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I have used both in commercial projects, mostly digital content for brands. The C300II since it came out, the same for the C200. Both are great cameras for low budget production, it's the step before a RED or the Alexa. Both also are great in hands of good colorist for matching with high end production cameras like RED or Arri. That's my experience. Talking about the C300II vs the C200, I think that the C300II falls with the inclusion of 4K60 RAW in the C200. The color science are a little better, but definitely the game breaker it's 4K60. The DPAF it's better, the monitor it's better, dynamic range and low light are better on RAW, and the body it's better. Since we were shooting commercial jobs we always wanted the highest quality possible (and delivering 1080p final output!), so we are not concerned of storage or the cards we use, that's why we always shoot raw. Also the crop factor on the C300II its a big deal. My only concern it's the lack of interchangeable mounts for some projects when we were using PL cine lenses. But now things are a little different since the C300II option to shoot external Prores RAW, but the lack of 60fps at 4K still hurts. Now, if you're shooting in more run and gun situations and you need fast delivery or broadcast standards, the C300II it's the camera to go, but only in this situations. I feel that the C200 it's something like a "future proof" camera for at least a few years. 4K60 RAW it's a huge step for our workflow, and the DPAF works amazing. And don't forget the canon color science, you can almost start grading for yourself with the Alexa standard lut in premiere if you can't afford a colorist.

A fantastic piece of kit, but this camera is not without issues. Read the full article

A couple more shots from the Canon 28mm 1.8. I got this lens for an insanely low price and it's quickly becoming one of my favorite lenses. Even without IS, I am able to go handheld on FF, which will make this lens indispensable going forward.

Canon 1DC is better than the M50

Indeed! Give me a heads up when you're in the area.

Its definitely a real thing if it the GH5 has come into the EU legitimately. Digital cameras (EU Code 8525803000) have 0% tariff but anything that can record video for 30 minutes (EU Code 8525809190) has a 3.3% tariff. If it can record for more than 30 minutes and has a video input capability (EU Code 8525809900) then it has a 7% tariff. Both of those figures are far reduced from what they used to be and it was the latter one that caused a stink with the DV cameras as the firewire input had to be disabled for EU models to avoid the extra duty which was 14% at the time. Both of those tariffs will be reduced to 2.5% and 3.5% respectively in July of this year. So if its here and it can record 30 mins or more then the duty has been paid and Panasonic have either absorbed it into the price or passed it on. Its probably a bit of both as they will get some cost savings from not having to create and support different firmwares. Of course for those of us in the UK all of this will be a thing of the past from next year and we can merrily capture our demise on film in unrestricted chunks while waving our blue passports and tending to the enormous hole in our foot where we've shot ourselves.

You got me wrong. I know all the tools like the back of my hand. Started with Apples Color, read the whole manual, bought a (Ripple? Lynda?) training, graded. Went on with Color Finesse (as part of AAE, in the short period of a year or so when I was pissed after FCP X launch), then learned Resolve 9, again with van Hurkmans Ripple and (also his) manual. I also entertain myself musing about the best workflows for grading. It's just that the further I tweak the image the less confident I become as to whether what I'm doing makes things better or worse. I'd better just primary color correct, add a tiny bit of "mood" - and leave it alone. This is almost camera-independent.

Yes, but is it 'better' than the A7iii though as that is the only true measure of 'better' isn't it? Lets cross over to the chairman for the official announcement.

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing. You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is. And yes, it does look rather like a calculator doesn't it? The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are. Here is the finished spec and features : Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories : Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders. The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever. I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then. So, I have been a bit less lazy than first imagined By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

Articles about creative processes are boring. Because they usually have absolutely nothing to do with creativity at all. If you really want to know how an artist's mind works, look no further than the highly controversial Cannes visits of Lars Von Trier. Read the full article

A small selection of narrative films I've written, directed and filmed over the past few years

Knowing Sony, it will most likely be limited to 8-bit 4-2-2. And one stop/one and a half stop improvement in low light, and colour science on the lines of the Venice and FS5 ii. Nothing else.

I took the Nikon 105 as well. And as a 250mm with the prime zoom function.

?? “Yep it sucks” hahahahaha. Good stuff.

A couple of JLOG straight out the camera for you from this evening with the, erm, quirky SLR Magic lens. The problem with that lens is that it gives you the coverage across the frame but the edges are so soft it looks like an effect. With the LS300 you can vary the scale mapping and it will correct it but I don't think its doing too much special within the area that it is sharp to be honest. JLOG to REC709 LUTS are here http://pro.jvc.com/prof/attributes/software_dow.jsp?model_id=MDL102318&feature_id=17

Sorry for the late reply, lots of other stuff the last week. No difference if starting recording mode on camera or with your file. Nothing on changing ISO, shutter or aperture while recording. No Cinelike D nor V. Strangely enough, I did find out that the camera does care if it's in M, A, S or P-mode, no exposure comp in M-mode, just like in photo mode, works in any of the other modes but alas, no control of aperture nor shutter, whichever mode I'm in. They got this one locked down tight. Thanks for all the help! PS. Your controller is sweet!

I agree. I don’t personally care for Von Trier’s films, but that’s about as irrelevant as it should be. There is too much influence portrayed as a universal acceptance in cinema simply because of the bandwagon. I saw Black Panther because I felt like I was the only person in the world who wasn’t hash tagging how amazing it was.... Bullshit. I felt like I was “supposed” to like it because if I didn’t, that was racist. I just didn’t. The fact that it’s a problem these days if you don’t, and not prioritizing the acceptable cool kids club agenda - is more offensive to me than anything Lars will ever do and I guarantee only about 10% of the 100 critics who decided to walk out of the movie were just not interested. The rest probably left because if they didn’t, what does that say about “them”. Get a damn load of Gasper Noe.. lol

“A filmmaker is always provoking some reaction from an audience.” I totally agree Andrew. But the means a filmmaker uses to achieve this can define the quality of his art (at least from my point of view, anyone can disagree). The easiest way to challenge your audience is by serving them scenes with genitals being cut with a pair of scissors or crashed by stones and then calling them puritans based on their totally justified reactions. Is it a bad thing that most people can’t stand sadism & graphic violence in cinema? This doesn’t have to do with a pair of tits being “shown” but with a pair of tits being “cut off” (plus children being shot). And you are calling this an antidote? I don’t get this but who knows, maybe i am a puritan too. But in any case i consider my self as lucky for not enjoying his films.

There is only afc in video mode no afs. Assign toggle from afc to mf to a custom button.

Because it probably does.

I went to that website. Now I'm going to be fat and want to buy a new matte box Grrrr....

And while people talk about cameras and more cameras, they stop recording and doing work, while others with cameras from 5 years ago, do amazing jobs.

Ok, figured it out. Here's how to key out the edges and apply any Resolve adjustments to just the non-edges. This will allow NR without blurring edges (or any other adjustments you want to make). In the Colour panel create two nodes Add the EdgeDetect OFX plugin to one of them to make it the "key" node (Node 1 below) Connect the video signal like this: Make the adjustments you want to in Node 2 (eg, chroma NR) Adjust the settings in Node 1 to refine the mask that gets applied in Node 2 (I recommend adjusting Brightness to maximum to get a strong mask) The above setup excludes edges from being processed in the node, but it seems like you can also exclude other areas as well by adjusting the masks in Node 2 like qualifiers or power windows too, so you could (for instance) use the above to de-noise non-edge shadow areas by having the Qualifier in Node 2 exclude brighter areas of the frame. Enjoy! I wish I had worked this out before so I could do heavy NR processing without heavily blurring the video!!

Make it 40... to me this camera doesn’t even exist. Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it... Eventually card info will be released, and more people will complain. Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain. Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain. At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS... And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous. The End.

Yep, h264 is really bad here is an image of h264 export (1st) and h265 (second) alot of banding and color shifts and contrast problems in h264 vimeo tests: h264 h265 i also attached best! export setting for AME 2017. Small file size and really great quality after vimeo compression its in russian, but you can see all radio buttons If you want more, just set 10mbps cbr