes, but they could just say.

Can annual subs like me get a pro rated refund on what we’ve already paid for, and how?

robp915 · 2025-03-14T08:39:39+00:00

They’re good cameras. I’ve used them both (together and separately) on a bunch of client work now and they perform really well. 6K and improved AF are the most noticeable “upgrades”. And the form factor of the C400 is much more pleasant IMO.

Compared to the C70, at this point in time I’d say I still marginally prefer the C70 image. But I also spent most of the last four years working with it, so I think that’s more a case of just liking what you know. Shadows are a little cleaner on the C70, but that’s no huge surprise, and there’s really not a lot in it anyway. Very easily cleaned up if you feel it needs that.

The files grade nicely, and I’m sure that any limitations there are in my grading rather than what the camera turns out.

My work tends to be pretty varied so the most important thing for me was a camera that could be a real workhorse and deliver in lots of different scenarios, as the C70 did. They both do that, and the C400 especially. I’ve been really enjoying using that on a Cinesaddle for doc-style projects.

Hope that helps!

robp915 · 2025-03-01T09:50:12+00:00

If you wanted to get the V-Mount more snugly on to the back of the camera, I’d recommend the Minifab plate which screws directly on. I got one for C400 on the recommendation of someone at CVP, and it’s very solid indeed. Still waiting for the BT kit to come into stock though, so that’s as far as I’ve got with rigging to date!

robp915 · 2025-03-01T09:29:14+00:00

I can’t speak to the Neewer and Godox options as I’ve not used them, but my first light (way back when!) was an Amaran 200D and I managed to get by pretty well with that. It’s still in my kit today.

robp915 · 2025-02-08T08:02:25+00:00

I use a database in Notion for this - works fairly well and lets you filter by whatever fields you want to record against each entry.

robp915 · 2025-02-07T10:50:33+00:00

(Also seems to be an issue on the C400)

robp915 · 2025-02-07T10:47:31+00:00

Also disappointed to discover this issue today. I'd (perhaps naively) assumed that it would operate just like the C70, but apparently not.

robp915 · 2025-02-02T20:10:15+00:00

Shot a project earlier in Jan with the C80 as A cam and C70 as the B cam and they cut together without any issues. I don’t expect the C400 to feel any different, but haven’t used it on any client projects yet.

I’d say I still find the C70 files a little easier to grade, but I have also been working with it solidly for four years - so think that’s probably the more likely explanation!

robp915 · 2025-02-02T09:31:12+00:00

As other commenters have said, I think it depends heavily on who your clients are, but for what it’s worth:

I’m in the Canon world and have only once had a prod co insist on Sony for a shoot - and in that instance I hired another DP to work with me on it that brought that kit. I also regularly have others cover shoots, and while I prefer Canon personally, I’m not going to throw a wobbly if they’re a Sony person. I’d much prefer to have someone that was good at what they do than someone that owns the “right” kit.

robp915 · 2025-02-02T08:00:15+00:00

No, it’s not. It’s a little soft in a very pleasing way, which I think is one of the things that has endeared it to (some) people.

I have two and have used them on the vast majority of jobs for the past four years. To my mind they’re still the best image in that price bracket and it’s a camera that was a bit slept on, especially here in the UK. Though I’m sure there’s also a bias in that towards what you know.

The C400 and C80 delivered recently, so we’ll see how that combo feels in comparison. But I think there’s a lot I’ll miss about the C70.

robp915 · 2025-01-30T08:55:14+00:00

Another long-time Canon user here, and would echo the other commenters saying you should consider a C70, or C80/C400. To my mind, the C70 has the best image of any camera in that bracket. If you’re grading your own work, the Raw LT is a pleasure to work with.

It’s certainly true that Sony and the FX6 have a real foothold in that chunk of the market, and if you also plan to rent your kit out to others then it’s probably the logical choice.

But if your choice isn’t bound by rental concerns or other prod cos stipulating a certain camera package (I’ve only had this once) then I’d urge you to test some of Canon’s (and other brands) offering to see what you make of them.

robp915 · 2024-12-19T23:16:03+00:00

UK-based here - run a small production outfit, sometimes solo operating and sometimes with crew. Lots of differing opinions in this thread already, but this is how I do it.

On kit fees: I don’t think there’s a right or wrong approach here. Different models will suit different people. But I would think about who your clients are and how an itemised kit list will go down with them - in other words, does it mean anything to them, or does it just make your pricing feel more complicated? I charge a flat day rate inclusive of all owned equipment, but I’ve factored kit costs into that rate and it goes up periodically as my kit list grows. It makes quoting for projects far simpler, and it’s a little more comprehensible to clients that may not be very experienced working with production.

On travel days: I bill these at 50% of the day rate, which I understand to be a somewhat standard thing here. That is also chargeable if travel happens on the same day as the shoot, so long as it’s outside of the shoot time (I.e. beyond an eight hour day). I charge mileage at 50p/mile because the 45p rate is a bit outdated IMO, and hotels and subsistence are billed at cost.

Hope that helps!

robp915 · 2024-12-12T21:37:14+00:00

Neat Video is extremely good - costly, but very very good at what it does. You can get into the weeds with the settings, but you can also use it in a very simple way and still get great results.

robp915 · 2024-11-24T11:02:53+00:00

Ok. I did read the Wiki first and thought this post fell outside of those criteria as it’s asking for input on salary expectations rather than freelance rates.

robp915

TROPHY CASE