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Step back and take a breath. Canon product development aren't stupid. Neither are they at Nikon. And Nikon is barely at the hybrid video/stills party. So what's at play? Pure business strategy. You touched on it. Camera companies could care less what Andrew Reid or I have on a wishlist. Why bother compete with Sony/Panasonic? We sometimes forget that Japanese manufacturing operates as a giant consortium, with players 'accommodating' each other in support of the bigger picture.

I know a lot of friends who bought a DSLR because it had video, Nikon lost lots of customers this way at the end of last decade. Now these people have a mirrorless or simply bought a better mobile phone because of 4k or just because they don't want to carry more than one piece of gear. That's on the amateur team. On the pro side, people keep using old DSLRs for photography or moved to Sony, Pana or Fuji for the convergence. I've been a jumper. I left Nikon for Canon and toyed with my good old Gh2(v). The GH4 was great but it's the GH5 that's making me leave Canon. I was going to comment this on Redshark's article that looked promoted by Canon saying that 4k on a photo camera is ridiculous but I'm sure it's better here. In Slovakia there's a strange wedding tradition that nobody knows how the hell started. After the ceremony everybody, and I mean everybody congratulates the couple in a big queue. For a photographer is a nightmare. I was getting between 400 to 600 pictures just from that (people shaking hands or hugging and kissing, not a creative subject) and as you can imagine there are misses, which I wasn't sure if they were important or not. Now I just make a goddam 4k video and extract the best JPEG from there (EDIT: with my RX10II, that's why I'm waiting for the GH5). No more choosing between six photos with no good expression. Now I'm getting 24 and one is always good. It's a blessing. With 8k, or 4k 10bit and a good EVF for proper exposure I'm half certain photos won't be necessary outside of the fancy portrait with flash sessions. There, my 2 cents; I feel much better after saying that. Canon can limit their DSLRs how they want and offer ridiculous mirrorless that no vlogger will use, they're just shooting themselves in the foot and losing credibility. I'm not recommending them anymore to my friends. They'll be soon the horse carriage in a combustion car world.

Here is a quick test on the GH5. VLogL C4K 10 bit. Sigma 18-35 Cine (@28mm). You'll see a nice quality with human faces, but all I had right now were flowers.

Canon needs someone like Kazuto Yamaki (CEO @ Sigma). Just someone who's genuinely passionate about photography, quality and the business in general. Some that knows his stuff. Maybe he should give Canon a masterclass on business management and integrity. If you want a great appreciation for Sigma, and how it's run, then watch these vids. Canon... go watch 'em too. Maybe the big guys over at Panasonic might pick up a thing or two as well, like in terms of presentation and coming across that you know your company and products through and through... though, without that we wouldn't have the priceless expression of Sean at 1:00. Atleast he gets the importance of 4K.

I agree with many of your statements. One of the statements that you made that I don't agree with is not from this article. First, I am not talking in an adversarial way, so don't raise your shields You made a statement that Canon listens to their customers or photographers or something to that effect. I find from the D30/D60 on forward that isn't true at all. i chuckle when I read Denis Reggie or Jeff Ascough say to me that Canon is listening to them. In my opinion Canon listens to their internal minds, their own game plan, and in a very small very unique window of opportunity, I saw Canon very VERY eager to see what Nikon had up their sleeve at the announcement of the original Nikon D3 camera. At that time, the Canon people were scared sh#tless on what Nikon was launching - I saw it with my own eyes. Never saw that happen again. Leads me to the conclusion that we can add that Canon listens to ONE competitor's actions and products, and that is Nikon. Not Sony or Panasonic, and NOT their customers. The pattern for Nikon these past few years has been that Nikon has become a sleeping cow. And Canon advancement has tracked Nikon's performance to a the letter. They have been sleepy and lazy because the competition they watch has slumbered off. It is history repeating itself. Pure video people are not going to understand this point of view (with exceptions). But i feel things are going to change. I think Nikon is going to spring out with DPF cameras in a sudden surprise move and start the Nikon Canon machine marching forward again. This isn't pie in the sky there is evidence. Canon will react to money (sales) and Nikon. That is it - end of story. Nikon is asleep - and therefore so is Canon. Canon will advance with 4K in their cameras when it doesn't matter anymore. probably in about 3 year you will see 4K trickle down to the little cameras and the little people. The only thing to change this track would be Nikon jerking Canon's chain with a Dual Pixel Focus type camera somewhere in their product chain. My guess will be the D810 series with 4K and other goodies this year. Or another camera higher or similar in price next year. Then you will see Canon react. Canon doesn't give a crap about anything else, they have the sales and they have "their" competitor in a choke hold. Sony, Panasonic and Olympus are not competitors - to Canon. When I see comments like Sony is sweeping the market with their products, how many see Canon even blinking lol? Nikon, on the other hand is what moves Canon, can't say it any plainer than that. If Canon sales were going down the toilet, they would react to that too. Neither has budged, and Canon continues to report good sales to their board. The only buy I can see for active use is the 1DX II. It too leaves a lot to be desired, but there is no other camera I see that can be a workhorse to deliver is a well rounded way. It lacks IS, movie controls, lightness and small size. But it delivers an amazing army of people behind it to keep you up and running (another thing movie people don't put enough sock in - try and get a Panasonic or Sony fixed, yes I know about the new NY and LA centers lol. Chocolate bars for the kids basically. Go to a world event and Canon and Nikon have 18 wheelers full of bodies and lenses and techs to keep everyone up and running, this is more major than most people admit or recognize. Panasonic, Sony and company are "just" starting to make any noise in this area. I read in this article something that caught my eye. Are you saying that the 1080 feed thru the HDMI is better than most would expect? i would like to know that, it is is true or not. Recording to a $400 Atomos to ProRes on an SSD at a great 1080 and getting pro level results would be a really appealing thing to read! Also, got the new 2017 iMac i7 580 8GB GPU 40GB Ram yesterday. A 1 minute 5D4 MJPEG 4GB file transcoded to ProRes LT is 35 seconds. Straight from that file, color corrected and to H264 in 36 seconds (no pre-rendering). Color corrected and add a few plug-ins out in 55 seconds. MJPG jail has been cracked. Can work straight from the files, or transcode out to ProRes. Please say more about the 1DX2 1080 HDMI output and quality. Peter

Went to ML forum to get more specifics, to flesh out my memory. Until 2013 there was a lot of discussion about 10/12-bit RAW, then things went dead. On May 11, 2016, A1ex, one of the lead devs posts some findings based on an "@d". He refers to the raw_twk thread which itself dies in 2014, but picks up again in 2016. I assumed "@d", came and went in 2016, but he was active in 2013, only made 6 posts, then disappeared. So it looks like he had a good insight into 10/12 bit video, back in 2013, but it forgotten until A1ex re-visited it in 2016. "d's" future game-changer post is here: http://www.magiclantern.fm/forum/index.php?topic=5601.msg38946#msg38946 Maybe he re-signed onto ML using a different name and is active today. I don't know. I shouldn't have speculated he was a Canon insider because it doesn't look like I can have any fun here The main point is that Canon cameras can do a lot more than they do from the factory and that 10/12 bit RAW is more evidence of that. I was supporting the argument of the original story.

It's not a thesis, and these are real people's votes you're so glibly dismissive of.

If you get a GH5 I'd highly recommend getting a Tiffen Digital Diffusion 2 filter if you want a slightly softer look. It doesn't haze out the highlights or anything like that, but ever so-slightly softens the edges while keeping resolution.

Thats an a7/a7s/a7r ii (the ii series all use the same body) and the zeiss 24-70 f4

Enjoying your recent articles very much ! Feels like good old times :)! Eoshd renesaince !

To add to the mystery, there is the possibility that someone within Canon leaked the possibility of 10 and 12-bit RAW video the ML forum. That effort had been dead-as-a-door-nail for a long time. If it wasn't for that anonymous tip, which is VERY technical in nature, we'd never know that Canon cameras can essentially record a kind of compressed RAW video; that is, much less than the current 4 gig a minute. Even without 12-bit RAW, I don't understand why Canon doesn't allow 4-minute RAW recording on their 5Ds. The only real worry is temperature and they can easily fix that with a limit. Bottom line, Canon could put 12-bit RAW on their cameras today. The ML devs have recently proven that. As for the C100/300/200 line, I no longer see a threat from their consumer cameras even if they had 4K. The cinema sensors are built for cinema, that is, video resolution with large pixels, so you wouldn't get the same low-light video with your 80D 4K, say, that you would from the C100. Then, of course, all the buttons, XLR, etc. I've never bought the argument that Canon would hurt their cinema business no matter how powerful they made their consumer cameras. Of course, that might not be the case in Canon. In fairness to Canon, Sony can't seem to do 4K in-camera downscaling to 1080 well (at least in my 6300). However, I can't see how they can't output 4K in teh 6D II and let those who are inclined, downscale on their PC. So I see some merit in the argument that Canon is very dismissive of enthusiast video users. They seem to take the position that unless it can be done in camera, they're not interested in what happens to video downstream. The 4K coming out of the A6300 and A6500 is incredible, to me. And they're great cameras, period. Sony keeps releasing more lenses. Once you look at 4K out of those cameras next to Canon video it's hard not to see the difference.

@Andrew Reid Just wanna say I am enjoying your current editorial output...on a roll man.

Well, interesting article, but you probably shouldn't use an online poll from a rumor site to support one of your thesis statements.

Choose the GH5. Buy V-Log as well. Turn down sharpening and NR to -5. Add some blur to the footage. It will still show way more detail than the Micro and almost no artifacts (even in 1080p).

For years I have filmed weddings extensively with the GH3 and GH4. I always used the same microphone, a Shure Lenshopper VP83. Also, I have often even used the audio from the onboard mic. Especially the GH4's onboard mic's audio was great. Almost 'Zoom H1' like in nature. Now since I have the GH5, I have noticed the following. First of all, the camera records WAY louder than the GH3 or GH4. They really messed it up and I don't know why. When setting the input gain, -12 on the GH5 is the same level as 0 on the GH3 or GH4. In other words, there is no real -12 on this camera. Even -12 on the GH5 does not cut it for loud audio situations, such as receptions or parties where there is loud music. This means I will have to use the limiter which I have never used on the GH3 or GH4. Also, the Shure VP83 has a -10db setting which I have never had to use before, but now have to. Alright, so this woulnd't be so bad if it were the only problem. The real problem is that the GH5's audio circuit has WAY less dynamic range. When I am recording a speech now, the audio is usually on the limit of being loud enough, but as soon as the people start applauding it becomes so loud that it starts clipping very badly. The limiter prevents this slightly, but not completely. I have just listened to some old clips of mine shot with the GH3. Same microphone. First of all, everything sounds simply 'better' (can't really explain why) but what really stands out, is that everything sounds almost at the same level. This is because of the dynamic range. For instance, a speech and the applause after both sound almost equally as loud and none of it clips. Even loud music during evening parties sounded great on the GH3 and GH4. It was almost impossible to let the audio clip on those cams. And never used the limiter on either. So, this is pretty bad for me. I like the camera's image quality so much and I am heavily invested in this camera so I will keep using it. But this problem should be adressed. Maybe Panasonic could do something with a firmware update. Surely they can lower the input gain so that it matches the GH4. I am not so sure about the dynamic range and what can be done, but I do know that they messed it up bigtime. This won't be a problem for people who use dual audio recording, which I also do during the ceremony. But for all other live event recording where you need the camera's audio, be it with or without an external mic, it very much is. Especially because they nailed it on the GH3 and GH4. Cost saving? Or a mistake while rushing for the release? Who knows. But please Panasonic, do something.

The following conversation gave me pause and I am hoping to get a few questions answered by more knowledgeable individuals: One of the topics discussed was how these DPs feel that are sort of forced to use digital and many long for the days of film. In addition they seem to acknowledge the necessity to keep up with the 4K, 6K, and 8K race but that sometimes the preferable image is of a much lower resolution and they spend time trying to achieve that by softening the image up etc. as they (maybe Deakins) feel that the audience finds the optimal image to not be so "realistic". I'm curious on what everyone's opinions are. If one isn't doing paid work and 4K+ aren't demanded then you still get away with investing in a new product that is 1080P if the image is currently seen as not only acceptable but desirable?

Hello! I would like to share my work done with GH5 + FM Lens (Kowa inside) and russian taking lenses. Musicvideo is still under work but here is promo clip for upcoming video. Will post it here soon when it's complete.

Work tools are boring. I've always found mirrorless cameras way more fun to actually shoot with. In his day job John Brawley has an Alexa. Why on earth would he shoot 'for fun' creatively, with an Olympus E-M1 II? But he does. There are a lot of talented DPs who shoot with DSLRs and mirrorless cameras once they down their RED and Arri cameras at the end of the day. Yet I find in the mid-range market for video pros (wedding videographers for example) there's an aspirational value attached to the higher-end pro cameras, that is stupid and pointless. Aspirations should be creative. Owning a Sony FS5 or Canon C500 doesn't make you more creative, it makes you more efficient at work by a slight bit, and you appear more professional because of the big nobs and bells & whistles. Sadly, it doesn't necessarily make for "better" work because I have yet to see a clear distinction between work shot on mirrorless cameras and on stuff like the C300. In fact often the small camera stuff looks better and more inspired. The legendary Anthony Dod Mantle is known for his rough and ready work with digital, but when he went Canon C-series on Oliver Stone's recent series of Putin interviews, the look they achieved was slap dash and lazy to my eye... Could have been so much better. He used DSLRs as well on this shoot (between 2015-2017) and those shots actually came out more interesting! Too many pro videographers seem to dream of cameras like an Alexa and RED, why shows to me how important the professional label and look is to people, but creatively, they are no better and actually worse than the small cameras. I hated shooting with my Sony FS5. A fiddly pain in the ass, for my music video work in Berlin, it needed an OIS lens and rig for handheld - limiting the choice of looks from the lens. With a GH5 you can put any lens on there and it is instantly stable for handheld work, with a tiny form factor that gets out of the way. The FS5's image was worse than an A7S II but double the price. Aside from high frame rates it didn't offer anything creatively over a DSLR or mirrorless camera and now I have 120fps full frame on two of my small cameras along with 240fps 1080p on the pocket RX100 IV - So why bother getting a more expensive camera if it doesn't power you along creatively as much as the cheaper stuff!? These pro cameras aren't cheap... Sometimes I got lucky and I bought a Canon C500 for a very good price used, but do you know how many times I have felt compelled to take it out and use it for artistic work? Zero times. Kendy Ty is another example of a pro who downs his workhorse RED and shoots with a DSLR... The camera gets out of the way to such an extent he can shoot short films in public and direct the actors at the same time as being the main cinematographer. His work sticks in the mind as some of the most creative and spontaneous I've seen and there's not a C200 in sight... zero need for one! I think pros have by-and-large completely forgotten and lost the spirit of the DSLR movement back from 2010-2012 as they sought efficiency. XLRs, built in NDs, yadda yadda. Blackmagic as well, when they ditched the small cameras and went all-out URSA on us. Canon too... Oh wait, they never got it in the first place, and they invented it! Cameras should not just be about making money. That's how an art-form gets boring. That's how it dies. They are not just about doing a job. They're about creatively enabling artists and they're about democratising the art form so that price doesn't act as a road block to new talent. Of course Canon only care about profit, they are not interested in that. The Olympus E-M1 II's stabilisation isn't seen on any of the pro cinema cameras. It's unique. It offers something creatively to the result that a bigger, more complex shooting rig simply does not. On the audio side, so important creatively, small mirrorless cameras used to have limitations and some still do - but with XLR boxes with phantom power that fit in a hot-shoe, you can't really complain. Audio is not a big limiting factor on the Panasonic GH5. I still know that pros have their professional reasons for going Cinema EOS or Sony FS or RED or even Arri... Workflows, codecs, ergonomics, power, performance, looking-the-part... I'm not denying their reasons for one second, it would be so naive to suggest they drop the workhorse cameras and use a mirrorless camera for paid work. But the creative side of the small cameras is what matters to me and I think it is being overlooked as specs in the $6000-$10,000 pro market hot up. Sure, you can shoot all day on a big battery to a small broadcast ready codec with the C200, very practical... But can you put a 1970's Super 16 lens on there? Can you increase the character of your images by a factor of 10? Does it have an anamorphic mode? Nope. If I ever buy a C200... Shoot me. It's over.

The BM Luts should work well in terms of luminance with your BM ProRes exports. For Arri luts try these settings in Resolve:

@PhilipV I'm somewhat confused as you ask for a 35mm, but then the widest possible. So do you mean 35mm focal length or a wide lens used in analog 35mm photography? If we're talking 35mm focal length, I can also recommend @Bioskop.Inc's Mir 24N (nice flares also). Furthermore check Super Takumar 35mm/F3.5 (compact and sharp), or the 35mm/F2 (more expensive and longer). For 35mm/F2.8 there are many, many options. Well known are Carl Zeiss Jena Flektogon and the Mir-1 (which is actually 37mm).

Part of the problem is that any given LUT is expecting a certain range of luminance values, as well as a certain range of chromaticities, which it then transforms to create the desired look. If either the luminance or the colour of the input is wrong the results will be unexpected. Luminance is not such a big deal as this can be fairly reliably manipulated before the LUT in the post pipeline using curves or something similar. Ben Turley's LUTCalc can generate LUTs that transform gamma and colour primaries from known specifications of various cameras. It also gives the option for transforming colour primaries - this does have an effect, but it's not a magic camera emulator machine. This is a long-winded way of saying that it helps if you know what gamma and colourspace your ML footage is in. This is why I like Cinelog - it gives Cineon gamma and Alexa primaries. So let's say I have a LUT designed for Alexa, I just need to transform the gamma from Cineon to Alexa, and leave the colour as it is and it should work well. What's your post workflow? I'll add that Juan Melara's print film emulation LUTs are great. There's also Tom Majerski's VisionT luts for BMD and Digital Bolex, but ML footage will need to be manipulated for these. Also Andres De La Cruz Kodak PFE . Finally, Light Illusion have a film emulation LUT available on request. Finally, you can use IWLTBAP LUT generator to convert Lightroom or ACR presets to LUTs. So if you have a bunch of VSCO presets, for example, you can convert them for use with Rec709 ML footage (although the effect of DCP profiles within a preset can't be converted).

And double the outputs and inserts as well. MIDI too if you need it. Its a bit more of an all rounder in terms of capability because of that. You can assign the additional ins and outs as aux sends and returns inside the NLE, use the inserts to patch additional outboard like limiters in and the MIDI side can let you drive the NLE from a cheap controller so its a bit more of a hub than a straight 2 in/ 2 out like the Focusrite. Doesn't matter a dime of course if it sounds like shit but thats all in the ears of the beholder so you'd need to A/B them yourself. Here's an A/B that someone has done but its still subjective because of the test not using the same mics or environment or source as you might yourself so take it with a variable amount of salt. Should've maybe got a USBPreNup... Too soon?

I've been testing out a simple LUT workflow and I have found a few that work fairly well. This is known as Hunter's LUT. The idea behind it is to underexpose 5D3 ML Raw footage by about a stop and then this LUT is supposed to help mimic Alexa footage. Here is where you can find information. And here is a screen grab from my film using the LUT and some slight adjustments in FCPX... I've just been testing some different looks for my film. It seems like an interesting concept, but it isn't a hundred percent what I'm looking for. Here is another screengrab using Captain Hook's Basic LUT for BlackMagic Film... they work pretty well with 5D3 Raw footage... I believe @hyalinejim made a Kodak Ektar LUT for 5D3 Raw as well. Does anyone know of any other LUTS specifically designed for ML Raw footage? Or some that work well with it?

I truly want to shoot my next music video with your lens :D

The only M42 35mm lens I use now is the Mir 24m 35mm f2 (there is a nikon mount one & is listed as 24N) - just perfect for anamorphic. I've used it with great success with Iscorama 54, Kowa for B&H & Isco Widescreen 2000.

Here is some crappy test footage I've made using my B&H mod. The first test uses a 14mm helicoid, with the original polyurethane/prototype housing: The second test uses a 30mm helicoid (which allows focus down to about 8-9 inches) and a custom-fit aluminum housing that replaces the polyurethane: All footage was shot using my beloved silver Helios-44. Except for a few underexposed shots where I boosted the brightness, all footage is straight out of the camera & unaltered (I'm far too new at this to attempt color grading, anyways).

That sounds utterly bizarre if you're having to pad the mic and turn the input level down. A slight difference between the camera may be understandable, but not to that extent. For it to be that hot it almost sounds like a line level signal going into something expecting a mic level signal. Its the sort of issue that sounds unusual enough - and I have had a bit of a nose about and haven't seen it anywhere else - to have it checked out. To support your case with the dealer/Panasonic, set this test tone off on your laptop or monitor speakers and record it with identical settings on both cameras. You'll then be able to see definitively what the difference is in dB when you look at the file in an NLE.

That quotes the Nikkei article that Panasonic ended up having to disprove in public because of how badly worded it was "dismantling camera division" when it was actually just a normal restructuring of the pro and consumer departments for marketing reasons. Also ThePhobloggrapher article seems to be written by a child.

I have a GH5 and love it. The BM cameras have a lovely image but if I were shooting something "cinematic" I'd probably still pick the GH5 because of its usability. I completely agree with you that the precision of cameras and lenses is killing the magic of images. However, with good lighting and filters you can create fantastic images. I stumbled across this today on a colour grading Facebook page. Really impressed with the look. Shot in VLOG, graded in Davinci, Sigma zooms:

Canon DO make their own sensors. They have also bought in Sony chips occasionally like the 20MP 1" CMOS. Canon's sensors put out a raw image on every single one of their cameras and the 80D is no different, they have always led the way with 14bit colour, very good sensor output, the problem comes to when this is hacked down to the stock H.264 video mode and the lack of willingness to employ a pixel binning method on the sensor that makes a bit of effort to reduce moire & aliasing. They have only done it twice - with the 5D Mark III and 1D X / 1D C 1080p. The 80D doesn't just look soft compared to Magic Lantern raw. It lacks the dynamic range, the colour depth, the colour sampling and the uncompressed look. So in danger of going over the same ground we've been going over since 2010 with Canon, perhaps for sake of expediency we should stop trying to defend them and disagreeing with me when I call them out, and get fully behind the campaign to have them give us better value for our money. I have to correct you here. A 20MP or 24MP crop sensor is the same amount of pixels as a 20MP or 24MP full frame sensor! Trust me it's not a good business strategy to leave 4K and good video features out of the 6D Mark II. It wouldn't even have hurt the profit margin of the camera as the technology already exists and is cheap to implement. They've lost tens of thousands of sales. They do. Why else do they listen? Why bother?! Because those are your direct competitors in photography and video! Speculation.

Hi, what do you mean with the stage-play look of DOGMA95? "Dogville" is not DOGMA95, it is far far away from it! The only DOGMA95 film from Lars von Trier was "Idiots", shot by himself. Anthony Dod Mantle shot DOGMA95 films with Vinterberg and Kragh-Jacobsen not with Lars von Trier. Best regards

It too is dependent on the GH4 capture. Or alternatively a capture from the DVX200 connected to the app Panasonic do for it.

Yeah, their earlier years were sketchy to say the least. Some of their designs sailed close enough to the wind in similarity to people like Aphex and Drawmer (to name but two) to be actionable and thats before we get to the build quality. It wasn't uncommon to have to buy and return several examples of a product before you got a good one. Its changed over time though, particularly with their manufacturing when they built their own plant in China, and the tipping point for me in acceptance was their X32 digital console. I think they've sold in the region of 50,000+ of that and it variants and its a superb product. I don't think anything they make is going to make you go wow (aside from the X consoles) but they're fall less likely to make you go ouch than they were and certainly will never make you go ouch when you look at the price tag. With regard to MIDAS, its relative I suppose. Compare two Behringer products that have their own pre-amps in with the variant that has the MIDAS ones in (such as the ADA800 8 channel A/D and the MIDAS equipped ADA8200 version) and there is a difference. Its often related to changes in surrounding components as well to be fair to incorporate the MIDAS design but the overall end result is the same in terms of improvement. As I say, thats only relative to Behringer's 'own' design pre-amps though so whether it actually makes them better than other manufacturers is a lot more subjective. Its not just a marketing gimmick though to be fair, as the designs are genuinely still coming from within the MIDAS design team. At the risk of sounding like a Behringer shill ( ) there's quite a lot of side by sides on YouTube with the U-PHORIA where it doesn't disgrace itself. Gearslutz.com is a good resource for blind comparisons between lots of different interfaces too. Often these are conducted by - how can I put it politely - people with more recording experience than some of the enthusiastic YouTube 'Hey whats up guys, Ched here with another of my famous shootouts that you folks have been asking me for' ones. Ched with his 19 subscribers there.

Looks like an A7II/A7RII/A7SII: EDIT: Inazuma beat me to it and added the lens as well.

Zbush is clearly the best 3D software for designing 3D bushes! Zbrush models can be used for vfx, video games, 3D printing (with some additional processing), etc. It's been around for a long time... http://pixologic.com/zbrush/industry/

@jonpais Well said...before enjoying a great IQ, one has to shoot and do some post first. Many people simply forget to consider some practical, daily usage aspects when using cameras. Noone shoots with a spec sheet.

I liked the XC10 a lot. It just lost its value way too fast for my comfort zone. Especially since prior to that, the most I had ever spent on a camera was $600. I didn't notice the ghosting as much as others did. I shot comfortably up to 1600iso without any real noise issues. I haven't shot with 5D3 Raw at higher than 1600 either, but it hasn't bothered me. This was 5D3 at 1600 ISO, but with the Nikkor 35mm 1.4 wide open, so that's still what... two stops better than the XC10 would be at 1600. If my memory serves me I'd say 5D3 Raw is cleaner at 1600.

While the pocket has a great image, it was not exactly wonderful to work with. I would choose the GH5 hands down and never look back.

Filmmaking is not my bread 'n butter either, I'm just some choch with a bunch of camera gear, lol. Funny enough it's my actual job where I genuinely fell in love with video for the first time. Though, that has been more about capturing great moments and stunning sights. I'd say I'm a very visually oriented person, so capturing something that's just visually pleasing is quite satisfying for me already, but I'd really like to get more into proper narrative work and I think it must be awesome to find yourself in legit production environments. I would probably hate to have to shoot weddings (I did the obligatory one where you're the close friend with the sweet camera gear that gets asked xD) and work with stressful people and deadlines though, so I'm glad that for the moment I can just screw around in my own pace doing stuff that's just fun and creative to me. Over the years I've sucked up a ton of knowledge here and there and I've failed but also learned heaps and you guys (and girls) here have been a great inspiration for me to get out there and shoot stuff! Just, with a fulltime job, as buggz seems to know all too well, what filmmaking concerned it's nearly impossible to do anything of any real significance on the side. Though, at the same time I also can't see me flipping it to be doing filmmaking fulltime either... I mean, now filmmaking is still all fun, doing whatever whenever I feel like it (well, more like 'whenever I get the time to'), but I know that every job (even if you're a a celeb actor/rockstar, succesful entrepeneur or austronaut) in the end is just that: 'a job' and not 'a voluntary'. Sure there's epic fun sides to it, but every coin has its flipside... so for me it's probably best not haste to ditch a good thing and then find myself struggling for surival (I'm sure there's much more talented people out there that probably have been shooting since they were 11 years old, have mad skills and experience and have figured out how to market themselves and are experts on new media). Gotta say: never really grew up wanting to become a filmmaker either, I had other plans I've managed to realize in meanwhile, so it just never occured to me... but as this interest grew over the last few years... seems a shame not to do more with it? I mean, I love my job and it has been absolutely great and pays well enough that it has allowed me to purchase tons of gear (my lens collection especially might've gotten a little out of hand #teamoverkill), but it would be very awesome to go parttime and do some commercial/creative video work on the side, which looks like that might be happening first thing 2019, when after a good 10 years in Austria brushing up on German and devouring Sachertorte I'll be moving back to The Netherlands once again. Gotta do some inquiries concerning aerial video there, as that's a subject of interest as well, just Austria has been about the worst place to get into that (I think the 3DR Solo will have to wait forever for it to be exempted and allowed to get airborne here). Think the fix job (I'll commute to Vienna) with steady income combined with the freelance creative work will be a superb combo, I think I'll really appreciate the diversity. Now I just hope I can pull it off, so fingers crossed.

Online polls are outliers. There are too many ways to fix the poll. I could go there all afternoon and vote a hundred times by clearing out my cookies. Too many people can vote who would never ever buy a Canon no matter what the features were. Way too many variables to sway the poll.

Damn it I was hours away from putting up on eBay my P50ST60. Now I think I'll just move it into the other room instead.

Sometimes it seems like other filmmakers online have an infinite pot of money to freely buy whatever bit of gear they want, when they please. Because of social media, we are bombarded with the "new toy" posts daily, so it gives this exaggerated impression that you're being left behind on the tech trail. The Philip Blooms of this world do purchase every camera, lens and innovative new product ever made, but that's because he's got sponsors, and his business model needs him to stay very current with this week's hottest gadget. He knows exactly what he's doing. Andrew runs a blog, has a clear passion and has a very clever way of making his dosh for new gizmos. Probably. Myself? I'm like the rest of you. I have to work bloody hard to get anything new. The video industry is massively competitive in the UK. Gets harder as each week passes. That's just the way it is.

Yes, it will do it. If its for live use though, you might also want to consider their wireless hardware remote for reliability and ease of use. Battery life will be reduced on the camera if its using wifi permanently. https://www.sony.co.uk/electronics/interchangeable-lens-cameras-tripods-remotes/rmt-vp1k The A7Sii will work from what I understand providing you have one of Sony's power zoom lenses on it.

The DVX100 is a classic. It's only a 1/3" sensor, but I could easily get shallow depth of field with it (NDs + Wide open aperture) just don't expect 5D SDOF since most (all) handycams/camcorders had tiny sensors. Here's a teaser to my feature film shot with the DVX (just showing this one because it has some shallow DOF shots):

With regard to audio, I think the innovation has largely come from the music side of the fence rather than the broadcast/film side to be honest. From that point of view, there have been numerous 5DMKii moments. The Portastudio was one, the LinnDrum was another, the Akai S900 sampler, the Atari ST with Cubase, the ADAT digital multitrack, the Yamaha 02R mixing console and of course SoundTools as it was and ProTools as it became. Arguably, these were all much bigger game changers than the 5DMKii, particularly the latter ones as they changed the entire industry at the high end as well as the low. The 5DMKii let you make images that looked somewhat like the movie studios could do, the audio products didn’t just allow you to produce audio that sounded like a real recording studio did but actually became the real recording studios. The nature of broadcast and film is intrinsically more conservative. I’ve been involved in product development for one company where it seemed inconceivable why the BBC, for example, would spend five times more for something that did less and then for another company where it seemed inconceivable to me why they would spend five times more on what we were proposing to them than they could on something similar they could get from a music store. Some days you’re the statue, some days you’re the pigeon ! The problem with audio developments for music is that it plateaued and then became a race to the bottom price wise from which it will never return. It means that the innovation is now in the cost reduction and arguably why not because there really isn’t many more places for it to go in terms of functionality or quality. Which is good for us! As all of this rapid development was going on in music technology, say between 1982-2000, it was like the wild west at times with companies coming from nowhere with bombshell products that either drove their competitors out of business or drove them on to greater heights. And the vast majority of these companies were small ones (generally created by musicians who had to invent what it was the market didn’t have for them to buy), which made them lean and agile. Over time though, the eating each other’s lunch routines often combined with little, no or reckless business practices (and ESPECIALLY poor cash flow from over ambitious product developments) left them vulnerable to being put out of business or, more usually, being bought out by the major manufacturers who were predominantly large Japanese companies. The likes of Oberheim (Yamaha), Linn (Akai), PPG (Korg) and Sequential Circuits (Yamaha again) all went that way and the innovation generally went no further for them once they were under the wing of those bigger manufacturers. Eventually freed from their ‘consultancy’ deals, most have resurfaced as boutique operations serving an ever more niche market. If I look at someone like Fairlight and my relationship with them as an example of what happened to an innovative company, its quite informative. I went from being an awestruck kid when they brought the CMI out, to then working for a manufacturer who basically drove them out of the sampler business they’d created, to eventually working on OEM development with them when they transitioned to broadcast. In the subsequent 20 years they’ve changed hands countless times and are now just a tab on a piece of free(ish) software. Its hard to grasp such a transition for me but for anyone who’s too young to know what the CMI was, its the equivalent of RED’s RAW pipeline ending up as a free download in the Sony PlayMemories store for your RX100. Lexicon are exactly the same. From making jaw dropping almost other worldly products to being gobbled up by a company that was making most of its money off providing car stereos for GM etc and Lexicon was reduced over time to being included in every low end mixing console and software bundle that it could be licensed to. The company that bought them has done the same to every company its bought and I can’t even dignify them by mentioning their name even 20 years after them destroying the company I worked for ! So there’s just no incentive there for anyone to be innovative in music audio anymore as its littered with similar stories and the ones left standing wouldn’t see the amount of volume in broadcast/film that they need to press the button on the mass production runs they now need due to how cheap everything has to be now. The company that COULD do it are the much maligned Behringer. If you look at something like the X Air XR12 digital mixing console and see what they can knock out for £239 retail (inc VAT!!) then it doesn’t take a genius to see what they could do against Sound Devices if they had the inclination but there just isn’t the market there. Because, believe me, they wouldn’t have blinked if there was. So, unfortunately, I don’t think we’re going to get that 5DMarkii moment and the innovation such as it is will come from individuals themselves looking at products from the music side of the fence and modifying it themselves. Like getting that X Air XR12 and powering it from Sony NP batteries to make an extremely capable digital field mixer and recorder for £269 (including the £30 for the bits to do it) or being a smartarse and using cheap midi controllers to create remote focus and control systems for Panasonic cameras for under £75 (ahem!). Because music audio had its numerous 5DMKii moments a few years ago there is a backlog of a ton of cheap stuff that flies under the radar for film makers that is waiting for them if they look for it.

1D X Mark II? No Super 35mm mode No Canon LOG Hardly a replacement.

I think it just effects your whole vibe as well to be honest. All this stuff I'm doing with hardware controllers and stuff is a laugh and it fires you up creatively to make these cameras do more because its trying to bridge these gaps and get more out of less. And do it for the benefit of everyone. If I was developing stuff to control REDs etc I'd be far more po faced about it and undoubtedly looking to make money off it. You and I haven't actually met but the first time I came across you - and then in turn discovered this blog - was at the Convergence event in London about six years ago. You were there, Bloom was there (and already seemed to me to be interested in commercially riding the wave of what was happening if you know what I mean) and I remember you had a Teradek hdmi transmitter that could do the at the time magical feat of streaming live to an iPad. At that point you were already eschewing the 5DMKII in favour of the GH2 as it was more interesting and more versatile and cheaper etc for young film makers whereas the vibe even then was heading towards the 5DMKII being the entry point and wanting to go up in price from there. So, whilst I understood where people were coming from on that C200 thread, in terms of how people view this stuff now compared to then where a C200 is now almost like a base point then it really felt like a shark jumping moment reading it. It felt like punk then. It feels like prog rock now.

Good points for 4K I like the analysis. Do do you think on a tv the average person would prefer the nx1 or a7s image versus the image from a c100 ? my own inquiry into this was the c100 was chosen 100% of the time. A few said of the 4K cameras I mentioned "wow that's sharp, pretty cool" but the color rendition of c100 was desired above even the fs5/fs7 image. So if 4K seems to be desirable for more than image does than then mean a 1dxii is more desirable than a c100 in the same price point? just curious, I'm learning here