{"id":127931,"date":"2020-01-02T17:59:58","date_gmt":"2020-01-02T16:59:58","guid":{"rendered":"https:\/\/www.cined.com\/?p=127931"},"modified":"2020-01-02T19:15:27","modified_gmt":"2020-01-02T18:15:27","slug":"canon-c500-mark-ii-vs-sony-fx9-panel-discussion-philip-bloom-hans-von-sonntag-nino-leitner","status":"publish","type":"post","link":"https:\/\/staging.cined.dev\/es\/canon-c500-mark-ii-vs-sony-fx9-panel-discussion-philip-bloom-hans-von-sonntag-nino-leitner\/","title":{"rendered":"Canon C500 Mark II vs. Sony FX9 &#8211; Panel de discusi\u00f3n &#8211; Philip Bloom, Hans von Sonntag, Nino Leitner"},"content":{"rendered":"<p><strong>Los cineastas Philip Bloom, Nino Leitner y Hans von Sonntag hablan sobre las nuevas c\u00e1maras de cine full frame: la  <a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1503484-REG\/canon_3794c007_eos_c500_ii_4k.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Canon C500 Mark II<\/a> y la Sony FX9. Comparan varios aspectos de ambas c\u00e1maras, por ejemplo, las monturas de lentes, la ciencia de color, el enfoque autom\u00e1tico y la estabilizaci\u00f3n de imagen.<\/strong><\/p><127931-inline-buylinks\/>\n<div id=\"attachment_127598\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-127598\" class=\"size-large wp-image-127598\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-640x360.jpg\" alt=\"\" width=\"640\" height=\"360\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-127598\" class=\"wp-caption-text\">Canon C500 Mark II versus Sony FX9<\/p><\/div>\n<p>Durante la feria Photo &amp; Adventure de este a\u00f1o en Viena, Austria, el equipo de cinema5D estuvo a cargo del programa &#8220;Escenario de Cine y Video&#8221; en esta feria. Hemos invitado a muchas personalidades interesantes para hablar de diversos temas. Puedes ver la publicaci\u00f3n inicial <a href=\"https:\/\/www.cined.com\/es\/cinema5d-stage-photoadventure-9th-10th-november-2019\/\">aqu\u00ed<\/a>. Decidimos publicar los temas m\u00e1s interesantes nuevamente en art\u00edculos separados. Puedes esperar que \u00e9stos se publiquen en las pr\u00f3ximas semanas. Este art\u00edculo cubre un panel de discusi\u00f3n con Philip Bloom, Nino Leitner y Hans von Sonntag sobre la nueva generaci\u00f3n de c\u00e1maras de cine de gran formato: la  Canon C500 Mark II y la Sony FX9.<\/p>\n<div id=\"attachment_123232\" class=\"wp-caption aligncenter\">\n<p><a class=\"cboxElement group1\" href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-123232 stretch featured-image\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors-640x137.jpg\" alt=\"\" width=\"640\" height=\"137\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors-640x137.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors-300x64.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors-768x165.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors.jpg 1034w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p class=\"wp-caption-text\">Este contenido fue transmitido originalmente en vivo desde el <a href=\"https:\/\/www.cined.com\/es\/cinema5d-live-streams-join-weekend-november-9th-10th\/\" target=\"_blank\" rel=\"noopener\">Escenario Film+Video de la Photo + Adventure en noviembre<\/a>. Estamos re-publicando y destacando algunos de los mejores contenidos del escenario.<\/p>\n<\/div>\n<p><a href=\"https:\/\/www.hubbertvonsonntag.de\/\">Hans von Sonntag<\/a> es un director publicitario con sede en Alemania. En colaboraci\u00f3n con Canon, \u00e9l recientemente trabaj\u00f3 en un proyecto con la nueva Canon C500 II. Tiene experiencia previa con c\u00e1maras ARRI Alexa, c\u00e1maras RED y  <a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1278096-REG\/canon_1454c002_eos_c700_cinema_camera.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Canon C700<\/a>. <a href=\"https:\/\/philipbloom.net\/\">Philip Bloom<\/a> es un documentalista brit\u00e1nico, director de fotograf\u00eda y director de cine, que recientemente prob\u00f3 la Sony FX9. Nino Leitner act\u00faa como moderador de la discusi\u00f3n y tambi\u00e9n tiene experiencia con la Sony FX9.<\/p>\n<h2> Canon C500 Mark II Versus Sony FX9<\/h2>\n<p>Para saber m\u00e1s sobre ambas c\u00e1maras, consulta nuestros art\u00edculos anteriores:<\/p>\n<ul>\n<li><a href=\"https:\/\/www.cined.com\/es\/canon-c500-mark-ii-first-look-6k-full-frame-cinema-raw-light-modular-concept\/\">Primera impresi\u00f3n de la  <a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1503484-REG\/canon_3794c007_eos_c500_ii_4k.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Canon C500 Mark II<\/a> &#8211; 6K, full frame, cinema RAW light, concepto modular<\/a><\/li>\n<li class=\"yco-article__title\"><a href=\"https:\/\/www.cined.com\/es\/canon-c500-mark-ii-lowlight-test-6k-raw-clip-download\/\"> Canon C500 Mark II: prueba con poca luz y clips RAW 6K para descargar<\/a><\/li>\n<li><a href=\"https:\/\/www.cined.com\/es\/sony-fx9-announced-full-frame-fast-hybrid-autofocus-dual-iso-camera\/\">Anuncian la Sony FX9 &#8211; full frame, enfoque autom\u00e1tico h\u00edbrido r\u00e1pido, c\u00e1mara dual ISO<\/a><\/li>\n<li><a href=\"https:\/\/www.cined.com\/es\/sony-fx9-handson-footage-exclusive\/\">Pr\u00e1ctica con la Sony FX9 y material &#8211; EXCLUSIVO<\/a><\/li>\n<\/ul>\n<p>Ambas c\u00e1maras usan un sensor full frame de tama\u00f1o DCI 17:9. La Canon C500 II ofrece un cuerpo significativamente m\u00e1s ligero y peque\u00f1o gracias al factor de forma modular. Si lo necesitas, la c\u00e1mara se puede desarmar y usar en un gimbal como una configuraci\u00f3n liviana. La Sony FX9 tiene un cuerpo mucho m\u00e1s grande. Una ventaja de la Sony FX9 es el filtro ND electr\u00f3nico variable versus el ND variable interno cl\u00e1sico con paradas fijas de la C500 II. La  Canon C500 Mark II es capaz de entregar video de hasta 5.9K RAW internamente, mientras que la Sony FX9 solo graba hasta 4K internamente y 6K externamente.<\/p>\n<div id=\"attachment_127604\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-mark-II-1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-127604\" class=\"size-large wp-image-127604\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-640x418.jpg\" alt=\"\" width=\"640\" height=\"418\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-640x418.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-300x196.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-768x501.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-1536x1002.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-353x230.jpg 353w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1.jpg 1545w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-127604\" class=\"wp-caption-text\">Canon C500 Mark II<\/p><\/div>\n<h2>Montura de lente y ciencia de color<\/h2>\n<p>La Canon C500 II utiliza una montura Canon EF, que es intercambiable por el usuario. Hans us\u00f3 la C500 II con lentes de cine con montura PL (lentes Canon Sumire o lentes Angenieux). Sin embargo, Philip Bloom se\u00f1al\u00f3 que podr\u00eda haber sido una mejor opci\u00f3n para Canon optar por su nueva montura RF sin espejo debido a la distancia de brida m\u00e1s corta y, por lo tanto, a una mayor flexibilidad. Los nuevos lentes Canon con montura RF tambi\u00e9n ofrecen un gran rendimiento, seg\u00fan Philip. Sony usa su montura E.<\/p>\n<p>En t\u00e9rminos de ciencia de color, la Canon C500 II deber\u00eda tener la misma ciencia de color que la  Canon C700. Sony incorpor\u00f3 la ciencia de color de la c\u00e1mara Venice en la FX9 y, seg\u00fan Philip y Nino, el perfil de color S-Cinetone se ve muy bien y es una mejora significativa con respecto a la Sony FS7.<\/p>\n<div id=\"attachment_127610\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/Sony-FX9.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-127610\" class=\"size-large wp-image-127610\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/Sony-FX9-640x295.jpg\" alt=\"\" width=\"640\" height=\"295\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-640x295.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-300x138.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-768x354.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-1536x707.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-499x230.jpg 499w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9.jpg 2028w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-127610\" class=\"wp-caption-text\">Sony FX9<\/p><\/div>\n<h2>Enfoque autom\u00e1tico<\/h2>\n<p>Seg\u00fan Philip, el enfoque autom\u00e1tico debe ser perfecto, para que un cineasta pueda confiar en \u00e9l todo el tiempo. De lo contrario, no tiene sentido usarlo. Canon parece haber tenido un enfoque autom\u00e1tico as\u00ed de capaz durante un tiempo con la tecnolog\u00eda Dual-pixel. Sony est\u00e1 volvi\u00e9ndose cada vez mejor en ello, y la FX9 parece haber logrado un enfoque autom\u00e1tico muy confiable. Funciona muy bien incluso cuando una cara desaparece por un momento.<\/p>\n<p>La Sony FX9 puede incluso decirle al usuario si el plano focal est\u00e1 m\u00e1s cerca o m\u00e1s lejos de la c\u00e1mara que el sujeto, lo que act\u00faa como una especie de asistente de enfoque manual. Esto podr\u00eda ser \u00fatil para un enfoque m\u00e1s r\u00e1pido con lentes de cine manuales.<\/p>\n<div id=\"attachment_127607\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-mark-II-2.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-127607\" class=\"size-large wp-image-127607\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-640x317.jpg\" alt=\"\" width=\"640\" height=\"317\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-640x317.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-300x148.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-768x380.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-1536x760.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-465x230.jpg 465w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2.jpg 2027w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-127607\" class=\"wp-caption-text\"><a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1503484-REG\/canon_3794c007_eos_c500_ii_4k.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Canon C500 Mark II<\/a><\/p><\/div>\n<h2>Estabilizaci\u00f3n<\/h2>\n<p>Ninguna de las dos c\u00e1maras ofrece estabilizaci\u00f3n de imagen en el cuerpo (IBIS). Esto no es posible en ambas c\u00e1maras debido al filtro interno ND. Sin embargo, ambas ofrecen estabilizaci\u00f3n de imagen basada en giroscopios.<\/p>\n<p>Funciona con los datos del giroscopio incorporado, al igual que las c\u00e1maras de acci\u00f3n (como con GoPro y DJI). La Canon C500 II hace la estabilizaci\u00f3n en la propia c\u00e1mara y la FX9 s\u00f3lo registra los datos girosc\u00f3picos y la estabilizaci\u00f3n debe hacerse m\u00e1s adelante en la post-producci\u00f3n. Seg\u00fan Philip, la estabilizaci\u00f3n basada en el giroscopio funciona incluso mejor que el IBIS, por ejemplo, al caminar con la c\u00e1mara.<\/p>\n<p><strong>\u00bfConsideras invertir en cualquiera de estas dos nuevas c\u00e1maras full frame de cine? \u00bfCu\u00e1l preferir\u00edas y por qu\u00e9? Cu\u00e9ntanos en los comentarios debajo del art\u00edculo.<\/strong><\/p>\n<p><a href=\"http:\/\/cinelive.at\/landing\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-127252\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-640x171.jpg\" alt=\"\" width=\"640\" height=\"171\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-640x171.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-300x80.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-768x205.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-861x230.jpg 861w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder.jpg 1231w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<127931-main-buylinks\/>","protected":false,"clean_render":"<p><strong>Los cineastas Philip Bloom, Nino Leitner y Hans von Sonntag hablan sobre las nuevas c\u00e1maras de cine full frame: la  <a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1503484-REG\/canon_3794c007_eos_c500_ii_4k.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Canon C500 Mark II<\/a> y la Sony FX9. Comparan varios aspectos de ambas c\u00e1maras, por ejemplo, las monturas de lentes, la ciencia de color, el enfoque autom\u00e1tico y la estabilizaci\u00f3n de imagen.<\/strong><\/p><127931-inline-buylinks\/>\n<div id=\"attachment_127598\"  class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-127598\" class=\"size-large wp-image-127598\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-640x360.jpg\" alt=\"\" width=\"640\" height=\"360\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-II-Sony-FX9.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-127598\" class=\"wp-caption-text\">Canon C500 Mark II versus Sony FX9<\/p><\/div>\n<p>Durante la feria Photo &amp; Adventure de este a\u00f1o en Viena, Austria, el equipo de cinema5D estuvo a cargo del programa &#8220;Escenario de Cine y Video&#8221; en esta feria. Hemos invitado a muchas personalidades interesantes para hablar de diversos temas. Puedes ver la publicaci\u00f3n inicial <a href=\"https:\/\/www.cined.com\/es\/cinema5d-stage-photoadventure-9th-10th-november-2019\/\">aqu\u00ed<\/a>. Decidimos publicar los temas m\u00e1s interesantes nuevamente en art\u00edculos separados. Puedes esperar que \u00e9stos se publiquen en las pr\u00f3ximas semanas. Este art\u00edculo cubre un panel de discusi\u00f3n con Philip Bloom, Nino Leitner y Hans von Sonntag sobre la nueva generaci\u00f3n de c\u00e1maras de cine de gran formato: la  Canon C500 Mark II y la Sony FX9.<\/p>\n<div id=\"attachment_123232\" class=\"wp-caption aligncenter\">\n<p><a class=\"cboxElement group1\" href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-123232 stretch featured-image\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors-640x137.jpg\" alt=\"\" width=\"640\" height=\"137\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors-640x137.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors-300x64.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors-768x165.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/11\/PA-Film-Video-Stage-cinema5D-sponsors.jpg 1034w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p class=\"wp-caption-text\">Este contenido fue transmitido originalmente en vivo desde el <a href=\"https:\/\/www.cined.com\/es\/cinema5d-live-streams-join-weekend-november-9th-10th\/\" target=\"_blank\" rel=\"noopener\">Escenario Film+Video de la Photo + Adventure en noviembre<\/a>. Estamos re-publicando y destacando algunos de los mejores contenidos del escenario.<\/p>\n<\/div>\n<p><a href=\"https:\/\/www.hubbertvonsonntag.de\/\">Hans von Sonntag<\/a> es un director publicitario con sede en Alemania. En colaboraci\u00f3n con Canon, \u00e9l recientemente trabaj\u00f3 en un proyecto con la nueva Canon C500 II. Tiene experiencia previa con c\u00e1maras ARRI Alexa, c\u00e1maras RED y  <a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1278096-REG\/canon_1454c002_eos_c700_cinema_camera.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Canon C700<\/a>. <a href=\"https:\/\/philipbloom.net\/\">Philip Bloom<\/a> es un documentalista brit\u00e1nico, director de fotograf\u00eda y director de cine, que recientemente prob\u00f3 la Sony FX9. Nino Leitner act\u00faa como moderador de la discusi\u00f3n y tambi\u00e9n tiene experiencia con la Sony FX9.<\/p>\n<h2> Canon C500 Mark II Versus Sony FX9<\/h2>\n<p>Para saber m\u00e1s sobre ambas c\u00e1maras, consulta nuestros art\u00edculos anteriores:<\/p>\n<ul>\n<li><a href=\"https:\/\/www.cined.com\/es\/canon-c500-mark-ii-first-look-6k-full-frame-cinema-raw-light-modular-concept\/\">Primera impresi\u00f3n de la  <a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1503484-REG\/canon_3794c007_eos_c500_ii_4k.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Canon C500 Mark II<\/a> &#8211; 6K, full frame, cinema RAW light, concepto modular<\/a><\/li>\n<li class=\"yco-article__title\"><a href=\"https:\/\/www.cined.com\/es\/canon-c500-mark-ii-lowlight-test-6k-raw-clip-download\/\"> Canon C500 Mark II: prueba con poca luz y clips RAW 6K para descargar<\/a><\/li>\n<li><a href=\"https:\/\/www.cined.com\/es\/sony-fx9-announced-full-frame-fast-hybrid-autofocus-dual-iso-camera\/\">Anuncian la Sony FX9 &#8211; full frame, enfoque autom\u00e1tico h\u00edbrido r\u00e1pido, c\u00e1mara dual ISO<\/a><\/li>\n<li><a href=\"https:\/\/www.cined.com\/es\/sony-fx9-handson-footage-exclusive\/\">Pr\u00e1ctica con la Sony FX9 y material &#8211; EXCLUSIVO<\/a><\/li>\n<\/ul>\n<p>Ambas c\u00e1maras usan un sensor full frame de tama\u00f1o DCI 17:9. La Canon C500 II ofrece un cuerpo significativamente m\u00e1s ligero y peque\u00f1o gracias al factor de forma modular. Si lo necesitas, la c\u00e1mara se puede desarmar y usar en un gimbal como una configuraci\u00f3n liviana. La Sony FX9 tiene un cuerpo mucho m\u00e1s grande. Una ventaja de la Sony FX9 es el filtro ND electr\u00f3nico variable versus el ND variable interno cl\u00e1sico con paradas fijas de la C500 II. La  Canon C500 Mark II es capaz de entregar video de hasta 5.9K RAW internamente, mientras que la Sony FX9 solo graba hasta 4K internamente y 6K externamente.<\/p>\n<div id=\"attachment_127604\"  class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-mark-II-1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-127604\" class=\"size-large wp-image-127604\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-640x418.jpg\" alt=\"\" width=\"640\" height=\"418\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-640x418.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-300x196.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-768x501.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-1536x1002.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1-353x230.jpg 353w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-1.jpg 1545w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-127604\" class=\"wp-caption-text\">Canon C500 Mark II<\/p><\/div>\n<h2>Montura de lente y ciencia de color<\/h2>\n<p>La Canon C500 II utiliza una montura Canon EF, que es intercambiable por el usuario. Hans us\u00f3 la C500 II con lentes de cine con montura PL (lentes Canon Sumire o lentes Angenieux). Sin embargo, Philip Bloom se\u00f1al\u00f3 que podr\u00eda haber sido una mejor opci\u00f3n para Canon optar por su nueva montura RF sin espejo debido a la distancia de brida m\u00e1s corta y, por lo tanto, a una mayor flexibilidad. Los nuevos lentes Canon con montura RF tambi\u00e9n ofrecen un gran rendimiento, seg\u00fan Philip. Sony usa su montura E.<\/p>\n<p>En t\u00e9rminos de ciencia de color, la Canon C500 II deber\u00eda tener la misma ciencia de color que la  Canon C700. Sony incorpor\u00f3 la ciencia de color de la c\u00e1mara Venice en la FX9 y, seg\u00fan Philip y Nino, el perfil de color S-Cinetone se ve muy bien y es una mejora significativa con respecto a la Sony FS7.<\/p>\n<div id=\"attachment_127610\"  class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/Sony-FX9.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-127610\" class=\"size-large wp-image-127610\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/Sony-FX9-640x295.jpg\" alt=\"\" width=\"640\" height=\"295\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-640x295.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-300x138.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-768x354.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-1536x707.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9-499x230.jpg 499w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/Sony-FX9.jpg 2028w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-127610\" class=\"wp-caption-text\">Sony FX9<\/p><\/div>\n<h2>Enfoque autom\u00e1tico<\/h2>\n<p>Seg\u00fan Philip, el enfoque autom\u00e1tico debe ser perfecto, para que un cineasta pueda confiar en \u00e9l todo el tiempo. De lo contrario, no tiene sentido usarlo. Canon parece haber tenido un enfoque autom\u00e1tico as\u00ed de capaz durante un tiempo con la tecnolog\u00eda Dual-pixel. Sony est\u00e1 volvi\u00e9ndose cada vez mejor en ello, y la FX9 parece haber logrado un enfoque autom\u00e1tico muy confiable. Funciona muy bien incluso cuando una cara desaparece por un momento.<\/p>\n<p>La Sony FX9 puede incluso decirle al usuario si el plano focal est\u00e1 m\u00e1s cerca o m\u00e1s lejos de la c\u00e1mara que el sujeto, lo que act\u00faa como una especie de asistente de enfoque manual. Esto podr\u00eda ser \u00fatil para un enfoque m\u00e1s r\u00e1pido con lentes de cine manuales.<\/p>\n<div id=\"attachment_127607\"  class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-mark-II-2.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-127607\" class=\"size-large wp-image-127607\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-640x317.jpg\" alt=\"\" width=\"640\" height=\"317\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-640x317.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-300x148.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-768x380.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-1536x760.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2-465x230.jpg 465w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/canon-c500-mark-II-2.jpg 2027w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-127607\" class=\"wp-caption-text\"><a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1503484-REG\/canon_3794c007_eos_c500_ii_4k.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Canon C500 Mark II<\/a><\/p><\/div>\n<h2>Estabilizaci\u00f3n<\/h2>\n<p>Ninguna de las dos c\u00e1maras ofrece estabilizaci\u00f3n de imagen en el cuerpo (IBIS). Esto no es posible en ambas c\u00e1maras debido al filtro interno ND. Sin embargo, ambas ofrecen estabilizaci\u00f3n de imagen basada en giroscopios.<\/p>\n<p>Funciona con los datos del giroscopio incorporado, al igual que las c\u00e1maras de acci\u00f3n (como con GoPro y DJI). La Canon C500 II hace la estabilizaci\u00f3n en la propia c\u00e1mara y la FX9 s\u00f3lo registra los datos girosc\u00f3picos y la estabilizaci\u00f3n debe hacerse m\u00e1s adelante en la post-producci\u00f3n. Seg\u00fan Philip, la estabilizaci\u00f3n basada en el giroscopio funciona incluso mejor que el IBIS, por ejemplo, al caminar con la c\u00e1mara.<\/p>\n<p><strong>\u00bfConsideras invertir en cualquiera de estas dos nuevas c\u00e1maras full frame de cine? \u00bfCu\u00e1l preferir\u00edas y por qu\u00e9? Cu\u00e9ntanos en los comentarios debajo del art\u00edculo.<\/strong><\/p>\n<p><a href=\"http:\/\/cinelive.at\/landing\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-127252\" src=\"https:\/\/www.cined.com\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-640x171.jpg\" alt=\"\" width=\"640\" height=\"171\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-640x171.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-300x80.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-768x205.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder-861x230.jpg 861w, https:\/\/staging.cined.dev\/content\/uploads\/2019\/12\/powered-by-CineLive-Bobo-Schroeder.jpg 1231w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<127931-main-buylinks\/>"},"excerpt":{"rendered":"<p>Los cineastas Philip Bloom, Nino Leitner y Hans von Sonntag hablan sobre las nuevas c\u00e1maras de cine full frame: la Canon C500 Mark II y la Sony FX9. Comparan varios aspectos de ambas c\u00e1maras, por ejemplo, las monturas de lentes, la ciencia de color, el enfoque autom\u00e1tico y la estabilizaci\u00f3n de imagen. Durante la feria Photo &amp; Adventure de este a\u00f1o en Viena, Austria, el equipo de cinema5D estuvo a cargo del programa &#8220;Escenario de Cine y Video&#8221; en esta feria. Hemos invitado a muchas personalidades interesantes para hablar de diversos temas. Puedes ver la publicaci\u00f3n inicial aqu\u00ed. Decidimos publicar los temas m\u00e1s interesantes nuevamente en art\u00edculos separados. Puedes esperar [&hellip;]<\/p>\n","protected":false},"author":12862,"featured_media":127600,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[{"id":42293,"name":"C\u00e1maras","link":"https:\/\/staging.cined.dev\/es\/noticias\/camaras\/","slug":"camaras"},{"id":42280,"name":"Industria","link":"https:\/\/staging.cined.dev\/es\/noticias\/industria\/","slug":"industria"},{"id":42284,"name":"C\u00f3mo se Hace","link":"https:\/\/staging.cined.dev\/es\/como-se-hace\/","slug":"como-se-hace"},{"id":42290,"name":"Noticias","link":"https:\/\/staging.cined.dev\/es\/noticias\/","slug":"noticias"}],"tags":[36456,24687,36831,24989,36833,24279,25407,36893,24280,25717,36894,24431,27323,36895,24490,36896,24499,34309,36897,24500,34310,24595,34506,24596,36453,24618],"tag_label":[],"brand":[],"class_list":["post-127931","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-camaras","category-industria","category-como-se-hace","category-noticias","tag-pxw-fx9-es","tag-nino-leitner-es","tag-workshop-es","tag-camara","tag-taller","tag-full-frame-es","tag-filmmaker-es","tag-c500-ii-es","tag-sony-es","tag-cineasta","tag-hans-von-sonntag-es","tag-cinema-camera-es","tag-discussion-es","tag-panel-discussion-es","tag-canon-es","tag-panel-de-discusion","tag-cine-es","tag-c500-es","tag-charla","tag-cinema-es","tag-c500-mark-ii-es","tag-camera-es","tag-fx9-es","tag-large-format-es","tag-realizador","tag-philip-bloom-es","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v20.10 (Yoast SEO v25.3) - 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