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Oh surely it will shoot 6k. But in 15fps, with autofocus and manual exposure disabled. And the IBIS will only work with 3 supported lenses and only when shooting 480p upside down.

There were two highlights of IBC 2019 for me. The Sigma Fp, and the Z-CAM range. From the ground-up the Sigma Fp seems to be aimed at us, at artists. A small and incredibly light camera that hits the big full frame notes, some of the niche features like the digital director's viewfinder would be unheard of in a consumer full frame camera from a major manufacturer. This is clever and will get the camera a lot of use by top-flight talent. Most exciting for me is the focus on the video recording features - which are big leap for Sigma and indeed push the boundaries of whet we expect from a "prosumer" camera. Cinema DNG RAW 4K 12bit to USB C SSD media Internal 1080p 12bit internal RAW Cinema DNG uncompressed Internal 4K RAW uncompressed (bit-depth drops to 8bit at the moment) Read the full article

That's why I like the IBIS in the GH5 - it stabilises my fully-manual vintage lenses. Fast, cheap, great MF, great ergonomics and stabilised is a combo that only IBIS provides. This is something that I think people don't understand... OIS and IBIS stabilise DURING the exposure of each frame - Electronic stabilisation stabilises AFTER the exposure of each frame. If you're shaking the camera at all, the fuzzy light-trails and motion blur in each frame can't be fixed by electronic stabilisation. Every camera with electronic stabilisation is designed for very short exposures - action cameras. As soon as you want a 180 shutter or work in low light then electronic stabilisation isn't much use. It means that you throw away all your ND filters, or always use the camera on a gimbal. [Edit: this applies to any motion of the camera or any motion in the frame]

It’s funny you say that, when I glanced at the patent photos, of their IBIS tech, I thought I was looking at schematics for an old watch. With that being said, I’d love to have Canon IS level stabilization on all of my lenses.

I think when you're talking about recording on the T5 drives, rather than unwieldy external screen based recorders, the whole internal/external definition becomes a bit moot. Conceptually, its not actually that far removed from RED drives (aside from the "proprietary" media) and no one considers that to record externally. There are locking solutions for USB-C that could easily enable an after market "cartridge" type of housing and the SmallRig solution is a neat one. Hard to tell without taking it outdoors really but in terms of using it in combination with the loupe, I've used that same on my Sigma SD0 (and even put an LCD in it to make a cheap EVF ) and its very solid and with it on the FP we weren't having any difficulty hitting focus..... Well if they were, then as this was pretty much the response from me and @Andrew Reid when they mentioned the price they'll hopefully take that into account in their final calculations

When they work out how to un-blur images in post IT WILL BE THE BEST THING THAT HAS EVER HAPPENED TO FILM-MAKING. We can record in 1080 and then un-blur to get 4K, or 8K. All those police shows will come true where they take a blurry video and just keep saying "enhance..... enhance..... enhance..... enhance....." until you can tell where he ate dinner by looking at the individual molecules in the crumbs on his chin. In IT, once information is gone, it's gone. That requires much better ISO performance than we have currently, plus it would require that the next exposure start immediately after the last exposure stopped, otherwise you'd get gaps in your motion blurs. I get that with a high enough frame rate and a bit of AI you could close those gaps pretty easily, but I'd prefer IBIS and the fantastic low-light performance. Also, this high-framerate plus AI processing doesn't seem to give the smaller-camera plus better battery life that @Snowfun was talking about

I wish Canon would stop fannying about and just produce a C100 mk3 to rival the likes of the S1H. Put IBIS in and give us glorious 4K 50p (now that everyone else is moving on to 6K) in a XC10 body on steroids.

Unless Apple implements a ToF sensor in the front, they are just doing "smart/zone" bracketing, which is wholly in the Android domain of possibility. None of the discussed samples feature fast movement, just landscapes and portraits and Dpreview is not all that impressed at the pixel level. Hopefully, Android OEMs push for bigger sensors at the same time, since apple is very much afraid of thicker phones. Bracketing, fast readout and bigger sensors would be really push mobile photography further.

@Michi Thanks for the input, I appreciate it. But I'm ready to bite the bullet on a C100MKII and start shooting. I just think for me it makes the most sense given what I said in my last post (and initial post really). I think the C100MKII does 1080p extremely well, but I don't think the C200 does 4K very well at all, unless you shoot RAW, which I don't plan on doing for reasons stated. I do think RAW is the future on more and more <$10K cameras, as I've said, but I don't want to get into it yet and not with the single slot / Cfast card that is on the C200. 1080p isn't changing, it's proven/known, and it's still most of what's out there. So getting the best 1080p camera for relatively cheap (C100MKII) makes the most sense now, even if the camera is old. I'll wait for a <$10K proper 4K camera from Canon in the next 1-2 years. Until then, as I've said, if a client requires 4K, I'll rent. I do plan to use my DSLRs in conjunction with the C100MKII, and they can do 4K and HFR, gimbal, etc. So I have a good mix. C200 would overlap too much. The DPAF is very good, but my 1DXMKII is better I feel. And for when I need that, I can use the 1DXMKII in 4K. This would be mainly for sports, where I have to track an athlete for example, or other special cases. For most use, the DPAF in the C100MKII is plenty fine for me. I'll use a lot more MF anyways on the C100MKII / for video work, because well, it's nicer looking and I have total control. Yes, the C100's monitor is not in the best place, but at the same time it sort of is because I can tuck it away and be more compact. As I *do* plan on using the NINJA V most of the time, it makes sense. I know what you mean, but I cannot use any of these C100/200/300 LCD for critical focus, framing, bright light conditions, so yeah, I like the 5" NINJA. I'll put it on a small ballhead cold shoe mount and move it around as needed. I shot this way yesterday and loved it. Loved having the larger screen, brighter screen, with aspect ratio markers, focus peaking, waveform, etc. I can see people hating it, but to each his own. I can shoot in ProRes 422 HQ for like 12hours on a 1GB $340 SSD. And I'll have backup files to both SD slots too. And it will all be sensible in terms of file sizes but at very high quality on the ProRes side. This C100MKII can shoot forever and battery lasts long too. So I do understand and appreciate your points, but for me yeah, the C100MKII is a bit more special. More importantly, it's the right tool for me, now. I don't think I'll ever sell it. I think it's going to be one of those cameras that you keep. I still have my original 5D, my film 1V, and some others. Anyway, again, this thread has been super helpful and informative, even if we have different opinions. I did learn a lot, and will continue to. Thanks to all, especially @kye, @User, and @IronFilm!

I see both sides as well. The way I view cameras is as a combination of features or attributes, so any camera will be good in some situations / for some types of work, but bad in others. If you happen to do work that the camera is good for then the camera may be a good value for you, but if it doesn't align to your requirements then it wouldn't be a good value. People are critical of Canon cameras, but they provide a set of features and traits that are valuable enough to some people that they're worth the money and Canon makes a sale. I maintain that the reason people get so critical of cameras or of the choices of others is that they don't realise that the other person or camera has a different set of priorities, and people underestimate how different we are to each other. I find my GH5 to be a good fit for me because the weaknesses of the camera aren't high priorities for what I do, but if you have a high priority on AF then it won't be a good choice for you and acknowledging that means I don't need to get upset when someone chooses differently to me.

I took one of these on a remote as a B cam and I couldn't be more impressed with it. Incredibly detailed with huge dynamic range and a great audio preamp. The autofocus undeniably the best in the price range. In well-lit scenarios it's better than or equal to some cameras up to ~$3000 (I'm looking at you, Canon), and when you factor in the portability and 24-200mm... Bottom line it helped me get shots I wouldn't have otherwise but blended in perfectly with the rest, and helped me deliver a much better product.

I'm getting this!

Yeah as I will prolly also use it it handheld from time to time (depending the situation, like travelling, or really long shooting days, etc)

Just imagine canon colors af and 10bit 4.2.2 60fps internal clog no crop in fullframe priced as S1H id preorder it in hardbeat and no i dont need 6k 4k 2k im well ok with HD am i asking alot?

Agreed. EIS has its limits. I think it’s best used like in the newer Olympus cameras in conjunction with IBIS to mitigate or eliminate that jello effect in the corners using sensor data from the actually IBIS mechanism and not by analyzing the image.

They need to add an double exposure HDR mode in their next Osmo, like they have in the action cam. 10 bit H265 should also be in the next one. Might buy it if that happens.

Looks like I am getting a Ronin SC

So the 4K raw is full frame and down sampled 6K ? I haven't seen anyone confirming that the RAW is full frame. Any word on the ISO 6, 25 etc ? Does that give you full dynamic range in video or does it just move middle grey for exposure ? If it really does ISO 6 with fulll dynamic range either side of middle grey then that would be huge for me, never need another ND filter ever again and I can shoot video with M lenses and almost put it in my pocket.

The Fp seems like the next big indie hit. A lot of good ideas in such a small body can make the difference. "Interestingly I also bumped into Sigma CEO Kazuto Yamaki at the show and had some small-talk. I had my venerable Samsung NX1 with me, and he remarked that the product manager for the NX1 went to work for Sigma’s camera team on the Fp! So they are in good hands as this camera was genuinely ground-breaking and ergonomic." Maybe planning an interview with the product manager would be super interesting.

Yes they said under $3000, but I prefer to think of this as "price isn't decided to a large degree". I reckon it'll be £1999.

I think its when people see and, particularly, hold it in this configuration that the GAS kicks in !! Are you watching this @mercer ? Still think people are underestimating how significant a little camera it can be if Sigma are as responsive to feedback as they seem to want to be. They really need to sort the price out though.

This isn't something I do much, but I know that if you get a hollow sound then it's likely to be phase cancellation. Phase cancellation works based on the wave-length, and lower frequencies have a longer wavelength so tend to cancel easier / under more circumstances, which is why a hollow sound is a common side-effect. I'd suggest that using the in-built features might be useful because either they will get it right and you're done, or if they get it wrong they might get it almost right, then you can zoom in and just fine-tune it by lining it up by eye. Happy to hear from others if there's a better way though!

What do you think makes IBIS obsolete? Isn't it simply OIS but applied to the sensor? And please don't say electronic stabilisation has replaced it!!

It makes me so sad to hear that Canon might give in to the conservatives that demand IBIS instead of innovation. Even though its an old, clunky and obsolete technology.

I just had a play with the PB footage... wow. I feel it must be said. As a C200 owner, and owner of many Canon products, this Sony looks fantastic. Dare I say it? I believe this Sony looks more cinematic than the footage I saw from the Canon C500 Mk2. I believe this camera just might be epic. Threw on a simple Film Convert and everything came together. The motion cadence is spot on. And the colors... did I say colors and Sony in the same sentence? Whatever, they look glorious. I'm simply blown away. I suddenly find myself rethinking my plans to pickup the C500 Mk2. Now if they can get that same color science into an A9 or A7 series body, that would make the perfect B-cam. It seems Sony is really not playing games with this one.

You can repeat it all you like, doesn't make you correct. Google has "NIght Signt" in their phones. It takes multiple images in a row, analyses them to reduce noise and sharpen them into a detailed final image. It's fantastic tech and extremely useful for non-action photography. Apple is just doing something similar but taking it a step further.

Like a lot of things there's gonna be subtle differences as you are getting 422 and almost no compression with prores. Its gonna be low returns for most people. I got a Ninja 2 to record with my XT30 though. No time limits, 4k downscaled to 1080p prores, which is convenient as I downscale and transcode to prores on my PC regardless. So it saves that step for me. Plus I'll get 10 bit 422 where as the XT30 only does 8 bit internal. I got one for $160 with a 256gb SSD, so its honestly a damn good deal I think.

Yeah but when the Organics become sentient, our entire species will be at risk of eradication!

That's the weirdest logic I've ever read. You've set your standards too high if that's how you judge the quality of a lens or camera.

Which imo is why he's a terrible person to look towards when judging a lens or camera. I prefer to see how these tools performs in the hands of a complete buffoon... that way, if it still seems good, then it must be brilliant.

I use Topaz Gigapizel every single day at work. I constantly have to pull images for ads and for preshows that I make and being able to upscale the image multiple times and get a better result from even basic material saves me I would say an average of an hour each week. You better believe that I would use an AI upscaler in my editing program, or denoiser, or software that could refocus a defocused shot. It will change the entire world of media.

He's an accomplished cinematographer. If they're good enough for him then they can't be that bad, not because he's God but because he certainly has more experience / credits than either of us have. I've found his work with them to look pretty decent personally.

They mentioned the 16 stops to me directly.

Thanks for the feedback! Its from the same take as the other on the bottom so maybe I messed up the grade on it. I'll have to take a look. Great catch. Thank you!

Guys (Tony Stark mainly), look, I truly appreciate all the replies and wanting to be helpful, but I'm not looking for advice on (or to talk about) framing, lighting, the history of cinematography, sound editing, pulling focus, video shooting 101, or whatever else you may assume I may or may not need to know before getting a decent cinema camera. I've discussed my background briefly and some other things early on in this thread as they pertain to the question I posted originally. I also discussed what I will be filming and plan/want to. I went over the fact that shooting with my DSLRs is a headache and described why. So no real need to keep at it, as it's not complicated really. Some of the analogies made don't quite work, but I don't need to go into details because it's pointless and time consuming. Yes, I'm "obsessing" a bit about the details, because as I've said, I like to do my research before investing in something. And I've learned a lot in the past few weeks since starting this thread. There are a lot of questions I don't need to ask, because I know the answer to them. The Canon 1080p threw me off, because although I've come to somewhat understand it, it should have been more clear. As you move on up the line, things should improve (which they do for the most part), and basic things should not get worse! Like I said in a prior post, I still use the single, AF point in SERVO mode for my sports photography (heck for ALL my photography), even with all the fancy AF modes the 1DXMKII has. For me it's the simplest way to work, and I'm glad Canon didn't remove it if you get my analogy. For what it's worth, I finally rented a C100MKII and a C200 yesterday morning and did a lot of testing. I shot in low light, in harsh and bright light, played around with all the settings, internal vs. external to a Ninja V, imported and played around in Premiere, etc. I spent about 10-12 hours doing all of this. Basically dedicated my entire day and night to it. I went to a track meet to see how the DPAF would work, and to have real things to film instead of brick walls, cats, and trees, etc. I wanted to see which camera would also feel best in my hands for a long period of time in terms of weight, ergonomics, etc. For the latter, I prefer the C100MKII. For 1080p, which was my big question, I was surprised that the C100MKII is pretty much up there with the C200 in terms of acuity and detail if not better in some cases. This is from external Ninja V ProRes 422 HQ. Internal to SD @ 24Mpbs is pretty damn good, but not as good in post as external to the Ninja - no surprise there I suppose. I wish the C100MKII would have more ND stops than 6, like the C200 does with the 8 & 10, but it's OK. For the C200 I compared internal UHD 420 8bit downconverted to 1080p in Premiere and also external 1080p 422 10bit to Ninja V. To be honest, it was hard to see a difference between the two methods - with the C100MKII it was more clear that external is the better way to go for IQ. I was also surprised that the 4K is kind of soft on the C200. In terms of the sensor, yeah, the C200 has more latitude for exposing, less high ISO noise, and a different color to the files (though I can't say it's better - just different). I did also shoot RAW for a bit out of curiosity, and yes, indeed that looks exceptional. For the other things, I don't think it's worth it over the C100MKII. So yeah, I confirmed a lot of what was said or what I thought - the C200 is great, but if you don't plan to shoot mostly in RAW, for me it's not worth 2x+ the cost over the C100MKII for the 1-1.5 stop more DR, less ISO noise, etc. And I suppose this should be obvious - it's meant for people that want to shoot RAW. I was just wanting to see if the C100MKII could do as good in 1080p. I didn't rent the C300MKII, but that's what I would use if someone wants to pay me extra for 4K shoot/delivery. Otherwise it's overkill for me now, and the C100MKII is the cheaper/safer bet until I wear it out. I was honestly surprised at just how good it really is, so many years later. EDIT: Oh yeah, I forgot to talk about the DPAF. Yes, on the C200 it's a lot better, but not worth it in the end for me. The screen is also nicer on the C200, as are the audio inputs on the body, etc. But since I'll be using the Ninja V most of the time (and not just for recording, but for having a larger screen to monitor, to see framing, focus, outdoors in bright light, etc.), the Canon screen is not critical. I actually like that I can move the C100's screen off to the side or even close it when shooting. Simpler and more compact.

1000 times this. You already own the tools to produce great looking video. If you definitely want to buy a video centric camera a C100mkII should be enough and mix and match and all.

Is that ^ Canon's latest offering? The Canon EOS Desirée. The 'jack of all trades, master of none' (hybrid potato/camera).

I still consider it a better picture (OG BMPPC). For more than a year I have been waiting for a video from BMPCC4k that would excite me

massive. prediction: the sort of processing I do on real estate pics will be pretty well dead in 5-10 years time. They won't be as good, but they will be "good enough". I can imagine the new image processing software will just have bunch of looks, and ai will do the rest. This is the reason I'm trying to get out of the game now. It's bound to come to video, too.

Obrigado Márcio O BTM já me ajudou através de PM Já tenho os dois instalados o D e o V ? Só falta agora conseguir implantar mais qualidade de vídeo 50 fps em 4K seria o ideal

I am using the Sanken CS-M1 for a few days now and my first impression is..WOW! Just..WOW! Low self noise, hot output, very controled handling noise, great tonal characterestics. I am using Bubblebee Spacer kit for indoors and very light stuff and Cinela Cosi for outside. For non professional sound men, this can be the only mic they need. Just 103mm long, so it can be excellent for on camera placement as well. I need some more time with it as I am using a lot of other microphones at the moment, but it definitely is a heavy weight production tool of 55grams!

GH5, 18-35 or 24-105 on speedbooster Alternatively FS7 + 24-105 on speedbooster

I certainly hope that’s not the case. The app will of course be brilliant, but personally, I would rule these out if there’s no hardware start/stop on the device as well.

Just a few stills from my first proper anamorphic video and first video shot with X-T3. A friend of mine asked me to document a graffiti jam that he organised. Managed to get some nice shots, but getting a correct exposure during a sunny day was a huge PITA. Need to work on it. X-T3 (cropped 16:9 video, shot with HLG), Zhongyi Lens Turbo II, Minolta 58/1.4 (used at f/2.8), Isco Ultra Star, myFM, Tiffen Vari ND.

Sharper than Sony's 1080P