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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.

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...

F**k it. These H265 files are a nightmare. Got the top spec Mac Mini with the LG Ultrafine 5k.

Any camera movement should be a deliberate artistic choice, designed to support the narrative and aesthetic of the film. I'm far from an expert, but there are lots of articles around if you google 'camera movement'. There is also the element of motivated vs unmotivated camera movement that you can read about as well. In terms of camera shake, it the aesthetic of it is that it's a bit more 'real' because that's how amateurs take video of real life, so it can give a more authentic feel to a shot. It can also make things more exciting, which is why they use camera shake in action sequences. Topics like this are so deep that you can never learn everything about it, even if you studied it for the rest of your life. However, these are the skills that will drastically improve your film-making. Camera movement, composition, lighting, editing, dialogue, sound design, etc etc etc..... the beauty of film-making is that you can learn a little and get a big improvement in your work, you can learn more and get even better, but you can study it for the rest of your life and never run out of things to discover and there is no limit to the degree that you can improve your work.

That electronic ND is the best though, really wish it was in every camera.

Its also as expensive as an S5 with larger files.

I appreciate your thoughts and experience on this. I guess my concern is how much I can tweak things later if I don't nail the color balance, or if I really have to deal with a heavy blue cast from window lighting, or avoiding color shift if I really have to raise the shadows a bit. I am much more of a ham-fisted colorist than a perfectionist, so the appeal of 10-bit is not so much that I am going to create a masterpiece of color, but more like I have a bit more of a safety net when i mess things up on location. So in certain respects, a BMPCC6K would appeal to me because of BRAW (since I edit in Resolve anyway). But the ergonomics and lack of photo ability makes it less appealing.

I really only film in 10 bit when I am doing commercial or narrative stuff where I'll push the image hard. 8 bit is more than enough for basic little tweaks for my corporate and event work. I love 10 bit, it's why I went with the GH5 to begin with, but I think a lot of people/projects don't really need it. Most clients don't see the difference anyway! Maybe I'm just being silly though!

As above, if you simply switch into APSC mode, compression will not change as it is just a centre crop, ie you lose...or simply see less width and height that you just did in FF mode. Your crop is 1.5x not 1.6x which is a Canon sensor crop and nothing to do with the lens.

Yes, I think it is just about aesthetic. Most viewers will probably not consciously notice the amount of camera shake / movement but will subconsciously notice it. If you are interested in different cinematography styles I suggest you go to youtube and look for the https://www.youtube.com/c/InDepthCine/videos In Depth Cine channel and watch the Cinematography Style videos on there.

@FreshGiantand @RogerRabbit are correct. The same image is hitting the sensor whether you are using full frame or crop mode (or pixel to pixel). The only difference is in crop mode, the camera is throwing away pixels. When 6K shooting comes to the S5, you can (I am assuming) just shoot in 6K and then crop in to 4K in post and get the same effect as shooting in 4K aps-c mode. I think the actual crop amount depends on the camera, so with an S5 it would be a 1.5X crop, not 1.6X, but who's counting???

It's a common misconception that focal length or crop affects compression. If that were the case then smartphones and other small sensor cameras which have miniscule focal length lenses would have super distorted images, but they don't. The only thing that affects compression is your distance to subject. Wider focal lengths just mean a wider FOV, which will reveal more distortion, particularly when close to the subject.

No. Cropping won't change the lens characteristics just field of view.

Another test - including 4K, 5K, 6K, and 8K RED raw files.

it was just about aesthetic the main reason of my post. Being graduate at cinema studies ( in my univesity the sutdies are all about thery..not practices) i am interested , a part of all the techniques parts, also about all the question regarding language, ahestetic and so on. My main think about this kind of shooting i am talking about here is that most of the time, it does not really look like motivated. To me i seems more a kind of habit, a fashion style of thelast years that should give some more "live" feel to the action. Sometimes this shake is more noticeable than other..looks like a kind of "fear" of a steady shot on a tripod

Yep!

Oh and one other thing, I pretty much hate camera movement. Any. So IBIS for me is for stills and why I need to stick with mono or tripod for video. I've tried everything switched on including the e:stab and it's good. Very good. But I still see movement and it bothers me. My style simply is not handheld look, never mind pans or gimbal type work. If I shot pure 100% video, then maybe, but I shoot 50:50 stills video and I have to draw the line somewhere in regard to what I can achieve. And just personally prefer the static shot where the subjects move and provide the interest.

It's really simple. I have mine set up C1 for stills and C2 for video, so just a flick of a switch. And even with a variable ND at it's lowest 2 stops, on the stills side it's actually quite a good thing as it eliminates my need to shoot super-fast electronic shutter mode speeds in bright sunlight wide open. But no, it's not that, but more the solo hybrid shooter in the real world aspect. Most of the day I can flit backwards and forwards between stills and video as there is enough time, but then there are times when I need to do both at the same time which means freestanding monopod (over tripod for speed). Real world though, getting a camera off a harness and onto a monopod and back off and on and off and...see what I am saying, - it's a faff thing! Instead, one camera, one lens (zoom or change primes from time to time) dedicated to the job and then just set up and use the stills cameras to do their job. So it's not so much a case of I can't make it work, but rather a case of I can make it work better if I keep certain tools dedicated to certain jobs. The 24-75mm f2.8 for me, not the 24-105 f4 (f4 is pushing it for my needs), but this lens is on the monopod and working at the same time capturing clips whereas the 20-60 is on a tripod and capturing longer form video statically and remotely, ie, I need 2 bodies with a lens each to do this job. However, I am now veering back towards primes for the filming/clips role; the Sigma 16mm f1.4 for dancing, giving the same width as the zoom, but 2 stops faster, the Sigma 56mm f1.4 as my indoor general purpose lens and 85mm is actually my 'ideal' for most of my indoor work and then the Panasonic 85mm f1.8 as my outdoor 127.5mm equivalent lens. All 3 add up to about the same cost as the single 24-70 and combined, weigh about the same, but on the monopod, all combos are MUCH lighter, the wide Sigma the same width but 2 stops faster and the 85mm, a decent amount more reach outdoors. It has been weighing (pardon the pun) on my mind that the 24-70 is a bit of a beast, but I think this prime option will work better as it offers more flexibility and in summary, a 24, an 85 and a 130mm, 2 of which are f1.4 and the latter f1.8 vs single lens 24-70mm f2.8.

I think he is using regular Canon EF to RF for the Sigma 18-35; its in the pictures.

Getting something like a Panasonic GF5 (or similar kind of camera body that is just fifty bucks on eBay) for your kid? And the S5 for you!

Well... I really like the image from VLOG and having more flexibility in post, but that is mostly for my real estate videos where I have basically NO control over the lighting and color casts. I guess I should try shooting some other things in 8-bit on the S1 so I have an idea of what 8-bit would be like on the S5.

Hmm. Even in APS-C mode? I still think it's a viable option. Do you need 10 bit? I know it's nice to have, but for a stationary camera it might not be as necessary?

I think it is ANY resolution in 10-bit and unlimited in 8-bit at any resolution. I am not sure if the different frames rates have time limits as well or not.

Never mind. I realize now that you mean for the SIII, not the DC6.

January 8th, 1935 - November 17th, 2020. One of the masters of underwater photography and its pioneer. Without him we would have all a different progress in this craft and tools to create our work. Credentials to whom earned them. JFYI https://divingalmanac.com/brooks-ii-ernest/

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...

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.

Rich man's toy.

S5 for me and it keeps everything even more incestuous other than the batteries.

I own a G6, G80 (a Euro spec G85) and G9. Never used a G7 or GH5. Re. the G85 - it's a very good hybrid camera, but compared to the GH5 (and the G9) it uses the older 16MP sensor, has cropped 4k and noticeably inferior 1080p. It's a smaller, lighter and cheaper camera though, and I think it might make an excellent 'serious' but maybe less intimidating camera for your son. Also Panasonic have changed their colour science - for the better - over time, so it's probably going to be harder to match something older like a G7 to the S1. If you can live with the 30 minute (10 mins for 4k 60p) record limit, a G9 is cheaper than a GH5 and has better IBIS and autofocus, plus 10-bit video capability. The V-log L update can also be added to it.

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)

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

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.

h264 8bit on what it seems a HD timeline..... Any video showing 4k 265 10bit 4:2:2 on a 4k dci with a 2-3 nodes with and without NR?

That's the big question isn't it... The 8GB is shared between GPU and CPU. It is probably enough for everything but 8K RAW editing. https://www.eoshd.com/news/apple-m1-crushes-intel-beats-6000-mac-pro-2019-and-10-core-intel-i9-macbook-pro-16/

I stopped using any IS for my real estate GH5 gimbal work. I just turn it all off, I shoot 60FPS and stabilize in post if needed. At least for the MFT sensor size I found I could get much better results this way. I also spent many hours tweaking my Ronin S settings and perfecting my ninja walk. What I have learned after many years of shooting real estate videos is that you literally should slow every movement to nearly a crawl, especially pans and walks. If you don't start out super slow with every movement you will regret something about the footage later. By moving super slow you will not need IS at all as long as your gimbal settings are optimal. I then use speed ramps and 60FPS to control the actual speed of the footage. You can always speed up footage, you can't always remove instability or slow down the footage enough to make it smooth. But if you start super slow and focus on stability you have much more flexibility in post. For really large properties I've seen people on YouTube use things like skateboards, etc.....to try to remove the up/down bouncing, but if you perfect your ninja walk and go super slow or use speed ramps Resolve can even remove the Z axis movement. The other mistake people make is when they speed ramp real estate footage they only go to 200% or 500%, that's a mistake, that just magnifies any instability that is already there; if you are going to speed ramp do it right.....jump to 2000% or higher then add the motion blur FX and suddenly your footage is buttery smooth; then drop the ramp down to 50% since you shot 60FPS and it looks great. Obviously don't over use this technique and its better for larger houses or commercial properties; for smaller ones I use a mixture of a monopod for pans, tilts, and detail shots, and only a little gimbal work and jump cuts to go from room to room. But back to the S5, I haven't shot any real estate with it and really don't know what lens I would use if I were to shoot one tomorrow. I feel like the 16-35 EF Canon lens that I have would be too front heavy for the gimbal. It would be great if Panasonic released a 14mm F1.8 prime lens for landscape/real estate use.

Thanks Seb, I always used a FF sensor also on baby hypergonar and agfa moller 19/1.5X , the stills attached are from the baby hypergonar with helios on 5D3. it's an internal clamp system made for me by a smart french guy Guillaume!

Curious, how is 5+ million pixels not even 1080p? My macbook pro is 2880x1800, an HD display next to it looks like SD in comparison. Chris

I guess more information on the SoC will slowly start trickling in, and we'll know specs and performance figures. I am guessing their graphics processing should be enough for most tasks too. I personally want a huge tablet (18 inch?) on which desktop grade editing would be possible. Retina means it's a fancy name for not even giving customers 1080p and covering it with wordplay. That was smart, but dishonest.