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I got the C70 last week as part of CVP’s first batch. Even though I have the A7SIII, I bought it because Canon obviously read a post on this forum about what my “perfect camera” looks like. So I just had to. I sold my EVA1. I put it in the deep end straight away on 2 professional shoots for fitness brands. The videos aren’t finished so can’t share any footage yet! My impressions: 1. Body design is fantastic. Lovely in the hand and a joy to operate. Feels cheaper than other C-series for sure but still premium. Well built and easy to use. Very light too! 2. The screen is flimsy and should be more robust. 3. The joystick is drunk. You want to go left, but it goes up etc. Not sure if this is a “getting used to it” kinda thing, but it’s unusually tricky to get the hang of. 4. Record button is also a bit stubborn. You have to press that thing very well to get it to record or stop. 5. Quick touch screen menu is amazing. There’s no need to reboot the camera to change frame rates and codec like I did on the EVA1. 6. DIS is decent! Doesn’t feel overly robotic like other IBIS systems. But there’s a slight crop. 7. DPAF with the Sigma 18-35mm is pretty good. My Sigma 50mm hunted quite a bit though. 8. It has no tracking like the A7S3, only for faces. Seems the face tracking is disabled in 4k100fps. 9. Footage in all modes is crisp and clean. Not overly sharp, but detailed. It looks a bit more organic than the A7S3, which is clinical without a Promist. Noticed the A7S3 is a bit more contrasty in SLOG3 than CLOG3. The C70 has an edge in the shadows. 10. You can use a V60 in 4k100fps but comes up with a warning that it won’t work. It does, but sometimes cuts off due to a full buffer. Not often though. I’d still get a V90. 11. H265 footage plays back better than the A7S3 on my 2025 iMac. Still a sludge though. 12. Footage can be easily matched to the A7S3. Took me about a minute. Amazing how much Sony have improved it. In conclusion, I had a good first experience and I’m looking forward to the next shoot. I currently prefer the A7S3 but it’s too early to decide that really. Both are great and can be used together very seamlessly due to the Sony’s improved colour and codecs.

It locks on faces well and keeps track, although makes a bit of noise. The continuous AF is slower than the A7S3 with native, but still a useful tool. 50mm hunts.

Thanks for the suggestion but it's not happening unless FCP is deleted off the planet and all my cameras are set on fire.

To my eye is looks very close. Right off the card, I'd say the C70 has a slight advantage in the shadows and the overall rolloff is a bit smoother and milkier. To match - you need to play with the S-curve on the A7S3 a little to get the same look, and it isn't hard. A7S3 seems a bit sharper. There's no reason why you can't use this cameras together. Matching them is easy. People who say the A7S3 is still bad colour don't know what the are talking about.

I think the final sentence is the best piece of advice you can give. Seriously, at this point is there a worse investment than a new camera if you don't have a job that specifically requires it? YouTube channels or blogs promoting new gear and tech during this pandemic is not just irresponsible it's almost a little sinister.

While shooting an semi long feature film latest days of this summer, I took a breath and one day climbed around and casually recorded some used locations with lovely Pocket 4k. Maybe it would not be too boring, so just little bit оf reminding of of the beauty of not so distant nature, so happy living out of our - so often desperately and absurdly busy - human world...

More testing, against some machines with lots of cores, fat video cards and egpu's. Chris

Having said that, I am not ruling out going with 3x S5's and 1x S1 come next Spring instead of 4x S5's, purely to have that S1 in the dedicated static no record limits, video role...

Yep. Or at least how I saw it and was considering. But then I looked at the price of an S1 now vs an S5 and weighed up what the S1 would bring me that I needed over an S5 and the answer was unlimited recording. And that was not a sufficient enough answer when I factored in all the other 'stuff' I was getting with an S5, mainly in the size & weight department. I am not exactly uber-obsessive about every last nanogram etc, but it all counts and adds up. Ultimately it's what works for our own individual situations and these things can depend on what kit you already have, but if starting from scratch... Well that offers up more choice.

Say it isn't so?! I love this lens. It's not fast and so a bit limited in low light, but it works for me in a number of ways... Static wedding ceremony and speeches lens with a focal range equivalent to 30-90mm. OK, I need to test that long end at f5.6 but I always throw some constant light on the top table/speaker so even outdoors in the dark at 6400, I think we'll be OK. Think...I need to test, but used to use a 1" camcorder which was about equivalent f64 or something... Then it's my 20mm wide angle wedding landscape/architecture lens plus wide establishing room shots such as bride prep, 30mm if we're talking 4k 50p video. Also, it's my personal/travel family lens when we get back to things hopefully next year. OK 60mm isn't that long for stills but for family stuff it will be fine and my last personal camera was an X100 and that was 35mm equivalent. It's solid, it's compact, it's weather resistant...it's extremely limited on a proper landscape shoot as I found out just before Lockdown 2 so looking forward to the 70-300! But it's useless piece of shit if it's just going to be gathering dust! Speaking of the f1.8 quadrilogy, but original plan was for one of each, all of which would get used, but the 24 was never going to be quite wide enough for when I need wide angle video (dancing) and the 85 not quite long enough for ceremony stills and if I was using it for such, then I wouldn't have anything long enough for the ceremony. The conclusion was I'd need multiple copies of the 85, something wide than the 24 and I'd have to do some juggling of lenses throughout the day and although the very thought of zooms hurts my soul (deeply), I also have to be realistic in regard to my specific needs as a solo hybrid shooter on a typical 9-15 hour wedding day. The answer I came up with is it had to be zooms and on tripod and freestanding standing monopod for video and essentially the good old combo of a 35mm + 85mm prime for stills except in my case the combo of 20mm + 45mm + 105mm. Which is slightly different but does not require any lens changes all day long on any camera, stills or video. But as the saying goes, no plan ever survives it's first encounter with the enemy. I think this one has a good chance however as it's not really a 'new' plan, but yet another evolution of what came before. I actually tried to squeeze the Sigma 50-100mm f1.8 into the mix but including tripod collar, mount and adapter, it would have been a 2kg beast of a lens, but one which with one twist of the zoom ring, could have been a 75mm f1.8 or a 150mm f1.8 (in 4k 50). But I'd be lugging it about all day long and coupled with the camera body, monopod, powerbank strapped to monopod, from (lighter) previous experience, it's actually a bit much for a sololist also juggling stills, audio etc. Samyang cine...damn, I missed that one but no, must resist, I have looked at every other option from cine-modded Iron Glass through Voigtlander through the Sigma APSC trilogy of primes etc etc etc. Sticking to plan. For now...

MMX info here

Best option I think. I still think with the firmware update due in 2021 for the S1 that it will outperform a bit the S5, but considering your requirements (size mainly) it should be a good option to have the S5. I personnally enjoy shooting with the S5 as it's so lightweight. But then when I grab my S1H again I'm feeling at home, I like the grip, the good size with the big lenses, etc. Each body has its purpose; and that's great to have this flexibility.

Seriously I think the S5 would be the best option. Same mount, same sensor, same everything except for the batteries and the HDMI! I have the S1H and I chose to buy the S5 for my B-cam/gimbal cam. It's way better to have same bodies, same menu systems, same sensor size, same (kind of) low light performance, same dual ISO, etc. Of course that's my opinion.

I should have specified I was meaning using the autofocus with a bmpcc 4k

But why wouldn't you just use your S1 for stills?

Questions like this show why the camera people aren't in charge of the business side of things... 🙂

For Pocket4K/6K where we control the focus of the electronic lens then yes this would be a possibility. No, it is only the cable for the N motor that is included. Every M motor that you use whether it is directly connected to the AFX or connected to the MMX requires an adapter cable. We use the N port size as the "standard" to keep the footprint and cost down as the M port requires the much bigger and obviously far more expensive 7 pin connector. The N motor is also far more common than the M motor amongst our users. Therefore, every M motor used requires a cable to adapt to that "standard". So, for anyone just using an AFX and a single M motor, they need to buy either cable type 1 or cable type 2 depending on whether they want the USB outlet to power the AFX or if they are OK to just run it on its own internal battery. For anyone using an MMX, the first M motor that they use must use cable type 3 as this is the one that will power the MMX itself and with its USB outlet it can also of course power the AFX. For subsequent M motors that they attach to the other ports of the MMX they will need either cable type 1 or cable type 2.

Mountain biking at night without lights is an interesting way of defining how good your own personal "night vision" is! Don't think I'd ever do that myself. But I'd happily run at night, even off road with no LED lights. (heh, back in my heyday of running, LED lights barely existed! At least not for this poor impoverished boy, thus I'd often be running off road at night for long training sessions)

Remember it is no big deal to shoot rec709 on for the boring long interviews / ceremonies / speeches / talking heads that you're shooting. As you're got the time and set up to nail your exposure and white balance. And you're not going to be going crazy "arty" looking with these shots in the edit anyway. Leave shooting in log / raw / whatever for the B Roll / flashy stuff when you're just shooting the single A Cam by itself. You do get a better sensor in the G85, but the G7 has no recording limit as well (with the setting tweak), and IBIS doesn't even matter when it is only ever going to be used on a tripod!! In the end, it comes down to how much you want to save every last penny that you can or not. Otherwise you'd just go get a Panasonic S1H as your C Cam 😉

Impossible is strong word for a technical limitation like that.

Whoops, looks like I missed the edit-window of my post, here's some S1/RED comparison stills, as promised, close-ups are the S1, wide shots are the RED

Sure thing, tons of examples on my vimeo, https://vimeo.com/user16941419/videos Pretty much anything two-camera is S1 A-cam and wide, GH5 b-cam, close-up angles. But here are a couple random ones if you don't feel like digging. I'm not a pro colorist by any means, most of my projects have very fast turn around so I get them "good enough" and don't always go for a 100% perfect match between cameras, but I don't they look glaringly different or anything, even in higher DR-situations.

I have been using an S1/GH5 combo for probably close to two years now, it's a very winning combo, primarily for your same use case, mostly talking head/interviews and corporate work. No need to over think it, I shoot both in V-Log pretty much all the time and they are quite easy to match, typically I use the GHAlex LUT and it looks awesome.

If shooting in Vlog on the S1, the colors on the G85 aren't really going to be doing you any favor in terms of matching. Of course you could shoot both in CineD. Fast lenses are a good option to workout low light limits on M43 but good fast glass is expensive. Cheaper lenses that are super fast are generally not the most usable wide open. But I guess again the question is do you actually need low light performance for interviews?

Swapping AF and low light for unlimited recording and colour matching seems like a good trade-off if you're doing interviews and weddings, especially for a B-camera. Also WRT low light, the MFT cameras can get very passable low-light performance if paired with a fast lens. I have above average night vision (I can easily go off-road mountain bike riding with no lights if there's a full moon) but the GH5 and f0.95 lens combo can see in the dark better than I can. The other low-light advantage of MFT is that on an f0.95 lens it gets the exposure value of T0.95 but a DoF equivalent to a FF at F1.9, so better exposure without the razor-thin DoF. I'd suggest having a think about the various interview configurations that you might use and then working out what the minimum requirements would be for those setups, in order to avoid buying gear you don't end up using.

In terms of 8-bit, concentrate on getting it as right in-camera as you can. All the 10-bit vs 8-bit tests that identified differences (many didn't) only had issues when the image was pushed by a decent amount, so the better you get it in-camera the less you have to push it around and the better the image will be. Matching colour is a matter of: choosing the same colour profiles on all cameras setting the WB and exposures properly using a colour checker once per setup You can do your homework and record a colour checker on all cameras in controlled conditions, then make an adjustment to match the lesser cameras to the better one, and make it a preset so you can quickly apply it. Then when you're working on actual projects all you have to do is tweak slightly, if anything at all. Yes, I realise that this means you will be shooting a rec709 type profile on your best camera, but this is intentional to match colour profiles, and also it will help you get a good quality image in post. I use the GH5 as my A-cam and shoot the 1080p All-I 10-bit 422 modes, and just recently I swapped from shooting HLG to shooting in Cine-D. Extrapolating from the principle of "the less you mess with it the further you are away from the image breaking" I no longer take my 10-bit image and radically push/pull the bits around in the HLG->rec709 conversion, so now when I get my 10-bit Cine-D images out of camera the bits are nice and thick and almost exactly where I'll end up putting them in the final grade. @Ironfilm makes a good point about using the kit lens on a second / third angle, as the kit lenses are nice and sharp when stopped down a bit, and can also be pretty good when at their longest focal length and wide open, especially if it's an angle you're not going to go to for long or many times in the edit.

Again, think carefully about how are you going to be using these B / C Cams on small corporate content shoots? I've done sound on lots of these types of shoots, and they're almost always single camera shoots. Is it out of lack of confidence you'll not get the coverage from just one camera, or you fear you might miss out on a vital moment in the IV while you're switching up shot sizes on your main cam? Consider how much you might be harming the quality of your work by spreading yourself thin across three cameras vs just having one, and the compromises you're making to ensure the 2nd/3rd angles look good too.

I also heard it in a FX6 presentation video. The Youtuber (can't remember who, maybe cineD) says he asks Sony why no IBIS, they told him they can't do it yet with an E-ND in the camera. It may be related to the room needed for the sensor to move around in the camera body and the ND filter being very close to the sensor...

With a little tweak the G7 can have unlimited recording too, google it. As for 8bit, again remember the very specific use case we're discussing here: as B & C Cam for wedding ceremonies / speeches. This is low budget sh*t which you're going to be using SOOC or near to it. These cameras are just for bulking out the long form edits to give you coverage. 8bit is fine.

What's the difference between them, N and M models? Why three cables for M model? Don't I need any cable if I am using the Nano? Tilta Nucleus N is Nano, yes?

If am not mistaken mate raw doesnt add extra dr , all it does gives you no noise reduction. But the good part is you get to play with iso and wb.

Read this comment elsewhere: "this camera will most likely get Netflix certified whereas the A7sIII probably never will." Which instantly made my mind go *click*! Ohhhhhhh........... now I realize why the FX6 has timecode I/O when the FS5 (and even the stock FS7) never had it! Purely so that they can get the "Netflix Certified" branding, which will do wonders for their marketing. (even though for 99.999999% of us, if a camera is "Netflix Certified" or not should be meaningless. But unfortunately the reality is the Average Joe in their mind seems to make a big deal out of this when considering a new camera purchase)

I know a guy with an Xrite, all sorted there. My iMac is 5k so that’s the ballpark I’m looking at.

I’m not so sure of this “disappointing” talk. The A7SIII got the same slack by many and that’s turned out to be an absolute marvel of a camera. The FX6 is what people asked for... an A7SIII with E-ND, XLR’s, SDI, S-cinetone and video ergonomics. Both cameras are unique in the market for what they offer. The handle thing is annoying and lack of LongGOP - yep I agree. It’s not perfect. I’m just wondering what people expect these days? A full frame compact video camera with 4k120 in 10bit is no longer good enough? All the manufacturers are smashing it and every camera released this year has gone beyond.

HUGE media blitz with glowing reviews...remember me the launches of certain images devices that we are used here... 🙂 Looks like the new Macs are really good, but if I was looking to buy one, would wait until some real world users put it to their paces (and maybe the Rosetta caches becomes full). The 16Gb ram (not expandable) max and the restriction of having only one external monitor could be deal breakers to some video editing setups. (and with the "Apple dollar" here in Brazil, you could buy a top last gen Ryzen with 32 gb ram, top video card and 2TB SSD with the local price of the new Mac Mini, and have some money to spare...)

Well it would be a mistake to include h265 in a pro camera, that every editor has problems with. If they would include prores or any other pro codec on the R5(besides the cripple hammer overheating limit), the sales on the Canon cinema series would take a big hit.

Seems the best DJI bird bet for now:

Nino's:

My god he's HOT 😍