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I think we should be happy that 'the masses' are still buying Canon because it is 'the brand to get'. We, as enthusiasts and some even professionals, earn their living with shooting video's. I'm so happy that 80% of video shooters still shoot 720p on their Canon 7D / 5D. Why? Because my GH3 looks amazing compared to it. And my clients go 'ooeh' and 'aah' when they see my footage. Of course it is composition, grading, talent, etc. But the camera is also important. So I say, stop spreading the word about Canon camera's being shitty. You gain nothing from it, but you take the edge, of us video makers who spent lots of time selecting the best gear carefully, away. Buy Canon folks! Great reliable gear! Never had any problems with them! Furthermore, even though your articule is spot on Andrew, it accomplishes nothing. It's like asking Sony why they don't release a Mac Pro competitor for less money. Clearly there is no interest from Canon in this market. But also, they will still sell the most camera's for years and years to come. And you should buy a Canon, because they are great!

Do you also have many leather-bound books and an apartment that smells of rich mahogany? C'mon, I've shot Alexa in Arriraw, RED Dragon, F65, and shot a lot of 35mm and 16mm. Commercials, TV and even films. I generally view 2k and 4k footage I've shot on calibrated monitors, and in some cases on cinema screens. But I'm not going to get into a pissing match about whether a $12,000 camera is better than a $1500 camera and try and prove to everybody that 'I'm kind of a big deal' because I'm not. Im a guy who shoots things and uses the best camera for the job. I also don't invest in expensive cameras because I prefer to choose the camera that suits the project, rather than get overzealous about the camera I have purchased, and force it on every project because I need to justify my purchase. I own an A7s because it's cheap and gives me a good picture. If I only shot corporate stuff, and shot it on a daily basis, maybe I'd invest in a camera - but I work regularly for many of the major production houses here, and very few own a camera. Many have invested in some lenses, but they rarely purchase their own camera, because even a production house that makes film or commercials every single day of the year knows that every production has different needs. The A7s isn't really toy feeling. Compared to an Alexa or Epic, maybe - but IMO, even Blackmagics (as well as most/all video SLRs) feel like (and sometimes perform like) toys, especially when you compare them to an Alexa or a 435, for example. The A7s has some of the best low light performance on the market. Sure, maybe it's a tad noisier than other cameras, but I'm yet to see a single other camera that can see in the dark like this one can! You can't even rate a RED higher than about 320ISO without getting unacceptable noise. I push my A7s to ISO3200 in Slog and I'm relatively happy - not like the Epic which I'm cautious of rating at 800, let alone any higher! Of course the Epic has other uses and features. I wouldn't use an A7s as my A cam on a high budget commercial. But man it gives a damn good image for such a cheap camera! Oh right, you mean unless you get the necessary adapter to put those lenses on the camera which contains electronic control... Also, I know you have 150 lenses - did you know that you actually don't need to buy every single lens on the market available for a camera to actually be able to shoot with it? I have 8 primes for my A7s that all up cost me much less than $5000-$10000! Suits me fine - I've never had autofocus, electronic iris or lens stabilisation when shooting with lenses on any actual cinema camera (I know - shock, horror!). Also, I've got a PL adapter for my A7s so I can put Master Primes on it if I wanted! I'd take an A7s with Master Primes over a 1Dc with Canon still glass any/every day of the week. The fact that a comparison doesn't exist does not mean the 1Dc is inherently better. It just means no-one has looked to see if it is or not. Man, you sure sound like a Canon fanboy. Kodak went down the same path. They failed to innovate with their cameras, and coasted along thinking they would be fine, and they failed! Kodak invented the digital camera, and in 2005 were the number 1 selling camera manufacturer in the US! But they failed to anticipate, failed to innovate, and look where they are now.

Which makes you perfect placed to comment on the enthusiast subject at hand. I've shot with the 1D C. Type EOSHD 1D C review into Google when you have a spare moment. Really? A7S not better in low light? Hmm. No I think you'll find the ergonomics suck as well. Perhaps the most unintuitive camera for video I've ever shot with. Does your Epic have AF? Thought not. There's a reason for that. You have your facts wrong. ALL the Canon, Tamron and Sigma lenses have f-stop control and IS via the Metabones adapter to Sony E-mount.   I have seen the A7S's 4K projected at Pinewood Studios. I can tell you what it looks like. It looks superb and it is full frame 4K not 1.3x crop on a 2 year old sensor aka 1D C.

Indeed. What's interesting is that none of the defensive posters are actually enthusiasts. One owns an Epic and one's simply just an idiot with a keyboard instead of a camera. The problem with Canon is not the pro $12,000 stuff it is the enthusiast $1k-3k cameras that aren't giving us the innovation we want on the video side. Nobody can defend it, not even Canon themselves. Which is why they are so quiet about it.

The Panasonic FZ1000 is a bridge camera, but is it a bridge that actually leads anywhere? Read my FZ1000 review to find out... http://www.eoshd.com/2014/11/panasonic-fz1000-review-bargain-4k-super-zoom

In my first shoot with the NX1 I only had the rather cheap and cheerful kit zoom on the camera. That doesn't go any faster than F3.5. I've since been buying adapters and have found the Sigma ART lenses to be a perfect match for the Samsung NX1 in 4K. The video footage above was shot very quickly but it should give you an idea of just how superb the NX1's 4K video really is. Fantastic detail, colour and overall feel. Read the full article here

If you want a flatter grade then the settings I just posted above plus Film Convert BMCC 2.5K Film gamma as Source Camera and Fj Velvia 100 as the film stock looks lovely! Clean ISO 3200!! Nice silky blacks!  

-35 contrast in the converter app (Wondershare) and "Retro" profile on -8 contrast are providing some interesting results in low light at ISO 1600 and 3200. Really moves the blacks away from the danger zone, but doesn't hurt highlights.

She's in my basement tonight. The last time i saw her I came down with flu symptoms shortly after. Apparently ther eis something wrong with my immune system. - maybe get a checkup yourself.

Here's how flat I can dial the NX1 using the custom picture profile. Pretty flat!   Plenty of info in the blacks there and not too noisy at ISO 1600 if you have a decent exposure like the one shown. If you don't then it does get very crushed and noisy down there.  

No, in other words: 'you pays your money, you takes your choice'. It was pretty clear on the earlier announcements that the rail setup was for illustration purposes, I sometimes wonder if people read the facts before posting nonsense. Think it's a good time for people to remember that these Anamorphicshop people are not a Sony or Samsung sized company, so give them a break and some credit for releasing something that is a great deal for many on this forum. If you don't want one because the price is a too high or it's too 'new' or expected that it should come with a lifetime warranty and a box or complimentary chocolates - guess what...you don't have to buy one. Like I mentioned in a previous post, everybody wins....FM buyer or not. If you have a dual or fixed focus lens that is sub 70.1mm diameter in your collection, the future re-sale value is probably now more assured with them being compatible with this single focus module.

well,well. Andrew you are bound to step on a few toes (not that many anymore though...). I think your article is spot on. I think defensiveness on the part of a few commenters trumped them paying attention to the segment you were addressing.

Actually most people who came initially to the site were interested in my Panasonic GH2 coverage. You have just reinforced your ignorance in the eyes of the entire forum. Congrats! Anyway... if the posts from now on contain a more constructive form of negativity, it'd make my day.

I wouldn't bother, just get a Panasonic LX100 :)

He has to be careful with the warranty thing. Here's how it works in the UK for example: So actually you are able to chase anyone even after many years saying the product should have lasted longer and the fault is not due to natural wear & tear. *BMPCC broken HDMI ports, anyone?

@ Liszon I am going to enquire about warranty. I will let you know.

I agree about the somewhat weird warranty period and the lack of rails and everything, BUT.. I am sooo bloody excited to see this in action!!

  Key word is "overall". Some facts my friend...   Sony A7S with a monitor on top kills the 1D C stone dead for image quality. 1D C is not full frame 4K. The active imaging area is barely any larger than Super 35mm in 4K mode, thus NX1 and GH4 with Speed Booster give a similar rendering of Canon full frame lenses The codec is from another time, when dinosaurs ruled the earth. 4K MJPEG takes up 6 times the space on my drive that H.265 4K does. Monitoring on the 1D C bare bones is a nightmare. No EVF, no peaking, in fact virtually nothing to help you focus The GH4 and NX1 can be used bare bones without a monitor, far more pleasing to shoot with The 1D C is $12,000... how many times do I have to mention ENTHUSIAST MARKET for you to get the point of the article? The 1D C's codec has banding issues at low ISOs The 1D C's sensor is rated barely 12 stops, the GH4 for 13 stops and the A7S for 14. So in that sense the raw stills aren't the best either   Like I said... Sony A7S with Shogun on top or 1D C with monitor on top just so you can focus... It's a no brainer. Image, usability, size, portability... everything is better on the Sony.

Couple of thoughts: I hang around in a few high volume forums that aren't as technical as us (including a deals site and a couple of general tech forums) and the prevailing mentality is that Canon video is #1. So as long as people keep on buying their cameras in large quantities, along with pros padding the profit margins with the Cinema EOS line, Canon will say, why do we have to change anything? The other thing is that Canon, like most companies, don't like bad vibes. They won't tell you anything that makes them look bad, hence the silence.

Im not against them just trying to save you money ..thats all

dont sell! i dont know what you are using the mark3 for but i have an unhappy experience to tell you about the sony A7s, a photographer & videographer went to shoot with it at a wedding and the couple complained to him that his equipment was not "proffesional" and they had a fight at the wedding because of the small size....! i know it sounds crazy the camera is great, but from a commercial standpoint you need the large DSLR too.. people are still backwards when it comes to equipment. try to save and have both br

@ andy and the guys that oppose the filters i can see how the uv/ir is useless to most of you, especially friends from the UK the overcast skies offer that protection and its not needed, there is no better filter than the clouds the light where i am living is very different, with the exception of 3 winter months, i cant leave my house without my tiffen vND everything gets burned here below f4 for most of the day. summer is a nightmare...from 13:00-16:00 the UV is off the charts if you have the time check this interview from NAB for tiffen, icheck at 08:36 the "ill fix it all in post"

The image is unbelievably detailed and doesn't look digitally sharpened. Colours are really, really nice too. But shadows here are noisy and really lacking in information. No wonder Andrew crushed them in his video. I'm sure this video has been graded. The blue in the shadows is a giveaway - I've never seen any camera do that natively.

Very good summary indeed, i would add also: The 5D has up to 38 fps raw at unstretched 1080p (recorded time is limited to couple of seconds though due to buffer and card speed) The 5D has up to 65 fps raw 1920x672 (nicely stretches to 1080p but also limited time) and gives better quality than 1080p h264 30 or 24/25p The 5D has 48 fps raw at 1920x508 (like above but with 2,35:1 aspect ratio) - can record almost continously Very nice new tools (much improved in last months) for on site checking and one click processing raw like MLVrawviewer (mlv to prores). The 5D has DUAL ISO raw recording option (stills and video, normal and crop), can record for example iso 100 (for highlights) and iso 1600 (for shadows) in the same time, there are some image issues like aliasing in over/under exposed areas (but no motion ghosting) but when needed it can give 14 stops of DR The 5D has HDR video (h264 and raw) - when shooting in 48 or 50 fps it alternates ISO values between frames, no aliasing but motion artifacts so mostly for static shots The 5D has auto ETTR (very useful for setting exposure fast) - it sets exposure to the right in one button click All of the features above are from Magic Lantern of course, not from canon.

  Why? Can't see the word 'DSLR' in it and E stands for electrical, O for optical and S for system. Sounds pretty relevant to me.

Arri's are far too big for anything I do (Amira included). I dislike RED as a brand and I don't have any particular love of the image. Sony colours are not to my taste at all (F35 looks lovely but the newer CMOS stuff I find soulless). Blackmagic image I like, but low light is an issue, as is handling (and URSA file sizes are scary). GH4 is great but just a bit too noisy. If it's the only camera you have, low light will be an issue. Nikon - D750 and D810 look decent but I don't think 8bit DSLR's are ever going to be enough for me as a video camera. Ridiculously, that leaves Canon ... 5DIII ML RAW - if I was only shooting for myself this is probably the one camera I would own. For me the image is rivalled only by Arri and Blackmagic. I just wish it had an EVF and native XX-bit codec. Canon's 'Cinema' line - as over-priced and under-specced as it is - it really is the happy medium between everything for me. Possibly a bit more attention-grabbing in size and form than I would like, but nothing like an Amira or URSA. The C100 Mk1's issues (crap EVF, AVCHD codec and no 50/60p) are addressed with the MkII. The C100 MkII also seems to make the C300 a bit pointless. The C100 is the only 8-bit camera I know of with colours I find really satisfying. I love the image that camera produces. I guess the C300 MkII will be 4K, which doesn't matter much to me because the image is sharp already. If it has a 10-bit option though, that would make it very appealing (though it'll be way out of my budget anyway). So my choice would be either 5D3 RAW or C100 MkII, depending on application (personal or work). I don't own any Canon cameras or glass right now, but I love the Canon image. Dynamic range is the weak area I suppose, but Zeiss optics + Canon colours is my idea of video heaven. Maybe that's why they get away with charging so much and not innovating. The secret is in the sauce ...

Yeah, Caleb actually just released part II of his filter setup shootout/tips. Some gd stuff there. ~ http://dslrvideoshooter.com/filters-video-part-filter-types-uses/ ~ http://dslrvideoshooter.com/filters-video-part-ii-matte-boxes-lens-accessories/ The option for the least amount of lollars actually looks pretty nifty with the magnetic pop-on and all.

with niche items it takes a certain person to go ahead and actually develop and manufacture such things. There are a million ideas men, only 100 of them have the balls to put money into those ideas rather than sitting in an office with a manager dictating their success., and only 10 of those 100 have the ability to put everything in motion and actually deliver such items. We're a limited market and should be thankful someone is going through with this! Most people spend their money on new mobile phones and eating out / drinking themselves to death in order to forget their boring lives. If these things weren't being made, we'd be doing the same as the masses.

Am I missing something? All those YT vids above have 720p resolution. How am I supposed to judge the quality of the original video? Furthermore, those seem to be converted by Handbrake, which Andrew noted has inferior conversion quality, no? So basically, what we see here I re-re-converted video downsampled to about 16% percent of its original resolution. Can't those in possession of a NX1 post 1:1 stills from the original H265 material?

Dear Santa this is what I really really want just cos looks nice rehoused ! (and its my favourite lens) http://www.ebay.co.uk/itm/281453583979?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT

It's clear phone criticism goes right to people's hearts, and that's a sad reflection of how far we've stooped in this world today :)   I'm going to follow it up with a review just of the camera.   Think of it as a camera with a sim card :)

Very much thank you for the review. I skipped GH4 because of the many quirks. The Sony FS7 is hell very expensive, no Sony APS-C/FF cameras below 2000 with in-body 4K video. Today NX1 is really the best bang for the bucks, you are right (although you wrote "could be", which could mean anything). Sony seems to be trying to protect its high-end video camera products by avoiding 4K from affordable camera models. Maybe they have a deal with Atomos? I am not in a rush, and Sony is a serious player in videography whatever the others do.

Looks crisp. Liking the colors i'm seeing from this camera. Just wish a speed booster was possible. Ah well, for video it's shaping up nicely. Can't wait until you can natively edit h265

hope to see some finished product soon John - looks like you have been very busy!! if the finished lenses look like the VR then you are onto a winner! there is a whole bunch of ppl about to order the FM module so get something finished soon I like to Buy British !

I assume this Baby Blue will be less than 500e and cheaper to ship than the other module and fits the Moller which I think will be the anamorphic i'll try for, if I can find one.

Just got one on saturday. I'm pretty jazzed on thr 1080 120fps.

I've got ready access to the FZ1000 and have used it a few times. My take: There are a lot of things to like - 4k, decent lens etc. Image stabilisation is superb. I never normally use autofocus, but the face detection on the FZ1000 was so good I ended up letting it do the legwork on that front with no errors at all. There are some drawbacks I've discovered for shooting video though: 1 - using the wifi link seems nice as your iPad turns into a director's monitor very easily BUT the screen on the camera switches off after 30 seconds of recording when wi-fi is on, so you end up having to use the iPad / phone to monitor - also, the iPad will display everything on the screen except the audio levels for some reason, so a fail on that front. 2 - Using a monitor via the HDMI works very well until you hit record and the monitor feed switches off (like the 5D used to), so no good there. However you can have a clean feed, so I think this camera would work very well with a ninja or similar. 3 - No headphone jack. Why??? Another reason to use a ninja. 4- I shot on Cinelike D and found it to be more noisy than I'd hoped. Not terrible, but not great. Back to Cinelike V for me. 5 - No ND as Andrew says - you could use vari NDs, but I'm not a fan of them as you have to unscrew them to get clear. I use Cokin adaptors, which work brilliantly with the FZ1000's fixed lens as you can leave the adaptor on the whole time, which allows you to drop in filters within 5 seconds and of course gives you lots of options for polarisers, grad NDs etc (and also gives you a little bit of flare protection). 6 - 1" sensor takes me back to old school ENG shooting a bit - it's harder to get shallow DoF but it can be done if you frame at the right focal length and separate your subject, etc. That lens gets to F4 fairly quickly (around the 50mm mark if memory serves) so you'll never use it as your primary shot, but it's fantastic as a wide angle 2nd cam on an interview for instance. All in all I'd say this is a really good semi-pro camera that can be used to get away with pro shoots if speed and simplicity are needed, but don't rig it up like other DSLRs - this is a camera that works best on it's own. I'll definitely pull it out for handheld GVs and the occasional vox pop.

I don't know for people here, but for me I prefer Nikon putting its money in actual film makers than a flurry of techno geek bloggers that don't even have some short movie to their credit. I am actually talking about real short movies, with a story line, actors, props etc not just some random street shot assembled with some copyrighted music. The story style or plot might not appeal to many here but it is a mammoth task compared to some random shots. Nikon Europe also have the Nikon film festival where the winner gets a d810 and a trip to Cannes short film festival. For me I prefer that they put their money in actual film makers like in this film. It might not be to the taste of many, but it is ten time more constructive and creative than flying a bunch of bloggers to some exotic location to shoot some random flicks.