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Is amazing. I love it. Never going back to RED unless I’m forced to by a client. Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

Not just the S1H but the GH5S as well! https://www.youtube.com/watch?v=Rg-dPBmY1rc

It's so true. People freak out about this spec or that spec, but as a whole package, the C70 is WAY more usable than any mirrorless could ever be (as any dedicated video camera would be). If I wanted to use the R5 (or any mirrorless) vs the C70, the main differences would be: - ND Filters - I would need to carry multiple NDs or have high-end variable NDs (not allowing me to use a lens hood, which I greatly prefer) or get a mattebox. You break your ND filter (AND your backup) and your video shoot is done. Just like that. - Audio - I would need to have a MixPre-3 or some other recorder. - Monitor - People say the C70 monitor is as good as C500/300, so that's good enough for me. Most mirrorless cameras are not that good, so usually add a monitor for pro work. - Batteries - Would need a lot more batteries, therefore a lot more chargers and more weight in the long run. Plus extra batteries for the audio recorder and monitor, both of which are pretty power hungry. - Timecode - Other than the S1H (which I love), there is no way to sync timecode in mirrorless cameras unless you have a Tentacle Sync, which is great, but is a few more things to charge, keep an eye on, and your audio is now one long very loud static track. Suddenly, using something like the C70 is looking about 50-60% easier and smoother. And there is only one failure point: the C70. With the other setup, there are multiple fail points that may not sink the shoot, but make your life extremely difficult. I've used mirrorless cameras on productions for one reason: SIZE. Great for gimbals and being discrete. The C70 changes that - and is the first real video camera to do so. That's a HUGE bonus in my book.

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)

I have the Nikon version and its a great performer, though I used it as a short tele rather than a macro. Judging by the charts he was showing comparing them, this new one improves on it significantly.

The value of internal ND for run and gun documentary film making cannot be overstated, imho. Just Monday I was shooting doc footage in communities ravaged wildfire. Having to constantly clean the VND, swap it between lenses, fight with its compatibility with different lens hoods, and realize I don't yet have a step up ring for a new lens I wanted to use. Talk about a PITA when I'm constantly moving and trying to get critical shots. I'd say internal ND is worth close to a grand, easy. A good VND is several hundred bucks; you probably need at least two to cover the range you want, and are you going to buy multiple copies so you don't always have to swap between lenses? I didn't realize that C-series bodies don't have an electronic level. That's a huge bummer.

Am I the only one who misses the electronic level found in most MILCs and DSLRs? I don't understand why it is missing from the C200 and I would assume it is also missing from the C70. I religiously use the level in my GH5 to double check my gimbal horizon and when setting up on a tripod especially since I offer real estate video tours where a level horizon is critical. It's so annoying to pay $5500+ for a body and not get this basic functionality.

Or a 105m f2.8 ART mirrorless mount macro lens where Yamaki says the optical quality is fantastic but happily and freely admits to it having ropey AF speed and doesn't give a shit because its the accuracy and image that matters. You can't say that Sigma don't dance to their own beat.

Sigma FP2 with...tilt screen, 4k 60p 10 bit 422 internal, hotshoe with clip on viewfinder. And IBIS. I will let you keep the electronic only shutter. This time. Thanks.

Hope you review is out soon. Looking forward to it. You could release it in installments, starting with initial reviews. Review. And then after perhaps a year.

Fixed the mobile menu icon, it should show up now.

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

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...

Almost everyone shooting with an ARRI (except perhaps the AMIRA) is shooting with a crew, they'll have someone else doing the sound, at least a 1st AC (if not a 2nd too, and perhaps more). Odds are decent there will be a Gaffer/Grip there too. They have the man power to handle the extra hassle. While the FS7/C300 is great for OMB or small crews, that need to move fast.

Of course! Hire professionals. But yes, even if you're doing it OMB and handling audio yourself, a camera like a Sony FS7 *is* easier to use for audio than a Canon EOS M50. Now I'm not saying you couldn't get just as "acceptable" audio on a M50 as a FS7 in ideal conditions, but I am saying the FS7 makes your life easier. (which means less mistakes and screw ups) This difference might only be small, it might only make your life 5% easier (although the likes of NDs, SDI, waveforms, and more, makes your life easier by far more than just 5%!), but if you've got thousands of dollars of client's money riding on this shoot and you not screwing up the audio, then that 5% difference starts to really matter a lot to you! And suddenly the difference between renting an M50 or a FS7 now feels like nothing at all.

I am pretty sure you'll be happy with the pictures from the R6, C70 or a C50. Make sure you look at the price for the whole system. Most RF glass is silly expensive and the adapters are out of stock (although i am sure they will come back in stock at some point). How important IBIS and lack of overheating will be is something only you can decide. I got the GH5 because I thought the IBIS would be game changing, but I have realised my filming style relies entirely on tripods... still happy with it though.

Oh, the other thing I recommend is to test things yourself. I've proven things wrong in 5 minutes that I believed for years and never heard anyone challenge or question. Most of the things that "everyone knows" online is pure BS, and the ratio of information to disinformation is so small that if someone is disagreeing with the majority of people, then the majority is probably wrong and maybe the minority right. Oh, and if someone tells you something is simple, they just don't understand it enough.

Worked on a shoot with a Komodo today!

Haven't tested it yet, but Clear Image Zoom does a 1.5x crop in 4k and a 2x crop in HD. On the a7III there's no IQ loss.

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..

Yes, I know - I have my G9 setup like that, I use it a lot for wildlife video 🙂

First time flying a drone, I think it came out ok. Thoughts?

Nice lens but I must say that shots have been fired 😉 I own the Baby Hypergonar and did own the Kowa 8 2x before I sold it. I would slow down with the Baby Hypergonar bashing. First of all, my copy and another friend who has the same lens both confirm that we could not reach infinity with the Kowa 8 2x. It is a lovely lens and you have produced some really nice images but nobody puts my Baby Hypergonar in the corner 😉