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Held the camera at ibc today, really nice little camera with great specs.

android phones cannot record even a single stream 4k 60p without time limits-overheating...2 are impossible for a long time !

Pretty sure filmic will let you record 2 cameras at the same time. You can switch between 4 though.

If you have plug in power you can also get Lowell lights pretty cheap. 500-1000 wat lights can really light up a place You get a certain magic look with old tungsten lights. I am not trying to say you can't get good results with LED's though. If they are more convenient and in the budget go for it.

Obstructionist asshole. Obstructing asshole. An Osshole. You're welcome.

Happy to be of service!!

Stunning shots! The XT3 is a hell of a camera. I keep looking at others but always come back to it.

I've already posted Alex Proyas' Youtube channel in the Youtube channel thread, but I reckon this latest development deserves its own shout out. Will be very interesting to watch this unfold. It also seems apparent he's going to be talking a lot about cameras, Blackmagic in particular.

I’m curious why simultaneous dual gain sensor architectures a la the Alexa Alev III aren’t more common in smaller cameras. This allows a low and high ISO signal to be combined for one HDR image. It seems that in ten years most cameras still can’t match the Alexa for sheer video dynamic range, yet CMOS sensor technology has obviously evolved in many ways. Is there a limiting factor like size/heat, a patent, or maybe otherwise? Perhaps it’s just that the average consumer is more interested in increased resolution? We now are seeing the switchable dual gain architecture used more, but I’m not aware of lower end cameras using simultaneous dual gain. Related info: https://www.arri.com/en/learn-help/technology/alev-sensors

Wish IPS would allow you to embed videos.... anyway, they interviewed Sound Devices

Yeah I don’t have as issue with jumpiness. -1 or -2 speed and +2 tracking works well. I’m honestly considering buying a sigma 18-35 and 50-100 + fringer pro. Seeing people get good results with those.

I think I read that the Ursa mini 4.6/pro/G2 use the same approach but with two 11 bits signals rather than 14 from the Alexa, but I m no expert. I would not be surprised if the power consumption/heat is greater, or if the cost of the sensor is not higher. But modern Dual gain architecture is something different if I understand it properly, it was developed by a third party company, and they licence the technology to sensor manufacturer and I think it s both a software and a hardware thing, it I think it map the dynamic range in a different way, you loose in the highlight but gain in the shadows. I think the sensor only do a single readout with this technology.

A few thoughts for consideration: I did a test where I zoomed into 4K footage by 150% and then matched it to a 4K shot with similar framing by putting on some sharpening, and it didn't take much sharpening at all to match, so taking a vertical slice from a C100 (without rotating the camera) would give you 608x1080 and scaling it up to 1.77x would give you a 1080x1920 and adding sharpening might be quite usable, especially after the client gets you to over-process it and then it goes through the compression algorithms of the various social media sites. You could do a test with your 1DX where you take a shot vertically in 4K, then go horizontally and frame it up with the same vertical FOV. Downscale both to 1080, then take the horizontal one and crop/scale/sharpen it to match visually, then upload both to YT, Insta, FB, etc and then play them on an iPhone, iPad, iPad Pro and see if you can tell any difference. It's a laborious test, but it will give you certainty on how flexible the resolution is. Following on from @Djangos comment about an external 1080 recorder, that might give you a high-quality screen and choice over bitrates and codecs that gives you the right quality and file sizes in post. Shooting directly to Prores (for example) may mean you can get high-quality files that you can edit directly without needing a powerful computer or to render proxies or render cache files etc. Also, if you're shooting Prores HQ for example, it would mean that your quality from the vertical-crop/scale/sharpen would be much better, as well as ability to pull and push the image in post. The variety of rigs you can use to help you cradle or hand-hold a setup is almost infinite, and by thinking about how to keep three points-of-contact but keeping the range of motion you want for your shooting style, you will be able to customise one (or more) rigs that will work for you, even if you have a monitor or external EVF rigged up on the camera. In terms of where to go when you want 4K, I'd leave that to the future, considering: We don't know what Canon will do (although we can guess, they are still guesses) Scaling up video is a thing that people are working on - Resolve has an algorithm that people speak well of and there is now talk of AI-based upscaling (and Resolve already has AI-based time-stretching algorithms so they're already in the AI game), which means that you may get extra life out of a good 1080 setup before you feel the need to go 4K I suspect the business model of video vs stills is still changing, which means that when you get there there might be other considerations or other business models that become feasible due to market changes. VR, 3D, interactivity, and the disposability and shelf-life of media may change what is required or in demand, and you may find that the position within the market of your business, your clientele, or the range of products/services/market-sectors you work in may have changed. All this could not only influence if you go 4K with your existing lenses or not, but also what type of camera, who you work with, and perhaps even your business may be different by this time. I think a C100ii (with external recording if that's going to be of benefit) is a safe option for the moment. The equipment will hold most of its value over the next few years, you'll learn a bunch, and the market will develop somewhat, so it's hard to see how this would be a bad move for you. Even if in 6-months you realise you need to go bigger then it won't have cost you that much really.

You might want to experiment with your AF settings.

Only if Apple wins the court against Red

Haven’t followed this discussion closely but C100/C100mk2 with even a Ninja Star recorder will give you super sharp 4K downsampled 1080p with minimum compression. Definitely the cheapest way to get the best FHD quality out of Canon ecosystem imo (ML RAW aside).

Exactly. It shows 4 screens including the selfie camera. And then you have the option of choosing 2 for recording the video on. iPhone events add too much of hype. That's their raison d'être I guess. Each time they have a smartphone, they make it seem like the Alexa or Medium format has become redundant.

Video AF depends on the lens. The newer ones are great but the older f1.4 lenses aren't so good and make a little noise. The 23/f2.0 is fantastic and the 18-55 kit zoom is really good, too. I just got the Zeiss 32mm and it seems to work really well but I haven't used it enough to say for sure yet. The 35/f1.4 is good for photo but a little slow and noisy for video. These are all the ones that I have tried so far.

I get the OP view, I do think limitations with budget/gear can possibly yield much more intelligent and creative decisions, BUT... ...when it’s your job or you’re running a company - you don’t want things getting in the way when money is on the line. In this case, you want the tools that make things the easiest. There’s a reason where AF is finding its way into proper video cameras now. I feel it comes down to liberation. If the tools set you free, then the product is better. In any project where I’ve used a cumbersome tool, the quality has suffered.

This Quora answer will probably help: https://www.quora.com/Why-did-HDMI-succeed-where-HD-SDI-didnt Basically, money and ease of development. Big surprise.... As far as data rates compared to the SDI-12G HDMI 1.4 is up to 10Gbps HDMI 2.0 is out to 18Gbps

It is. And now it records 4K60p with extended HDR on all 4 cameras (including selfie). And the car shot in apple video was shot handheld which is insane. Quite impressive for video this new phone.

If you change the Nikon 24-70 f2.8 to f4 (which would be more equivalent to Fuji's f2.8) then you knock off about $1000 from your Nikon package. I *think" in your case I'd go for the Nikon.

The could be very interesting IF I'm understanding correctly:

The GH5 has many many modes with different frame rates and bit depths, those are just the ones I chose. The 200Mbps 1080 is great because it's ALL-I so is much better to edit with. The GH5 also offers a 400Mbps 4K ALL-I mode, but it requires UHS-II SD cards that are ridiculously expensive, so I don't bother with that mode. But as you say, 200Mbps 1080 is overkill, and for what I do so are many of the modes. I guess that's like RAW for most people as well. I know that getting a C100mkII wasn't what you really wanted, but given Canons market strategy, it's probably your best bet. I think that you may end up changing to Sony or Panasonic in a few years time when your needs are likely still not met, but you can cross that bridge when you come to it, and a C100 is a good interim option. You may have to experiment with how well the 1080 scales up for vertical video for social media (and what resolution is required for vertical video - 1080 x 600 might be sufficient). Should you still want to get a higher resolution and need to rotate the camera I would suggest that you invest in Area-Swiss style QR plates and have them on the bottom of every piece of equipment and on top of every mount so they are all interchangeable. By doing this, you can get an L bracket and put two QR mounts on it and you will quickly be able to take the camera off the tripod, put the L-bracket on the camera and put the L-bracket onto the tripod and quickly be able to rotate the camera for any vertical video shots that you need for social media. I'd also suggest hiring one and doing a mock shoot and see how well it goes and how the footage grades for you. C100 footage is fine but if you want to push-pull it a lot then it might require a change in how you light in order to get it closer in-camera to how you do things now with RAW image processing with your stills work.

Put a Canon on every bracket and you will hit 4/5 for sure!

Not to knock Aputure, cause they clearly make incredible lights, but you can get Neewer or YONGNUO lights in the $25 range that have a CRI greater than 90. I think the YONGNUO YN-300 lights I have are in the 94 to 95 range? The options for affordable, decent lighting in the last 5 years have increased dramatically. Caleb Pike did a video covering like 10 lights under $50 and it's wild what you're able to get these days. Obviously if you're able to afford Aputure they're one of the best choices, but if you can't don't get discouraged, there's tons of options.

Yes thought I read you were thinking of 'upgrading' to an Eos-r. Sounds like a downgrade to me, the Xt3 is a special little camera, punches way above its weight

Excellent work! Can you mention what exactly you’re doing in RCM? Also, what ND filter are you using?

I am using mostly HLG and Filmconvert. Now waiting for Filmconvert update X-T3 profile with HLG.

I continue to explore F-Log grading with RCM without LUT. I think I'm getting better results (colors, highlights roll off). F-log is very good; Fuji LUTs are not so good. I'm more excited about the definitive release of Resolve 16.1 than the XT3 firmware update.

Every time the NX1 gets mentioned, I return.

I just bought my first fullframe toy? Now i need That piss a shit Vlog card!!!