Leaderboard

My LLC is less than two years old (I registered it last winter, actually) so I don't qualify for Canon's 0% APR deal yet, but B&H has got me covered on that. I agree that is seems like a fair deal. I was thinking I'd like the C200 form factor better, but I've been shooting a lot with my X-T4 in a similar way to how I'd set up the C70 and have been liking the result better than my X-T3 set up mini-cine style with a pre-amp and V-mount battery. The IBIS has been part of why I like it better, though I do have to deal with IBIS induced wobble/jello on some parts of some shots. I'm thinking that the C70's digital IS should be as helpful for getting usable handheld footage. I plan on using a IS lens for my main doc lens, probably the 24- 70 F4L with the .71x adapter. My only question there is if the 24-70 autofocus motor is as loud other L-series USM motors and if it tends to pulse when autofocusing. I do have a Ronin-S and I know you can balance the C70 on it. I tend to like the hand held look for doc videos over a hyper smooth gimbal look.

I wish I had an original fp to compare to the fp L, and due to it's dismissal by most of the "popular" sources I wouldn't hold my breath on many of them doing tests. There are a few videos comparing the still aspects of each so that might tell you something. Personally, I wanted it for both stills/video but an emphasis on stills, so the fp L made more sense. If you want strictly video the fp would be the better option. As with any high res camera it is not as good in low light, and little more rolling shutter. The only catch I see is the bit worse read off in full sensor 12bit, that the the fp doesn't have. It is most likely a limitation of the sensor. It doesn't bother me, but it might to some. Under good conditions they should be visually identical in quality, and miles better than most.

The 4K on the S5 is the same as the 4K on the S1, as far as I can tell. I am surprised at 150Mbs h.264 how "pushable" the files are in post. Also, I have zero issues with shooting at ISO 4000 in 4K and delivering in 1080p. Whatever noise is in there isn't really a problem and the dynamic range is still quite good.

Well that typo got me excited.. for a second!

S5 would look the same, same sensor, same digital pipeline, same codecs. That open gate 6K from the S1 will be something I will love to check out though. Full height for my lenses, awesome!

I wish I lived in your world of no colour subsampling and uncompressed image pipelines, I really do. But I don't. Neither does almost anyone else. Yedlins test is for the world we live in, not the one that you hallucinate.

If history has taught us anything, it's that Canon will take forever to release the camera we want, and when they do it will be a huge disappointment. If you have work to do and can do it with the equipment you already have, then use that. If you need a new camera to do it, then buy a used good condition copy of the cheapest camera model that can get the job done, and if the stars align and Canon releases a camera that doesn't overheat, combine LOG with 8-bit, or have the DR of the iPhone 4, then you should be able to sell what you have for close to what you paid for it and buy the Canon unicorn.

Actually, the curve on the right is closer to what I would typically do:

I think there's a real art to blacks in colour grading, I've learned that getting the right levels in the dark parts of the image has a huge impact on image pop and the overall look. I'd suggest putting in a pretty aggressive knee, so that anything lower than a certain value gets compressed but doesn't go completely to black and get clipped. You could put that knee quite close to 0 IRE so you don't have to get washed out looking images, but also it would mean that you'd keep whatever information is in the shadows but still squash the noise so it's not too obvious, and it would also make the image look a bit higher end too as a significant part of the look of high-end cine cameras is how they handle the shadows. I often set up a curve that compresses the shadows more than the highlights and grade under that. This is a random image I found online that shows what such a curve might look like: My curve is often more aggressive than this, and the more aggressive you make the curve the more filmic the final image will look. When you first apply such a curve everything will look over-contrasty, and you will need to manually grade every shot underneath it. Often the Lift Gamma and Gain (LGG) controls are great for this, as the Lift places how far down the curve your blacks go (and also defines overall perceived contrast and adjusts saturation), the Gain places the highlights and gives a nice rolloff (making the edges of any clipping much less obvious) and then you can adjust the overall brightness of the shot with the Gamma. Often you have to go back and forward with these controls as you often pull the Lift down to get the shadows right, then pull Gamma up to adjust the mids but that also pulls the shadows up a bit, so you pull the Lift down more, etc, until you've pushed/pulled the exposure to a point that looks good. I've graded many projects by just applying such a curve, then on each shot tweaking WB, then using LGG controls to get levels, then Saturation, and often that will be all the project needs. If you have a control surface then the LGG adjustments can take very little time and you can rip through an edit very quickly. Happy to elaborate further, just ask.

You're really not getting this... You rejected the test because it involves interpolation, which is common to almost every camera, as most cameras have less photosites than their output resolution has colour values. You also rejected the test because the Alexa is a 6K camera and not a 4K camera and therefore involves interpolation. The Alexa isn't a common camera, sure, but it shares the same colour subsampling properties of most cameras, shares the same 'over-capture' aspects as many other workflows, and is a high quality imaging device, so if you can't tell 2K from 4K from an Alexa 65 then it's a good test and it is applicable to most other situations. A camera with a Foveon sensor does not share the same colour subsampling properties of most cameras, therefore isn't a good test, which is why it's a red herring and not applicable to any sensible conversation about perception.

Well, that's embarrassing. I AM the king of typos. That post title should be C200 Mark II - Is it coming. Derp.

No, it is independent of the sensor plane so it can be mounted as required as long as the relationship between the position it was in when calibrated for the specific lens is maintained when you then use the lens. However, if you do want to move it, there is an option when you load the lens from the database to apply an offset and specify the direction of it. As well as the supplied R1 compact controller, there is a preference option to use the REC button of the Tilta hand controllers to toggle AF-C on and off. You can also use the wheel to control focus manually in conjunction with the AFX's AF functions. So if you use the AF-S function, for example, to snap to a focus position then you can trim that with the wheel such that the wheel will take over when it reaches the focus point where the AF function has just driven then lens to.

Camera looks amazing. Is there a real difference in image quality/look over the S5? (Other than internal 6k). I mean, does 4K 25p and 50p 10bit look the same?

I will disagree with MRSMW 😁 a bit , I think x-t3 makes much financial sense when in essence you are buying the same camera as the X-T3. If you use either of the models for video ,power junkie will be your friend and I would not rate the X-T4 ibis that much. But horses for courses etc..

Maybe save that criticism for the Matti Haapoja's and Peter McKinnon's of YouTube and not the guy that does rather dry long form reviews and regularly criticizes the things you think he's trying to sell? I say this as a very vocal critic of the YouTube filmmaking bubble. I don't always agree with Gerald but it's ridiculous to act as though he's looking to maximize clicks and affiliate sales. His videos would be under 10 minutes and feature him pouring coffee (gotta get that pouring sound!), riding a one wheel around, and otherwise pretending to have a far more exciting life than he does, all while talking about how awesome x is and that you should definitely check those affiliate links down below! At least be fair if you're gonna criticize the guy.

The only issue with that is that camera companies only tend to hand out demo models to established 'influencers'. At least early on. But otherwise, I agree and it would be more 'fair' if these tools reached the hands of shall we say, more real world users rather than kit reviewers. The latter does happen, but only later down the line and usually after the user has purchased for themselves but by then, a preconceived idea of the tool is already established whether it's 100% accurate or not from those early 'reviews'. Which is why I personally take all these kinds of things with a pinch of salt and make my own mind up. I've never bought a camera or piece of kit based on anyone's opinion but my own.

$150-$220 USD.