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That comment aged badly!

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one. Just a hunch.

The C70 is an interesting intermediate option during this critical turning point in lens mount. RF lenses, and the RF mount, are clearly the future; Canon is not making any more EF lenses. Also, technically the RF L lenses are superior, which matters. I've tested the EF 50 1.2 v RF 50 1.2, and the resolving power of the RF is significantly superior. For static shots, you will immediately notice the difference (shot in 8K raw, viewed on 5K monitor). Also, for some lenses, there's not a huge price difference between EF and RF (24-105 F4 retails for the same, RF 15-35mm v EF 16-35mm is $200 retail difference). That being said, with the EF focal reducer adapter, you get the full frame look. It's not cheap at $600, but it's still way cheaper than the $11,000 c300iii that's still stuck w/ crop sensor. Then again, you could also just use the $100 EF/RF adapter and use the lovely Sigma 18-35mm and the Canon nano-usm zooms that are dirt cheap and silent for video. You can walk away with a $5600 ready to shoot package. It's a very flexible camera.

Canon's mythical cripple hammer needs a theme tune... an anthem. With this Berlin industrial dance band AND ONE I think I've found one. TURN THE VOLUME UP! Take this deadly tool and feel the daily routine You go to work for money and for me A cripple hammer here, a cripple hammer there Cripple hammer lovely tool you'll take it everywhere Cripple hammer lovely tool tell me what I am Treating you is the only thing I can Thank you for the money, help me to survive Cripple hammer, cripple hammer help me to stay alive Opinion on...erm... the C70 missing EVF https://www.eoshd.com/satire/cripple-hammer-here-cripple-hammer-there-canon-never-cripple-anywhere/

Finally, after a couple of global financial crises, a pandemic, 10 seasons of Walking Dead and just 4-5 years before the first crewed mission to Mars we have a proper EOS camera with nice ergonomics that doesn’t cost a fortune. Actually it does if you buy a couple of RF lens but their new EF adapter coupled with a used 24-70 2.8 solves this as well. Netflix Certified? Why not?

I’m only interested if it’s going to be sponsored by Sony and Squarespace.

Just watched the Pro-AV stream ... where one of the contributors uses a C200 (couple of them) and transitioned to the C300 MK III. He is a professional "colourist" hired to correct others video. https://www.imdb.com/name/nm8304151/ His take is that the picture out of the DGO sensor in XF_AVC All I is preferable to the Raw out of the C200. The DR of the sensor, low noise and color obviates the need for RAW ... and with the new Canon Speed Booster the lack of FF may be a non-issue. So the best sensor in his mind is the one in the C70 ... I have begun a conversation with my dealer about dropping the 1 DX III for the C 70 ... and I have all MF glass. Canon have not addressed a flaw in their Raw acquisition ... still getting corrupted frames in the lowest frame rate with their favored CFExpress cards ... great color workflow and resolution but chasing bad frames adds 3X the time a normal render ...

How many people actually shoot video on hybrid cams using the EVF? I totally understand a side-mounted EVF for shoulder mount cams, but have never seen anyone shoot video from the traditional photographer's position.

except an evf... That z-cam looks good but is still a big lump - suddenly you've got hdmi lead, power to think of (and another lead). This little camera is going to become very unwieldly quickly.

The morning after... Well having slept on it, sadly, I’m in the same place as I was yesterday and that is it’s not the AF but the weird background pulsing that is killing it for me. So I will be making arrangements for it to go back today. So close Panasonic, so close...

Adorama is supposed to start shipping on the 30th but I'm ready for the AF issues 🙃

Suddenly the Canon C70 makes one imagine whether Panasonic should feature their next M43 with a dual gain sensor, to ensure greater dynamic range. Also, dual mini xlr, internal ND, among other features would be a great feature set. I find no reason why the next GH can be a cinematic powerhouse.

I'd like to know if people would be interested in a camera gear reviewer website? A website that would clearly state (maybe even index) the ethics of camera gear reviewers on the Internet. The intention would be to help people make purchases. Recently, I've seen ethics statements from camera gear reviewers (Gerald Undone and MKBHD, for example), but these statements are far and few between. There are a whole host of websites and youtube channels who have been overrun by various industries. My feeling is there are payoffs, under-the-table deals, and gross mis-statements in regard to camera gear. The results of the reviews can be clearly misguided and inaccurate. Is there a way to rectify the situation with a website to clearly layout and help reviewers and their audience understand how they've been influenced by camera gear companies (and the PR firms that help them) with regard to their "reviews"? Any feedback would be appreciated. Maybe this type of site already exists? Maybe it's a stupid ideas. BTW, I'm not saying I'd create the website or be involved in any way, shape or form.

Just a hunch but I think there's a decent chance that they'll include 10-bit 4k/60 in the next firmware. Remember you'll get 10-bit via HDMI too.

External RAW via HDMI doesn’t interest me, personally. But it might be a great value add incase you want to squeeze out those extra stops of DR and match C300 Mark 3.

More flexibility. You can still push the color grade much more w/ 12-bit raw. And with some post work, de-noising, you can probably get it to look closer to the shootouts. But the c70/c300iii 10-bit 422 XFAVC looks great straight out of the camera if you don't screw up too badly with exposure, white balance, etc. Faster turnaround, you don't have to spend as much time in post.

It's a good idea but people don't care.

An EVF is a great thing to have, but I've primarily used the LCD for the touchscreen focus on the R5, even in daylight - I just change the viewing angle. I've also used the Ninja V on top of the R5, which was quite good during daylight too. The availability of even higher nit monitors somewhat mitigates the issue. To be honest, I never liked the EVF placement on any of the Canon cinema cameras, and I've either owned or operated almost every single one of them (not the C700). It's not very ergonomic to hold the camera in that position. The EVF is best placed on the side of the camera, for shoulder-mount. None of the canon cinema cameras were ENG ready out of the box. For bigger productions, the C70 would be primarily used for gimbals, so no EVF needed. For indie shoots, I would imagine it would be used mostly on sticks or if handheld, with the top handle for cradle shots or on easyrigs.

I have used the hoya ir cut filter with vari nd and diffusion. Works flawlessly. Use it on the red one as well. For the pocket i have upgraded to the rawlite olpf. If you just want ir filtration the hoya is perfect.

I should think negatively more in the future so cool things like this happen in the future! So happy! I only wish I would have said it wouldn't have raw and no evf and no ibis at the same time so all those things would be included too!

At least you can add an EVF with a 3rd party. Can't add 10 bit codecs on the C200, for instance.

Surely this means the ends times are near.

Cool! And I'm assuming Panasonic cameras have a focal-length selection menu somewhere that I can assign to a button? For IBIS to work properly it needs to know the focal length of the lens you're using (at least this is true with Sony), and since I'm using old adapted lenses I have to tell the camera myself by selecting the focal length from the menu. Having that assigned to a button makes this potentially tedious task take a few seconds.

That Micro-HDMI is one of the main reasons I didn't buy a XT-3

the TC in I think it was added for the Netflix cert.

@bjohn My Lumix S1 and also my small GX85 allow customization of buttons masterfully. So should the S5 do that perfectly.

Also lacks SDI, which is a key feature for professional A Cams. But Canon has to do their market segmentation somehow! And the C70 is otherwise a camera with surprisingly few compromises.

My newer Ninja V shipped with the Zilr cable. Unfortunately, because I didn't have a cage/clamp for my X-T4, I bent that sucker in about a week. I have two Cromo branded cables by Lindy that work great and were super cheap. Amazon no longer carries them. I also have a Ugreen cable as a spare. Whatever you buy, buy at least two.

Some user posted a comment with "looks like"

yeah me too its small diameter wire https://www.bhphotovideo.com/c/product/1488896-REG/zilr_zrhaa01_4kp60_hyper_thin_high.html

This is as good a read on this as any. https://www.spiedigitallibrary.org/journals/optical-engineering/volume-57/issue-11/110801/Equivalence-theory-for-cross-format-photographic-image-quality-comparisons/10.1117/1.OE.57.11.110801.full?SSO=1 "Nevertheless, real world IQ differences (including total image noise) will inevitably occur in practice even when equivalent photos are taken. These will arise due to differences in the underlying camera and lens technology, such as: • sensor quantum efficiency; • read noise; • sensor pixel count; • lens aberrations; • JPEG tone curve; and • image processing. In other words, since the total light received by each format is the same when equivalent photos are taken, it is factors such as those above that explain real-world cross-format IQ differences rather than format size. These factors will be discussed further in Sec. 4."

quite insane DR vs C200 and other camera when shooting underexposed shot (like interior with window and expose for the window) The RAW on C200 cannot help at all.

It looks like the Sharp Viewcam from the 90s

We're talking two unreleased cameras, but the internal NDs, mini XLRs, higher framerate 4K, and superior autofocus would make the Canon a clear winner over the S5 for docs. Unless you literally have to have two cameras for $4000, in which case there's no point comparing them.

GG bros. I'm not replacing my R5, but I am def picking this up as a personal A camera (goodbye c300ii). This comes in half the price of comparable cinema cams with more features. Full frame (w/ adapter), DPAF, auto ISO, dual gain sensor, tiny size and associated grip package, cheaper media and associated storage/editing costs It also knocks off all the hybrid cams: Internal NDs, full featured audio (xls for real shotgun mics, physical controls buttons), all the monitoring tools, no overheating, handle + mic adapter for no bullshit cage.... The only thing missing is IBIS, which is quite frankly overstated compared to regular optical stabilization. I'm just curious about the dynamic range v. the c300iii...I thought the dynamic range reached 16 stops only in raw.

I’m using Zilr. Works great.

RIP C200!

I have never even looked through my GH5's EVF, I always use the flip screen. It is way steadier to tuck your elbows and hold the camera with a 90 degree bend in your elbows close to your body than to try to use the EVF. From there I can do pans, tilts, simulate slides, etc. all handheld. If you mean using the EVF for shoulder work then yea they want you to buy a bigger model for that, but for handheld I hate the EVF, I completely disabled it in my GH5 to save the battery life. I love the idea of the S5 but after buying that and a few L mount lenses it would cost me more than the C70. When I travel I actually just use my 5DIV, and the Mavic Pro, since my travel work is not paid and the 5DIV has really good 1080P which is enough for me to use as b-roll clips later on for things like music videos, nature etc. If I am traveling on a paid assignment then usually it is just video and I take the GH5. If I'm traveling for a paid hybrid gig then I lug the 5DIV with the 24-105 and the GH5 with a few lenses...so yea this camera doesn't help at all in that scenario. I'm thinking even local hybrid shoots though, I would still need to lug around the C70 and the 5DIV. Many times I just need photos and some b-roll video clips...I don't trust either the R5 or R6 to do this right now. For long form stuff I still have the C200.

My bank account is empty after EOS R5.

This was such a great feature for the JVC LS300. They called it VSM (variable scan mapping). there's even a zoom rocker for smooth zooms from S-35 to MFT crop. You really didn't need any other lens other than the 18-35.

Wouldn't it be just like Canon for this camera to have the DGO sensor and all the great 10 bit codecs but no raw, while the C50 gets internal raw, but with the old C200 sensor and no 10bit codecs? 😅

Looks like 1DX in the front! Atm I m definitely flavour more on this cam than Komodo!

1) Equivalence theory HAS been tested and is accepted by the majority of photographers and scientists. Most accept it even though no one has done an EXACT match (IE the photos LOOK very similar but someone will always point out a tiny difference) to the satisfaction of SOME but the deniers have never shown evidence that it is wrong either. The problem in getting an EXACT match is you would have to scale the equipment for an EXACT match and that would be near impossible. To the point the EASIEST way might be to build from scratch very simple low element number formulas that test this (but may not be great images). There ARE science and technology forums on photography on various sites, so much better to ask in those rather than old format warriors on a video forum. 2) Nah, it would work for me but there will still be tiny system differences (lens formula ETC) that way which again to me would easily explain tiny difference in the photos but not others. Remember, focal reducers do not change cameras, they change lenses so everything else still applies (some lenses have been MADE by tacking a focal reducer group onto an otherwise different lens). Third party lenses CAN apply corrections but it depends. Sony for example opens its mount to other manufacturers and M43 is an open mount too (they have to sign confidentiality agreements. Canon and Nikon do not and the likes of Sigma have to reverse design. Even my Canon EF lenses on my A7s report the EXIF but the lenses get recorded as different Sony lenses so it MIGHT be correcting things but doing it as if it is a different lens though it still might be doing it right. Then again, most of my Canon lenses are older that need less correction (or none). In camera correction is not necessarily a bad thing as it means they can make lenses better in other areas (or cheaper or both). My old Canon EF 20-35 2.8 L is probably better corrected than its great great great grandson (the 16-35 2.8 L iii) but the newer lens is a MUCH better lens. I would love to do a comparison to see how they both go adapted to my Sony but the cost to experiment is far to high. Olympus M43 lenses are some of the MOST corrected in camera and yet they are still extremely nice (yet not so long ago the 43 DSLR lenses were made large enough to cover APSC (at least in some cases) and would hardly have needed any correction. Sony E probably corrects for vignetting which probably explains why DXO often shows FF E mount lenses with the F stop and T stop being the same.

It would be great. But probably will be flooded by lawsuits from the reviewers cited (with eventual financial backing from the companies).

A few thoughts on this topic: 1) I would have expected this equivalency theory would have been tested more reliably by still photographers at the numerous photography forums long ago. They use a much wider range of format sizes than the video people here at EOSHD. If not, it could be there is just too many variables to control, or no consensus on the methods to use. 2) I would suggest using a 4x5 sheet film camera (8x10 is at $15 a shot!) and limit the test to manual lenses. Mount all lenses on a 4x5 lens board and take a 4x5 shot for each, to be scanned for viewing. This way the camera does not change, the sensor does not change, no digital transformations are done in camera. The different lenses would have different size image circles in the 4x5s, so would be of different resolutions, but that should not effect the depth of field comparisons much. I did look at the SLR primes with the Turbo II speedbooster. It shrinks the first fringing seen, but it includes more of the edges of the image circle, with more CA, so overall the fringing looked the same. It really is not a big problem, in video it will never be noticed unless you look for it, it's more of a problem in still photos. I use these SLR primes for stop-motion and time lapse, where you don't want any communication with the camera that changes the lens settings. Here is a review of my favorite Fuji lens that includes comments on the in-camera corrections (CA, vignetting, distortion) for anyone unfamiliar with this: https://opticallimits.com/fuji_x/887-fuji1024f4ois?start=1 My question is, what about the third party lenses? Do the mirrorless cameras generally apply in-camera corrections to Sigma, Tokina, Tamron, that come in their lens mounts?

I'm waiting for the GH6 as well. I do think an L-mount GH6 would be a bad idea, they already have that with the S5, and the reason I am not interested in that is specifically because it would mean I have to get L mount lenses to have a native system. If the GH6 has 4K 120FPS and some form of in body compressed raw options that would be good enough for me. Not having to buy new lenses or buy into a new system is the main thing I care about. I don't think Panasonic will ever get PDAF, there's rumors Sony simply won't license it to them, how true that is I have no idea but I have to believe that if Panasonic had it available to them they would have implemented it by now. With that being said, my C200 has DPAF and I still almost always shoot with MF, I just don't trust AF for critical shots, so if the GH6 has no useable AF that's not a deal breaker for me. The Canon C50/C70 looks pretty fascinating but I'm still at least a year away from getting over my disappointment in the R5 and R6. I already have a C200 and a GH5, I don't need another body that can't take pictures as well as video, what I need is an R6 that actually lives up to its marketing materials.

Guten Tag @Neumann Films great to hear that your 12K URSA is on its way. I´m looking forward to the first samples. What I´ve already seen from BMD and John Brawley looked awesome. I just like the BM Color-Science and BRAW aswell. Back then it was CDNG and ProRes with the BMCC and the original Pocket, ahead of Canon here. Now it is the great Codec in combination with an enormous amout of recording-modes and really high-res formats.

Just keep on using them! But buy one more extra lenses: on the wide end (such as Tokina 11-20mm f2.8), to keep your covered for the smaller APS-C/MFT sensors. Really don't get all the complaints about non-FF cameras, just because of the lenses they own currently. It is one of the easiest problems to solve!

I knew you'd be the 1st guy to respond, being the resident sound guy and all lol