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You know, this might actually be an advantage for me. Shooting in 0° Wisconsin weather? No more overheating, plus a free hand warmer!

I actually ended up buying a c100 mk II for $3599 brand new on this site: http://m.fumfie.com/product/ID515C6/view/ it has since went up in price so I got it just in time. Thanks for all of your advice guys! Much appreciated! And as far as the FS5 goes I think it's a great camera. Sony has all of the features a video guy wants but there's something that keeps bringing me back to canon. I think it's the look and the colors and canons menu system. ive personally owned many cameras. I've owned, the original c100, BMCC, BMPCC, canon 5D II&III, Sony A7s, Sony F35, ursa mini 4K, and they are all great cameras but with all of my experience with these cameras I choose canon becasue of the colors and ease of use(you can't beat the F35's look though. I just wish it was smaller). I rented an FS7 once and, while it had a great image, the menu system was horrible. I didn't even know how to change the ISO with some picture profiles that I used. While some might enjoy the complicate Sony menu, I don't. I don't have time for that. I need to be able pick up my camera and shoot. Canon wins for me on that end, but Sony might win for someone else. I do definitely think Sonys winning on the innovative side of things.

Hi Pavel, yes IS work, this last work revolutionary the Samsung nx camera users.

"In an interesting update, there's a new menu option which changes when the over-heating warning icon appears: there's Standard or High options, the latter simply allowing the camera to keep operating even when it's getting hot, although protection will still kick-in to prevent any damage. When shooting with the earlier A6300, I found the body could get quite hot to touch, and revealingly Sony's engineers recommended using the A6500 on a tripod when the temperature warning had been adjusted - not to do with stabilisation, but because the body may become uncomfortably hot." http://www.cameralabs.com/reviews/Sony_Alpha_A6500/

No problem I'm a bit of a location sound recordist nerd, so have a good handle on all the various low budget sound recording options ;-) The key point is all the ones I listed have headphone jacks (even the Shure on camera mic, and those wireless receivers) so while you can't monitor what is actually being recorded inside the camera (thus whenever you can and have a spare moment, you should still check playback for issues), you can at least easily monitor the audio feed (which is the next best thing!). Plus all of those listed (except for the Saramonic & Sony wireless kits) are recorders as well, which gives you a back up recording as well as an emergency fail safe you can resort to if need be. If all you need is an on camera mic for scratch audio / extreme run & gun, then go for the Shure VP83F. If you use wireless a lot and you want a very minimalist set up without an extra bulk, then go for Saramonic UwMic9 (or the Sony UWP-D11 if you want the fancy-ish "brand name" of Sony rather than Saramonic, of if you need a different frequency range for your region other than what Saramonic can supply at the moment). if you want an actual proper recorder go with Tascam DR60D mk2 (I've seen it for as low as US$135 on special!! Insanely cheap for such a good little recorder), get the Tascam DR70D only if you need the extra XLR inputs. Get the Zoom F4 (or even F8) if you have aspirations in the near future of taking location sound recording seriously to a semi pro level or higher and specialising in this as a sound recordist. (like I am doing myself: http://ironfilm.co.nz/sound/) Get Zoom H1 (or Tascam DR22WL, which is kinda similar ish... but has WiFi!) if you have very low audio requirements (don't even want XLR) and just want something nice but is ultra small and compact with built in mics.

HI everybody! Long time ago I shared my first Teaser and also some Super 16mm shots from my Feature, "Black or White". After all this time we finally made it so i wanted to share the official trailer. The film is beginning it's festival tour this November so we are hoping to make it travel around the world, finger crossed Activate ENGLISH subs!!! And here on Vimeo for those who don't like Youtube: If you are wondering, yes.. We shot all the film on Nikons D7100 and D5300. A little old by now (we started 3 years ago) with all the 4k cameras around, but i think the look holds pretty well. There is also some Super 16mm footage.

Im not a radiologist like Saadawi but I did some tests a while back.

Yeah, AF is an issue with anything other than Canon dualpixel AF. Then again, acknowledge that and either buy a Canon or use the Panasonic camera in AF-S and MF mode only. I never found it a huge deal. But yeah, it would be convenient, I won't deny that. The all new Olympus flagship might hold some surprises there, we'll have to wait and see. If you know where the camera excels and where it's weak... you can make the most out of it. You see it with guys like Albert Fast (shame I haven't seen him on the forum for a while, he does great stuff). Use the right profiles and settings, the right glass (!), know about good composition, what makes a great and interesting shot... and edit it together well. Then again, as they say... might have more to do with who's behind the camera, rather than what's in front of it!

"certain sensor resolutions are better suited for it than others." is exactly incorrect. From a pure image quality perspective, the more resolutions to work with the better, for example, Nokia Pureview technology oversamples from 41MP raw data to produce 8MP/5MP/2MP ones, they are sharp and clean because the noise can be average out. The "multiples of 4K" concept you mentioned is designed for optimal speed, called pixel-binning, groups of pixels are readout as one instead of every single pixel. The bin requires equal number of pixels horizontally or vertically, like 2x2, 3x3 etc. Hence the need for "multiples" of resolution. Pixel binning tends to create noisier and softer images with higher likelihood of moire.

To be expected, really. It's just an a6300 with extra heat inducing features.

Lol no need to apologize. This thread is open to whatever anyone wants to say. I don't mind it at all. I enjoy learning from all the camera geeks

Yeah, the added monitor turns the micro into a monster. I picked up the pocket and the panny 12-35mm. With OIS on I can go handheld and I look like some tourist taking photos. It's so much fun. I have a Meopta 20mm, which I think may just be the Vega 20mm in a different housing. It's quickly become one of my favorite c-mount lenses... Sharp as a tack. I just wish it had a normal filter ring size. But I'm really trying to downscale everything. I have too many lenses and too many cameras. I just want a simple set up for the Pocket... The 12-35mm, maybe the 20 or 25mm... Maybe. And then a small handful of c-mounts. I already have a complete collection of Cosmicar 1.9 c-mounts... The zebra lenses and they are awesome. I'd love to set up the Fujinons because I really like the lenses, but it's too much trouble getting them modified, or modifying them myself... This was also an issue I had with the micro... Half my time with it was rigging it and figuring out DIY set ups... It became a culture of modification when I just want to easily get footage. With my current Pocket/Panny combo, the biggest issue is charging batteries and choosing whether to shoot ProRes or Raw. Sorry Omar for the off topic.

Agreed! But wait... Micro turned out to be a little too cumbersome? There's still the issue with the battery life, but I do love that everything is well contained within the little device. I had the famous Kiev-16U triplets (MIR-11M 12.5mm, VEGA 7-1 20mm & TAIR-41M 50mm f/2 lenses) sent to me a little while back. Man, they were tiny, I imagined them way chunkier for some reason. Still awaiting the adapter. Not shooting my BMPCCs much these days, in favor of the easy going Panasonics, but I figured that new set might change things up! Read more here: http://www.vintagelensesforvideo.com/kiev-16u-lenses/ , and maybe get yourself some as well. We're talking C100mkII... FS5... etc. Or frankensteining the Micro... but it's lovely to scale things down to silly basics sometimes, isnt it?

Hi Luca... how long do you think it'll be before you have an adapter that works with autofocus?

I just picked up a pocket, am selling my micro and you ain't kidding, the menus are so simple and straightforward. I just don't know why it's such a big deal that somebody wants a C100ii instead of an FS5? It really just comes down to personal taste. I have no interest in rigging cameras, so I bought a pocket to replace my micro. To a lot of others, the micro is the obvious choice of the two. I like the easily accessible Canon colors and menus more so than the Sony variety, it doesn't mean Sony is bad, just different tastes.

Why can't everything have an interface like the Blackmagic cameras?

I think it is more like 10% Sony (but that greater complexity largely comes from them packing in so many features... you wouldn't have that problem if they did less! But you wouldn't want that) & 90% a meme created by Canon shooters.

I got the front element off yesterday but the back ring still wont unscrew. I did put even more WD-40 (because YOLO!) hopping for the best. (the front rign was very tight and difficult to unscrew, which makes me think that the adapter I got was in pretty bad shape :s)

Anecdotal, but when I picked up the RX10MK2 after about 8 years of shooting Canon & Blackmagic, the first thing my colleague said was "Sony, eh? Have fun with the menus". It's not just a Canon shooter thing, Sony's menus and ergonomics in general simply leave a lot to be desired.

hahahahaha funny indeed. The graph made me feel better @Mattias Burling.

Half Life 3 confirmed...

Hello everyone, I'm new on this forum, I just wanted to have some feedback from some canon XC10 user. I used to test the camera with an external recorder NINJA ASSASSIN and results were surprising. I hope to be able to exchange of views with someone who has had the same experience. thank so much

Luca, you're reviving the interest for the nx line. Samsung should hire or pay you.

Hum... looks like someone has been tinkering with one of these Chinese action cams and installed a C-mount adapter (á la Novo (Radiant Images) and Backbone). https://www.indiegogo.com/projects/cyclops-pocket-interchangeable-lens-camera#/ For what it is the footage is looking halfway decent. Hum.

Atleast the camera will be air cooled.

Take Pana Leica 25mm f 1,4. It is a great lens for the price. Just check my a short Mazda Cosmo video I made yesterday, wide shots are done by Samyang 12mm T2,2 and all the others by Panasonic Leica 25mm F 1,4:

I think the Olympus PRO lenses are probably the best thing out on the market for M43 with solid built and outstanding optics. Super sharp and detailed from all the way wide open. The manual controls. Lens function button maybe even. But... holy shit, are they expensive! Now, the PRO zooms are tremendous value and two of 'em (7-14 & 12-40mm f/2.8 PRO) can be had for under a 1000 bucks. That's a no brainer. The 40-150mm f/2.8 with teleconverter is still a strech for what I think is justifiable to pay, so I'm not getting it until it drops atleast by another 250. But single focal length lenses... I'm having a hard time paying up more than the highest end body in the system roughly goes for (E-M1/GH4). So the 300mm f/4 or 25mm f/1.2. Man, I wish, but it ain't happening. No 300mm f/4, 25mm f/1.2 Olympus or Panaleica 12mm f/1.4/42.5mm f/1.2 for me. Of course... if you're willing to spend that kinda of money. Go ahead! But consider the character of each lens. The Leica might be a little more colorful, but also a little bit more playful and chilled. The Olympus will probably be more of a straight arrow, nailing that precision. But as I haven't tried either of these, I can't tell you for sure. But I think you'd be fine enough with something cheaper than the Olympus. Also consider SLR Magic and Voigtländer! Maybe even the ZY Optics/Zhongyi/Mitakon one. Perhaps two different ones for the price of one Olympus!

Google worked closely with Qualcomm on the pixel. The EIS uses the gyroscopes to adjust for shake. It is supposed to be very good indeed and is said to be free of the artifacts that are common in other EIS systems. I believe this Tech is similar to what we see from SteadXP. Below is the first footage from the pixel using this technology: Also notice that HDR is enabled by default so we have the blacks of the tires exposed correctly while the sky also retains detail.

Please provide more details or pictures... Will IS (image stabilization) works too?

Thought we where over this camera x is better than camera y. No camera is better than another, it depends on the user. If you ask Iron Film the FS5 is better. If you ask me the c100ii clearly wins. None of us is right or wrong. To answer the title question. Me personally I would look at a used c100i. Here they cost about the same as a Panasonic g80/85. Crazy value. And then I would have lots of spare cash for sound gear, lenses, or mayby just a vacation if I already have everything I need. But thats just me.

Yeah if I pick this up then it will be my first m43 body, so thinking of picking up some lenses and then the gh5. I thought the g7 images at first were not great too but then they got much better and I really like the size of this system after handling them next to canons and nikons. I just wish the af was better.

True. Don't think there's any major improvements... I suppose it will be roughly exactly the same as the GX85? Which... I think is fine, if you're used to the image coming from the GH4. It means better noise control and just an overall tweaked image. You can actually use it at ISO1600. Noise will creep into the dark end of the midtones (rather than blacks). Little noise reduction in post will take care of that (add some grain for definition). Might add a tiny bit of warp stabilizer to smooth out some of the movement a little more where needed. What really sets it apart is the whole feature set. The G7 and GX85 didn't 'have it all', there were some things that were kind of a letdown. But by putting the best of both together and adding some on top... this is a really cool camera for people who want a great hybrid camera, but don't exactly need (or want to pay for) the more advanced features found on the GH4/GH5. Now... I've said it before... the Olympus E-M1 Mark II looks like it might be the absolute king of hybrid cameras. But it will come at a price... and we've known and been using Panasonic for their solid and familiar video performance... we're not sure how the Olympus will turn out. If anything, and you'll be going for the GH5 later on, this will make the best B cam.

I can't see the video, definitely prefer Android to IOS, but there are real downsides to (trying to) use Android rather than iPhones phones for video. I've tried. There are fewer app options, almost no lens, case and grip attachments. I have an LG G4 which is great for stills but I can't get Filmic Pro, Cinema 4K or Cinema FV5 to work correctly and I get such awful burn-in when I try to do video with it that I can destroy my screen within a couple of hours of filming. Add to that the fact that in less than two years it has been sent back for repair (and away for a total of six weeks) twice... So I'm wary of getting carried away with enthusiasm this time. It's not because a phone can produce nice video that you can actually use it...

Yes Ive used them side by side. Ino the 5D is a 12stop camera which puts it bellow the BMDs and even the d750. Colors, RS, etc is another subject. Im just talking about DR.

The way the sensor picks up color is unreal. Obviously that's optimal lighting, but it does great in mixed lights, interviews of course. A c100ii and a pocket camera seems like a cool combo. You could mention that the FS5 can't touch the C100 on ergonomics, auto focus, or baked in color. They both have strengths and weaknesses. Someone who is used to the 60d wants a better camera will probably do very well with the C100ii.

Nooooo...... the video is now set to private and I can't view it!! :-/

Seriously, the C100ii is such a beautiful image. A friend of mine just bought one. The colors are just so dialed. A tiny bit of noise doesn't even bug me when the color looks this good. Also light weight and a ton of fun to shoot with. https://vimeo.com/178928164

Slightly off topic, but speaking of ML Raw Viewer, I just learned that you can process raw files from the BMPCC with it. Probably not the most ideal workflow, but for a quick and easy process, it's pretty cool. You can also convert them into a variant of C-Log, SLog 1 & 2, etc... I wonder if it could be a way to match footage between different cameras.

Definitely C100mkII, and spend wisely the rest of the money for sound, and you are good to go out there and make some money! 60D and SL1 are just way inferior, you will be excited using the mkII, you can get a cheap 18-135 STM that is my run and gun choice, and having already the Tokina, the 50mm and the 24-70 you can have better quality from quite wide to tele-ish range, if the 18-135 doesn't cut it, but for corporate, or live, it does the job most of the time. Probably you have some money left to get the new M after a couple of jobs (and when the price comes down a bit) to have it as a second camera, or backup, and/or photographic one.

Enjoy.

If you do not need 4K, I agree you should get C100 Mark II.

I would buy the C100 MkII: it is a complete system with ND filter, audio inputs, good log codec etc...

Casio had up to 1000fps in their compacts 6 years ago. But I get what you mean

Yes, I see it and it's not pretty! I noticed it first in HD (after firmware update) and to a lesser extent in 4K. Switching between IS modes makes no difference but it does increase with ISO. It makes HD footage unusable at 3200 if there's any movement of high contrast areas. The DV Info review points it out and theorises that the ghosting artifacts are due to an in-camera temporal noise reduction. The reviewer spotted it during a rolling shutter test: Now that I've seen it in my own footage I can't unsee it! It seems to even be present, but very subtly, at 500. Whack up the ISO a bit, zoom in on a contrasty line and wiggle the camera a bit. You'll see it too ? Now, I know the latest firmware "improved" high ISO performance in HD. But has it caused a worsening of ghosting? I took only a handful of shots before updating so I can't really check for sure. Of course, the sensible thing would be to have an option to disable all noise reduction but... it's Canon.

G7 would be perfect (I own it one that I use next to GH4), the only thing I don't like is the 28 mbps 1080, the focus peaking (the one one GH4 is far better, at least on the camera I have), the HDMI out... for the rest is an awesome 4K camera, the 4K codec is indistinguishable from the GH4's one.

Final cut would handle it lag free on an old mba without a dedicated gpu. Thats one of the reasons I switched from Premire to a FCPX/Resolve combo at home after 6 years of Premiere.

Imagine how great this camera would be with the FS5 auto ND! I'm still finding my way with post on this, but my best results so far have been getting it legal manually then applying rec709 looks. Canon log seems to be really really easy to deal with and the results just knock me out - super 16 vibe with enough resolution that you can afford to throw some away. I'm grading it for colour and exposure, then adding a filmconvert layer with the colour dialled to zero but with super 16 grain to 35% or so and it's making me wet my pants.

NX1 the best choice by far, you need to spend over $6000 to beat it for 120fps However if you don't mind the small sensor and fixed lens - RX100 IV has the best resolution and even 240fps, with less moire.

Here's a few clips in c-log Hd, as well as some 60p shots. I'm not a very good at color grading so I know it could be better. I had my daughter in a pack on my back of all these shots so the stabilization helped a lot.