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If you don't like replies an internet forum is a bad place to post...

Since no doubt many here are interested in this camera I thought it might be nice to have a thread where we could post footage. I’ll get things started with the below submission. It’s not my work... but I did stay at a Holiday Inn express once

If Mavic Pro 2 comes with the Phantom camera that would be awesome. Last year at a drone conference I told a DJI VP why on earth are you not releasing either a Phantom that folds like a Mavic or a bigger Mavic with Phantom's camera. I told him we are tons of videographers and photographers out there who need maximum portability (in my case mountain trekking for days) combined with maximum image quality. The Phantom form factor did not evolve since version 1, many years ago. It is not relevant anymore. He answered "we are not sure there is a market demand for that". I told him well who on earth would prefer the actual P4 Pro versus the same drone but completely foldable? Mavic Pro 2 with 1" camera and 4K60P is an INSTAN buy for me. However I am very afraid of this: They will release a Mavic Pro 2 with all advancements of Mavic Air (more avoidance sensor, gesture control, ...) + keep the better range and flight time + bump the camera to 100mbps and 4K60P which I do not care. Give me 1". Even if a bit bigger. There is a world of difference between an Mavic Pro and Phantom today in size.

Here’s a video showing a little rig. If you add a handle to the bottom, it would have that Super 8 camera feel.

Thanks, jonpais. Important to know that with bright outlines you need to pan slower. I am a fan of slow pans anyway. As for the example with the silver buttons in the lowkey scene: can't you just subdue these highlights through grading?

I still have this beauty as second phone

I saw the movie a few weeks ago but only now read about it because of this thread. I can say that this is an interesting genre but the problem is that it only works if you haven't read about it. So while it worked for me before, had I seen it now I would be much more dismissive.

Another sample then

Could say the same for the Red Raven, and that one doesn't even have a speed booster option.

The Canon 35mm f1.8 LTM can get some (imo lovely) swirl even with a m4/3 camera (the old gm1). I wasn't blown away on the FF A7. It was decent on the APS-H Leica. But definitely cool on MFT. Will have to try it on APS-C this week.

Agreed. And that's sort of what I meant above re: the additional features that made IBIS impossible according to Panasonic. I don't believe it's simply the slightly larger sensor; it's the delicate balance of available resources, both hardware and software, that determine the camera's capabilities. I operate under the belief that Panasonic does not artificially cripple their cameras in order to protect margins, however they may have decided that adding the feature would have cost them (and consumers) too much to be viable. There is a distinction there. Regardless, I'm excited for my camera to arrive next week

I think it terms of stabilization it's important to have a realistic expectation when it comes to real world use. Nothing is a silver bullet solution. Using stedicams and motorized gimbals are not an end solution, considerable practice and correct posture (knees bent) are still very much part of getting smooth shots, even coupled with OIS and IBIS. Even using optical and digital stabilization the camera can still pick up micro vibrations, which becomes more pronounced on longer lens'. That's why most ppl prefer to use wide as it produces less preceived parallax on the X and Y in your image. Also, infinity focus is prefered on systems that don't have good AF. The truth is if you're after that "Hollywood level smooth" you need to be on dolly/slider cranes/jibs, and drone systems. I couple my Zhiyun crane mounted on a shock absorbed boom connecting to a vest. I also use the native Samsung 16-50mm S lens with OIS (quite good) and use good posture techniques. Even with all this, I will still get occasional vibrations that naturally come with walking. Don't assume Warp Stabilizer in post will solve all issues, in fact it can often make your footage look worse. Serious jello. It's to be used lightly. Practice and multiple takes are key. I think if you set yourself up with the expectation that stabilizers and OIS/IBIS are going to be all you need to deliver buttery smooth shots you're in for some disapointment.

I do not disagree in principle with you @mercer, just saying that Canon has a camera that does A and C, and some of us are missing the B part. I personally, would prefer to have a Canon camera, and love the touch AF and the Canon approach on ergonomics/color science e.t.c but they are going to loose a lot of customers, going EVA/Ursa mini pro/FS5/FS7. When they have the new C300 out, I am positive that they will give that middle coded but until then the C series is loosing ground. I live in a pro-Canon country, and I remember how many C100 and C300 were out there, and I can not say the same now. Believe it or not, GH5 is eating their pie too! Also, I can not possibly invest on a C200+one or two CN-E lenses lightheartedly, especially when a FS5mkII is right (or should be) in the corner, and already offer a cheaper alternative to the CN-E lenses (and much cheaper Fuji ones).

Canon forces you to shoot 60 fps in 10bit RAW. (Found this out the hard way on a shoot.) Think about that. They fucking have an intermediary 10bit codec right there ready to go, but say fuck you, deal with 125 MB/s. (BTW: 24 fps 10bit on the C200 would theoretically top out at 50MB/s, which is half the size of 422 ProRes HQ.) Anyone who can defend Canon for pulling shit like this, do they pay you? Or do you just not shoot with these cameras to really understand how flawed they are?

I have to disagree. 1. There would be a shiny new Canon C200 sitting on my shelf... right now, if not for the absence of a middle codec. It’s the added workflow that I don’t dig. I like a fast turn around time. You just don’t get that when you have to sit around transcoding. 2. I can push my 10 bit footage considerably further in post than I can my 8 bit footage. I think Raw 12 bit is great. Lovely to have it. But for most here the 12 bit would be for special situations, whereas the 10 bit would be for general use. I would have preferred they left out 8 bit, as with the move to HDR, it seems it’s usefulness is in sight. Now I know some of you will banter on about how, “ only .00001% of the population has 4K HDR TVs”... well that’s all fine and dandy, but I have four of them, and I’m not even counting my numerous smartphone that all support HDR content. So for me, it’s important. I don’t even have a problem with the crazy expensive media. I have many of these 256GB, $700 a pop CFast cards laying around that I use in the 1DXMk2. But it would have been great to have a clean 12 bit raw output that I could send to an external recorder. That would have silenced many of the naysayers. We are not annoyed because we hate Canon. I would bet that most of those who are bothered by the implementation of the C200 are that way because they had planned on buying one... at least that’s how I feel. If any of you have a C200 and 1DXMk2 I would love to see a shootout comparing overal image quality. I see nothing like this online. The two cameras a priced close enough so that many might consider one vs the other. Granted they have different focuses... but still...

it means theyre gonna fuck us again! ?

If you guys are throwing away your Canon lenses please DM me and I'll send you the address to my garbage can. I'll pay shipping.

Well, I tell you what: at least YouTube gathers all those worthless videos into one single space we know to keep away from. Why would you want that to change? Where would these videos go to be seen? Because no, they are not going away! I say better to have them all under the YT umbrella and not pollute the rest of the internet. Leave it for the Vimeo’s to channel quality. Honestly I really struggle to see the issue at hand here.

My short documentary The Cloud of Unknowing, shot on 5D3 Magic Lantern, has been nominated for "Best British / Irish Short Film" by the London Film Critics' Circle. The awards ceremony is on January 28th... so fingers crossed for that! Here is a short extract from the film with some info about it: And here are some more details on the award nomination. http://www.iftn.ie/news/?act1=record&only=1&aid=73&rid=4291381&tpl=archnews&force=1 Thanks Magic Lantern!

Can't afford wireless? (as anything below a G3/UWP-D11 is junk) Don't care if you can't monitor your audio??? :-o (straight to audio hell you go!) Then boy oh boy does B&H have an end of year deal for you, the Tascam DR10L is once again going for only US$139: https://www.bhphotovideo.com/c/product/1331924-REG/tascam_dr_10lw_dr_10l_mini_portabl_recorder.html

It's way past the point now for the regular FCPX bashing. It still goes on. While that happens, we FCPX users can enjoy this outstanding editing program. I bloody love it!!!

@Germy1979 oh yeah, full continuous 14bit 1080p at 24p is completely stable with clean, color liveview. Once installed, on an SD card, recording with a 1066x CF works like any camera on the market... except you get Raw video and every other goody that ML included. 60p is also possible at a lesser resolution but I don’t think it’s continuous at 14bit. With the new Lite modes, you can supposedly record it in 10 or 12bit though. But I haven’t tried the Lite modes yet. If you can handle a choppy liveview, you can record continuous Lite Raw in crop mode at 3.5K. Andrew has a post about it on his blog. https://www.eoshd.com/2017/09/the-eoshd-5d-mark-iii-3-5k-raw-shooters-guide/

I have the XL and have never regretted it. However, I only have full frame glass to start with. If and when I want to get a bigger "crop", I just use the "Ex. Tele Conv."-function. I am going to try an EF-S lens this week which I plan to use with the "Ex. Tele Conv."-function so I get roughly a 1.8x crop. That should be fine since EF-S are meant to be used with 1.6x crop sensors if I'm not mistaken.

I finally got new GBs for my Vimeo (speaking of downsides to vimeo). So I could upload my test video which had a lot of grain in it, and again compare to youtube. IMO, Vimeo does a better job.

I recently got the Fujian 25, F1.4 C mount lens which is similar to the above, you do get vignetting at f2.0 and above $38 or so from Ebay with micro 4/3 adapter and 3 macro rings - from Mxcamera. he also sells Wesley, but he just sold out a batch. Has swirly bokeh and is very bloom/flare prone - even light from a monitor will cause it to flare! :) And specular highlights will flare - so it does get a dreamy look Only the centre of the lens is sharp, but in a way it isolates subjects well because of this.   It's a true f1.4, a bit brighter than the Wesley f1.4, which is closer to a real f1.8 Wesley does not have the swirly bokeh effect though   It can get pretty clean wide open with manual ISO 500-640 for a normal lit room at night. Gets noisey with auto ISO for some reason, even during the day.   see my demo test of it here http://www.youtube.com/watch?v=_B-ORWR_pio   night room lighting http://www.youtube.com/watch?v=IQes0xG5oK0&feature=youtu.be What I said about it    

You didn't mention the pros of the speedbooster nor the downsides to going native as if Panasonic paid you.

Go native pros : lighter , autofocus ,ibis 5 axis

Its made for APS-H. Most recent Sigma ART lenses are. There is the Metabones Devil with x0.5 to Pentax Q. Gives 0.666 aperture So maybe MF to MFT is possible. And there is of course the MF to FF that gives x0.7 crop. If they ever release the Leica M to Fuji one could tack them MF to M (x0.7) to X (another x0.7). In theory at least.

yes i did alot of times in numerous threads u just have to pay more attention , and no need to button in if you got nothing to quote ere pal