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Forum news. You can now switch between dark and light theme. I prefer the dark one, especially on a bright modern high contrast IPS or OLED screen. Much easier on the eye and photos / videos really pop now on the darker backdrop. Enjoy! (The button to switch between dark and light Theme is at the bottom of the page)

...and a few days later, I'm keeping it after all. In fact, a pair of them are going to be my main workhorses as I intended. I have been trying to find a workaround and not just a 'kidding myself' fix, but something genuine. I looked at both the HC-X1500 camcorder and the bridge camera (for my static manual and occasional but important AF needs) but just know that based on my current 1" sensor Sony camcorder, the footage is going to be shite. And it's still contrast detect, so nah. Back on to the stage comes a used XT3 body and I already have a Fringer and 17-50mm f2.8 Sigma so for all my static manual focus needs, et voila and for the 1 minute or so on each job when I also need AF, et voila encore. As I may have said before, I love this camera (the S5) in every way except the weird pulsing in AF mode but otherwise there is something just 'right' about it. That combo of size, weight, ergos, dials, buttons, operation and of course quality of both video and stills files. Just need some projects to use the bugger on now...

No need for ignorant bigotry. The notion that camera people got work in the 1980s by owning cameras couldn't be further from the truth. "Hiring for gear" didn't happen in a big way until digital cameras appeared, especially the over-hyped ones -- a lot of newbie kids got work from owning an early RED or Alexa. To this day, clueless producers still demand RED. Back in 1980's (and prior), the camera gear was almost always rented if it was a 16mm or 35mm shoot. Sure, there were a few who owned a Bolex or a CP-16 or 16S, or even an NPR with decent glass, but it was not common. Owning such a camera had little bearing on getting work, as the folks who originated productions back then were usually savvy pros who understood the value of hiring someone who actually knew what they were doing. In addition, camera rentals were a standard line-item in the budget. Of course, there was also video production, and Ikegami and Sony were the most sought-after brands by camera people in that decade. Likewise, not too many individuals owned hi-end video cameras, although a small production company might have one or two. Today, any idiot who talks a good game can get a digital camera and an NLE and succeed by making passable videos. However, 99% of the digital shooters today couldn't reliably load a 100' daylight spool.

1. Some people just don't like the obvious artificial limiting/crippling of tech... they'd like real competition and better products 2. Some people actually LIKE the boomer-protectionism of the 1980's technology markets. I.e. hacks can just say "I own X or Y expensive camera! You HAVE to hire me now!" 3. Some people like to pretend that there is something "Magical" about $5000 or $15000 cameras that will give them better results over something like a Blackmagic P4K or capable DSLR. There isn't.

Hey @Oliver Daniel, yes I have the XLR-K3M and have reported on it's functioning in some detail with the A7SIII. Good news is that is really does give you 4 channels of digital audio at 24bits/48khz as digital straight into media file internal recording (as LPCM 24bit/48khz 4ch). Bad news is, when using HDMI whether RAW or not, you are restricted to only 2 channels, though they do let you choose which pair of 2. Kind of sucks considering the Ninja V can handle 12 channels of audio. So maybe this will be fixed in a firmware release. Other topic may be using it with a cage and a top handle (even with the 12" MI cable relocator). My take on that is, when I will be shooting 4 channels of 24bit audio, I will not be off tripod or motion controller and therefore don't need the top handle and will just remove (probably come up with a lanyard to hang it close out of the way). So really that is not an issue. Possible issue even without the top handle on is if your cage is too much higher than the top of the MI shoe AND you want to use the 12" MI cable relocator (comes with the it). That relocator cable, protrudes forward a good half inch plus a thick cable that leads forward. This too is likely not a big deal, depending on how your cage works and adjustments available. PLUS, if you just want to install the XLR-K3M directly into the MI, then there is no issue there either, as it doesn't protrude forward right close the shoe. Hope that helps, I think that was most of the topics so far. Photos are my lightweight setup for frequent repositioned locked in shots. I don't have my cage yet, Kondor Blue should be shipping in mid October. In this picture I have all 4 channels of audio used. Channel 1 boomed (out of frame) via XLR to MKH-416, Channel 2 onboard XLR mic that came with it, Channel 3 and 4, is 2 sets of Rode Wirelss Go mic's lined up such that I can monitor them (for battery and signal strength). Battery is FxLion NANO TWO which P Tap's to my Ninja V and USB-C PD charging my A7SIII (which also has USB-C PD charging and you can charge faster than it can use the Z100 battery finally). Lens is 16-35GM with Tilta matte box. I'm experimenting with a "poor mans" EVF, aka 5" Loupe attached to my Ninja V.

Less than 5% of my weddings in France are legal Steve as in they are ‘destination weddings’ so all bar a few locals, already done the legal bit in their home country. The result of this is instead of the typical 1/2 to full day wedding (500+ of which I did previously in the UK over 16 years so know exactly what you are talking about!) here tend to be more relaxed 2-3 day affairs. They all still go through some form of ceremony, either with an official celebrant, or a priest or a friend more often than not, but these things tend to be more like 15-20 mins. Unless it’s a local and then it’s 60+ mins of Catholic mass, but that’s a rarity. Speeches same as everywhere though so principally 3. Unless they are Canadian and it’s more like 13. Or Scandi and it’s open mic time, singing and taking another shot. None of which I know has anything to do with the S5!

This is an interesting unit, but after doing multiple streams as a solo operator with 3 cameras on the ATEM Pro, I've gotta say that little screen is window dressing, not something that is very useful. Even using a 5 inch monitor as my multiview monitor when I didn't have a large one along, I've found that I couldn't always tell if the cameras were tack sharp or the framing was perfect. If you had operators on all your cams who you could trust to nail focus/framing, then that little screen might help you decide what camera to select. A 15-inch monitor is about the smallest that I've found to be actually useful, and even then I'm often swapping the multi-cam view to a full screen view of a particular camera if I need to check it for focus/exposure/framing. I like that the ATEM has dedicated buttons for it don't select which camera you're cutting to. I do like the button separation for the cameras. There have definitely been times that I've cut to the wrong camera because they are all in a line an I'm typically looking at the multiview or a specific camera that I'm using to do a rack focus or a pan. On the other hand, the dedicated buttons on the ATEM for sound, PiP, greens screen effects, recording, ect, are a help, not a hindrance. I'll sell you a Pro... so I can get the Pro ISO. Seriously though, BTM_Pix is right about the ISO being very tempting for someone considering the Pro. In terms of other hardware you want to get with an ATEM, unless you're going the bonded cellular route, you'll need a small ethernet switch with at least three ports: one for ethernet in, one for your computer and one for the ATEM. A hardwired connection really is a must, unless you're plugging directly into the computer with USB to use as a web cam for Zoom. Using the the USB web cam route for Facebook/YouTube is not a good idea at all. Both networks have issues recognizing the ATEM as a web camera, so then you'd have to use OBS or another such program, which negates all of the benefits of the ATEM series being an actual hardware encoder. Like I said above, you really will want a decent sized monitor, unless you're only using one camera. On field, if you don't have a lot of table space, you might want to mount the monitor on a light stand. You'll need one that's 1,000-2,000 nits, or get a massive sun hood. For sound, you can go SooC if you've got good mics on them. Since I stream concerts, I have the sound board give me audio into a MixPre 3 II, which I send into camera A so I don't have to worry about audio delay. Both the ATEM and the MixPre can delay audio, but why deal with it when you don't have to? In terms of how to get your unique link the league can sell, an easy option is to use an unlisted YouTube stream. I've done that for two virtual fundraiser concerts. If the league has e-commerce functionality on its website, you won't need a third-party solution for tickets. The league can sell virtual tickets. Once a buyer purchases one, the league can email them the link, or notify them a link will be sent to them sometime before game time. If you set up the stream as an unlisted stream you can then house it permanently on YouTube as unlisted and keep selling tickets to people who didn't see it live but want to watch it later. Or, you can decide to make it public after the fact.

C100 Mark II - 4K sensor downscaled to 1080p in camera - small file sizes that most computers can edit - good AF. Here's a short film I watched recently and it looks clean and detailed to me...

Worked on a shoot with a Komodo today!

I picked up a FS5 (with the raw upgrade, which wasn't even mentioned in the ad) for £1200 a few weeks ago - that's cheaper than I got the FS700 for back in 2016.

With RAW or ProRes, the C70 would be my main camera, and worth every penny. Without that codec, it would run side by side with the Pockets. Gimbal work, run n gun; as you say, an expensive investment for such use. It's a shame that Canon and Sony have the corner on reliable AF as both companies frustrate me with their products for different reasons. I really wish Panasonic would get their AF sorted and then make their own version of the C70. I'm sure they'd be less conservative with their features, though their L lenses need more options. It will also be interesting to see if BM responds to this camera. Something sitting between the Pocket 6K and URSA 12K could be very interesting. Ultimately I hope the C70 sells well and to be honest, many do need a reliable, workhorse of a camera, so it should. I'ce become frustrated with hybrids recently as I rarely shoot photos and prefer a dedicated smaller video camera now. It could be the C70s greatest legacy is forcing other camera manufacturers to look into their own version of it, and that is something I would welcome.

I would do, but I left my 1D C in Berlin. Maybe some other time. I am pretty sure the colour science is very similar on both.

Yes, to concede a fair-point (because I wasn't very specific) if you're doing documentary or event work... something with allot of built-in features is probably worth it over pure-image-quality (or close enough quality). But, I'd still argue that if you have a controlled set, lighting, ect. a $5,000-$15,000 camera isn't going to magically get you better results than a Blackmagic or good DSLR. anymore. I've even seen a Alexa vs P6K video where the Pocket looked BETTER. Same with Red, the current Blackmagics look better, IMO, than even something like the bit-older Red Dragon's (which I've used extensively).

There's no video camera right now that checks off as many boxes as does the C70. That doesn't meant it's the right camera for everybody. However, it is amazing to see how many people require a built-in EVF, SDI-port, and RAW. And must let the world know the tragedy of their unmet needs. We all know you twits shoot on iPhones. The C70 has portrait mode too you cunts

I'm not talking about 6yrs ago, I'm talking about right now. Unless they're shooting with a RED (which doesn't offer them other options), then low/mid budget professional DoPs are generally speaking not shooting in raw.

35mm Schneider Cine-Xenon Trees and windows.

Decided to film action training with the Canon EOS R. People like to complain about the RS but it's still usable in highspeed stuff.

funny you mention that. I JUST finished testing the Leeming LUT's with S-Log3, S-Log2, and Standard Creative Look. In each case, I recorded internally in XAVC S-I 4:2:2 10bit and externally at 10bit ProRes HQ. I did one test with S-Log3 RAW out to ProRes RAW HQ. I exposed using Paul Leeming's latest recommendation of ETTR -1 from the already published numbers, so S-Log3 ETTR 94+, S-Log2 ETTR 106+, and Standard ETTR 99+. Something very odd happened in Premiere when using the RAW footage (using the latest Apple ProRes RAW drivers) and the S-Log3 Leeming LUT. In the Ninja V, the 16bit RAW from the A7SIII looked AMAZING (and was using the S-Log3 Leeming LUT for viewing). The internal footage came out the best of the bunch of above as far as dynamic range and color depth, but the RAW ended up being VERY over exposed. Now, I am sure it was just my inexperience working with RAW. Maybe there is something else I am supposed to do in Premiere and applying the corrective Leeming LUT made it worse. But considering the image looked so perfect on the Ninja V using the Leeming LUT as a monitoring LUT, and exposing exactly per instructions, I have to think it is something in how I am bringing it into my computer and/or Premiere? Any way, here is my results (I am starting a separate post with full details on the testing conditions and such, this is just a quick share) BTW, I also did some noise tests with lens cap and black velvet covering the lens to see the noise floor at 1/50, f/1.4, ISO 640 in the above 3 profiles In the photos below, the top is the external ProRes (one RAW HQ and the last 2 HQ) results and lower is internal XAVC S-I 4:2:2 10bit S-Log3 (top external ProRes RAW HQ, bottom internal XAVC S-I) S-Log2 (top external ProRes HQ, bottom internal XAVC S-I) Standard (top external ProRes HQ, bottom internal XAVC S-I)

Me too. I was looking at a great hybrid like the R6 or R5 as a replacement, then saw the issues it had. A7SIII is only 12mp (too low for photo) and I've never warmed to Sony anyway. Panasonic still feels it needs an update to bring it fullframe 60p rather than crop and add great AF to an S1H successor. The C70 as a pure cinema camera feels like the right direction for me, but is also hampered by Canons cripple hammer regarding features their hybrids have and the competition gives at a much cheaper price. I feel I am still waiting for that perfect camera for me. And a worthy replacement to the GH5.

Yes, it looks like they came to the same conclusion that I did....its not feasible for video. Also their implementation of encryption for the sake of speed is very weak. The 64 LFSR encryption method can be reversed in less than an hour with a fast enough modern computer, even they admitted it wasn't very good and had to be downgraded from the typical 256bit standard due to IO speeds and that was in 2014. Your comparison of 5200RPM drives is mixing apples and oranges, the drive read/write speed is not where you will see the most penalty, typically the encryption/decryption is done in the CPU which is where you could get up to a 30% hit when reading/writing to the encrypted drives. Modern CPUs tend to have way more power than most users need so you wouldn't notice the hit to the CPU unless you did a before and after benchmark and modern CPUs are designed to perform cryptographic functions efficiently. The problem of course as I mentioned earlier, is that cameras do not have all of these spare CPU cycles laying around or onboard TPM chips. In the Magic Lantern example the camera's CPU would be needed to encrypt every byte of data in real time which is where the performance penalty and unreliability would kick in. A camera cannot afford to lose 30% of its CPU and encounter up to 20%+ more storage latency when recording video or shooting bursts of images; the buffer would never have a chance to clear. The true hardware solutions like the USB-C drive I sent you manage to skip this penalty because you are technically writing to a storage space after passing through a dedicated encryption chip whose only purpose is to encrypt the data; data which can then only be read after the proper pin has been input into that dedicated encryption chip. Even though this may still incur a small penalty in IO, you manage to get enough remaining IO to conform to the USB-C standard which means it will have enough remaining IO bandwidth to meet the USB-C data transfer standards. Quick Google Search http://cherrybyte.blogspot.com/2012/11/quick-comparison-of-disk-performance.html https://www.phoronix.com/scan.php?page=article&item=2019-linux-encrypt&num=2 https://www.isumsoft.com/computer/how-much-does-bitlocker-impacts-on-hard-disk-io-performance.html

Poormans setup😅

That’s amazing. I Heard of someone who got a fs700 with the raw upgrade for 450$ a few months ago. I need to keep my eyes extra open lol

As I said, there is no question that the ATEM Mini Pro or Pro ISO will kick its arse but the specific use case was for covering a football match as a solo operator from the halfway line where having a single integrated unit small enough to have on the side of the tripod would be an advantage in my opinion as its role is more or less like a CCTV switcher than a full on production unit. In that instance, the two cameras facing the goals and the wide from the halfway line would be fixed and only the "master" camera would be tracking so for simplicity's sake having the integrated monitor is more of a sanity check that the cameras are still working 😉 There is an argument for the idiot proofness of the 4 buttons and a screen in that situation of shooting an unpredictable sport like football too as well as not having something else to power and connect. I was shocked when I unpacked my ATEM Mini Pro ISO at just how mini it was but I still think it would be more unwieldy in this specific use case (though I have developed a possibly semi-interesting product for it that would make things a little easier). I used to shoot a lot of very packed press conferences with two cameras on a dual mount with one fixed wide and the other being operated manually. I had an ATEM Studio HD in a small custom case to switch them and brought the preview feed up to a 5" monitor on a clamp on the tripod leg, so I'd have killed to have the simplicity and compactness of that Feelworld in that environment ! I'm actually surprised no one has yet released a clamshell case for the ATEM Mini series with an integrated rechargeable monitor like they have for gaming consoles to be honest as I think it would do well.

The C70 has a top handle I believe that can be forgotten. 😁😁 I don't think one less external unit for audio makes your life easier regarding items you need for your filming. Or at least for me. I always run 3 to 5 cameras on a shoot, plus various recorders, lapel mics, zoom mics, loads of different cables and adaptors, gimbal, drone in some cases, loads of tripods. Getting the C70 won't cut down on my gear. I'll still be running it with other cameras. If I get it, it will be for the excellent AF, ND filters, Canon colour in a small camera unit that is dedicated to video use and not a hybrid. Making my life easier it won't. 🤣🤣

I like the new fonts and overall look. Much cleaner and easier to read. Chris

Oh yes, so it does! Fixed. I can see again!

YouTube 4K is barely better than decent 1080p.. here's a thread talking about this very topic: In terms of why your 200D 1080p is soft, that's a Canon DSLR, and nothing to do with 1080p. My advice is this: Watch a bunch of videos ON VIMEO to see what cameras are really capable of in 1080p - you'll be amazed. If you decide you want/need 4K then so be it, but do yourself a favour and try and actually look at images instead of brand names. And yes, "4K" is a brand name - just how the manufacturers of TVs marketed it to people to get them to replace their perfectly good 1080p TVs. Most movie theatres have 2K projectors, so lots of marketing was needed to get people to buy a TV that has 4 times as many pixels as a movie theatre. Forget about Canon, or be willing to pay the Canon Hype Tax. The internet is full of people who think that Canon is the king and everything else is second class. These people are fools who don't know how to tell if a camera is any good or not so they just check what brand it is and then go hang with the people they know will make them feel better. Canon has great colour science - so do most other brands. Canon has great AF - so do many other brands. Canon cripples their products because the fanboys and girls will buy whatever they're selling anyway. Go to the ARRI website, the RED website, and the BM website, download their sample clips and have a look at how plain they are. Try and colour grade them and see what you get. This should show you that the glorious images that you are seeing online from the cameras that you're lusting after, the Canon ones especially, are due to the skill of the operator in post, rather than the manufacturer who designed the camera. Good luck. My journey started with me wondering why my 700D 1080p files looked so bad and thinking I needed Canon colour science and 4K to get good images. I've now deprogrammed myself and use neither Canon equipment nor 4K, but I've spent a lot of money on glass. Good luck.

There is some footage in this one.

Canon EOS R if you are ok without 4K 10-bit out of the camera. Honetly, for YouTube even 1080p that has been up scaled to 4K for YouTube looks good enough for what YouTube is at the moment. Other than that its the waiting game.

Ah when phone screen brightness is on medium, it does seem to look too dark. Have tweaked the text so it's brighter. Cheers for the feedback, keep it coming

Those prices are almost there! Will happen "soon", I hope/think/pray.

I have the GH5 with the XLR adapter and a MixPre6 as well as a C200. I think the XLR adapter or XLR straight into the C200 is great for a single mic or a mic and a backup mic, but I learned the hard way just a few days ago that if you have multiple speakers the Mix-Pre is way better. It was a pain to manually audio duck in Davinci Resolve the two speakers that I had; the stereo mix out of the MixPre for 4 speakers was less work than manually mixing two speakers from the onboard audio. For the C70 I really don't consider the mini XLR a big deal, as you mentioned it is not as bad as mini HDMI. One thing I wouldn't do though is leave the adapters plugged in, I always feel like things sticking out of a camera port will weaken the circuit board over time as they get wiggled and moved in your bag. I'd just load up on about 6 adapters, two go in my emergency kit in my car (along with memory cards, random power cables, etc), two stay in the bag with the camera at all times (since they are so small) and two go in my dedicated audio case where I keep all of my cables, the MixPre, etc. Also, for my particular use case, this camera would primarily be a gimbal camera, audio would not be that important to me.

I've used the DMW (if I'm getting it's name right) and it's a really good unit. I'll probably pick one up even if I get an external recorder, and even if I demote the GH5S. The thing is though, I'm pretty sure you are still going to want to strip the camera from time to time, whether for transport, or for a top handle, or for a smaller package. This makes it one more thing to manage and set up, one more thing to forget to pack! (I only very rarely have a packing incident!). Mini XLR is not as much of a deficit as micro HDMI as the connection is still locking. I'll probably just have a pair of short adaptors permanently attached if I can find a good way to secure them ( though I admit, that's just the kind of 'riggy' stuff I'm trying to get away from). I do generally plug a rented Zoom recorder into the sound desk for redundant sound, but end up using the camera feed just for convenience. Events are not my main line of work, so my gear is not yet optimised for it really. Managing to service the jobs fine though, so it's not a big problem.

Most digital projectors are 2K (Even digital IMAX is 2 2K projectors next to each other), compression and color win out over 4K every single time unless the audience is told the difference. I can spot it because I look at this stuff constantly. Your essentially correct on the VFX side for capture, though the 2K for visual effects has less to do with masking flaws than it takes 4 times as long to render a 4K frame than a 2K frame. It's a cost saving measure.

My wish is that all of this so called H.264 and H.265 hardware accelerated encoding actually worked. I'm sure it helps but it never seems to be enough to make actual editing smooth and I always end up making proxies anyway. With that being said I have pre-ordered the C70. I figure its better to be on the list and cancel then to wish I was on the list. I have been thinking more and more about cancelling though, although this is my dream gimbal camera the more I think about the type of jobs that I do the more uncertain I am that I would be willing to use a camera this costly to do them. Weddings, events, music videos, and corporate work simply do not need a $6KUSD camera on a gimbal. The R6 is what I truly need and the camera that is in the right price bracket for my work but we all know how that turned out.

Well I'm a professional and something like the Pocket4k/6k is perfectly fine. I've had literally ZERO issues. Add a V-mount... like you would to literally ANY other professional cine cam. You think people shooting Red or Arri's complain that everything doesn't fit into a tiny-package and they have to add almost every accessory? What exactly are you shooting? Have you seen the camera's they shoot movies with?

when you are in the field you want to be able to work fast and reliable. There are reasons some cameras cost 2000 and others 5000. First of all I have spend hundrends of euros for Tilta cage/powering/CFast/SSD/Nano focus/front ND and IR filters (just order a Hoya for that) that are not convinient to work with, and still searching for a better vND than the ones I have/sound options/weird body, e.t.c With the C70, just add another battery, 2 SD cards, and you are ready to go. No need for building anything on the field, or worry that everything will work, and I work H265 since 2015-2016 with my first NX, so it is nothing to me.. I will say it again, professionals want to worry LESS on the filed, less is more, less is safer, less is better. I never use my Pocket, because I do not want to worry about hanging cables, SSD drives and USB C connections (I bought the CFAST back then for 500euros because I didn't want to worry about loosing footage), then I have to add the NPF adapter, a Focus monitor, various things on and in and around the Tilta cage, and other stuff.. Working with - cheap- cine cameras is liberating, even if it is 2 or 3 times the price of a GH5S or a P4K. Building setups like Lego are destined for huge productions at the top of the industry, or exactly the opposite on the lower end. Where most work happens, in the middle, people prefer all in one solutions, yes, even camcorders, mind you, imagine the C70 has the price of some of those camcorders!

It's the same sensor. The magic is a dual gain output, like Arri. But not the same; Canon's advantage is in the shadows while Arri's is in the highlights. So you should still protect the highlights w/ the C300iii or C70

Why do people get so worked up about this stuff? Seriously - it would be an interesting psychological study.

I am sure it's possible to make a more user-friendly solution than the one I described above, but the safest way to avoid in-field decryption is to make the camera unable to decrypt it. This could be a usable solution as long as it's easy to toggle encryption on and off. Even the people who need encryption will probably not need it for 90+% of their work. I don't know whether additional hardware is necessary for sufficient encoding speed. I would guess it's necessary for encrypted high quality video, but that encrypted photos at a slower framerates can be done with current hardware?

The camera doesn't need to know the private key. Give the camera a public key the first time you set it up. To view the content, decrypt the material with a private key from the safety of your home on your home computer (or through a cloud based system). The main hassle would be that you would never be able to review your material from your camera, but neither would the authorities/whoever you are encrypting it from.

There are a few manufacturers of encrypted SD cards, so that would take the onus off the camera to do it but you'd have to do some investigation on the speed implications as they are generally made for things like automotive applications rather than the higher demands of writing 4K 10 bit video files etc. At the risk of pimping the Toshiba FlashAir SD cards yet again...... These cards do provide a solution in that they can automatically offload files in the background to your phone while you are shooting which then means that you have files that are as secure as your phone is from being accessed, providing you are writing them internally, but then you can use an app to encrypt them if you offload them to the micro SD card. It can also automatically be FTPing them to a cloud server as an additional backup which circumvents the problem of your physical media being seized whilst its in the camera or on your person. Having secure physical storage is one thing as it means no one can view your footage but if it is taken off you then neither can you.

I agree 100% with you. I have the C200 and due to the file sizes have never shot raw for a paying job. For the types of jobs that I do, as long as you WB and expose properly the files sizes of raw don't justify the benefits. YouTubers seems to think raw is the holy grail that will instantly turn their cat videos into cinematic blockbusters. With that being said, most people when discussing raw seem to think its only benefit is its ability to have more latitude in color grading. I had a long discussion with Blackmagic Design and the real benefit of raw is the fact that it is designed for editing. For this reason alone I wish the C200 and C70 had compressed raw options. I have no problems with the image quality out of the C200, C300, and C70, but I cringe thinking about trying to edit those files after adding titles, color grades, Fusion effects, and transitions.

My friend has an A7s3. Played with it a little bit yesterday. First impressions: - the viewfinder's FOV is huge. Almost like rea life with added information on screen. Amazing. Much bigger than that of my s1's. - build quality feels solid, but boring. Soulless as Sony is often being accused for. The S1(H) and even the S5 feel much more pleasant to hold and use. The way the buttons feel. The placement. Etc. Same goes for the menu system. It looks like a DOS text game from the eighties. Footage i cannot comment on. But having the option to shoot full frame 60 fps 422 is very nice. I am a bit jealous of that since my Panny's can only do that with a crop. From the other hand, that s35 mode with no quality loss also comes in handy sometimes. And i would miss that option on the a7s3 as it can only do that in 1080p.

In defense of the C200, it also introduced 4K60p, internal RAW recording, and Touch DPAF... amongst a host of other features, IO, media and ergonomic enhancements . It was a lot more than just a C100 with 4K. Aside from 10-bit codec, it actually did more than the at the time flagship C300 mk2! And that’s the funny thing with Canon. Lower end models often have better features than flagship models but always have the infamous cripple hammer on some crucial aspect..

The problem with the ATEM Mini Pro is that you'll look at the ATEM Mini Pro ISO and think "yeah, I might as well go all in and get that one" 😉 The ATEM Mini Pro ISO is an incredibly versatile and capable piece of gear and if you were going in to this do different types of jobs as well, like shooting live music shows for example where you are providing a live stream and also want to post edit it, then it is perfect, particularly if you are using BM Pocket cameras. If you are just doing this straightforward live football thing then its not exactly overkill, particularly if you are tasked with producing an edited version with replays from different angles etc, but the "four buttons and a screen" aspect of the Feelworld has some big advantages usability and simplicity wise. In that instance, the extra budget might be better off being diverted the upload side of things or remote cameras etc. Or just save yourself the agonising and buy both !

Feelworld have announced an interesting alternative to the ATEM Mini. https://feelworld.ltd/products/feelworld-livepro-l1-multi-format-video-mixer-switcher-4-x-hdmi-inputs-real-time-live-streaming?gclid=EAIaIQobChMIusbQwLeJ7AIVUBHgCh2oNwhUEAEYASAAEgIrMvD_BwE Its the same $299 price as the ATEM Mini but its slightly smaller and has an integral screen. That makes it a lot more self contained (as the ATEM Mini needs a screen) so opens up the possibility of mounting it to the side of the tripod of the main camera (on an iPad type tray for example) and switching multi cameras yourself while operating the master one. A lot less buttons than the ATEM but that simplicity will be a boon for operating in that environment, particularly as the sources are separated and laid out as per the quadrants of the screen. Another advantage it has over the base level ATEM Mini is that if you do attach an external screen then it also has multi-view monitoring.

I shot it all in 4k with a 10-18mm ef-s lens. Clog internal, just a quick little toning nothing specific.

5D Raw is still my favorite. Dont really care for resolution that much. My movie collection is also starting to fill up with old vhs films and those b movies from the eighties still look "great" 🙂

Hey y'all! After a long time playing and testing, I made a flowchart that guides you through the process of buying scopes. This is mainly aimed at beginners, but I'm hoping it can at least be fun for experienced shooters too. I'd love to hear your thoughts! http://www.tferradans.com/blog/?p=15998 Thanks!