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Interesting to see this trend. LOMO anamorphic gets a nod! Cameras used though not so interesting, a lot of ARRI as usual!

The 29 movies listed here https://ymcinema.com/2022/01/13/oscars-2022-the-cameras/

R5C confirmed to have internal unlimited 8K/60P Recording Also: Full-featured 13 assignable buttons (hint at a more C70 style body) Simultaneous audio record enabled with HFR RAW LITE in several bitrate flavors https://www.canonrumors.com/here-are-some-canon-eos-r5-c-specifications/

I hope so. None that I know of that are for ILC cameras. A few for high-end video surveillance/industrial uses.

One apparent casualty of this rebranding was the excellent-value-for-money Line Audio OM-1 microphone, which was required last year to be renamed the "Omni-1" microphone. http://www.lineaudio.se/OM1.html

I'd be happy even with 200-250g. A 9-11mm f2 with AF (and much better IQ than the 14mm f/2.5 + adapter offers). I'm sure it'd sell enough as nothing our there currently exists.

With the external Pix recorder, (like the one above) and the 444 model, it possible to record 12 bit 444 ProRes files. I’m not sure if this works in 60p though. Honestly though, the color depth on the F3 is fantastic. I was always super impressed with the 10 bit ProRes files.

Let's hope that they put more effort and resources into developing, manufacturing and supporting future cameras.

Well, perhaps the 150g stipulation is a bit arbitrary (and rather low, considering that fast superwides require bigger, heaver glass, and need bigger heavier housings to hold that glass). Remove the 150g stipulation, and solutions appear.

Yes, I'd say it's pretty significant. 12-bit Raw on the C300 just gives an added depth and richness to the image that 10-bit can't achieve. I was always amazed by the C200's raw and found it pretty stunning, but the DGO sensor adds a whole extra level of usability. This update makes the C70 probably the finest cinema camera under $9k. I also love that it's an even lighter version of raw (645mbps), which will make it way more useful in a variety of situations. Time and tests will tell, but I would think the 12-bit image should be a pretty big jump in IQ - and that's saying something coming from that sensor.

hi @webrunner5~!

Lets give them the benefit of the doubt and see what they do. I think it will be hard going since MFT sensor development has slowed compared to FF and MF sensors. Having moved to FF, and looking at affordable S35 cinema cameras, I still would consider MFT if the entire package is there. A MFT cinema camera with internal ND and good dynamic range around 13 stops in a mirrorless style body smaller than C70...that is interesting. Olympus has great f/1.2 primes. They need to update their f/2 zooms and revamp them for video in useful focal ranges: 9-25, 12-40, 40-100 f/2. A 9-25 f/2 + 40-100 f/2 would be a sweet small package if the body has cinema features.

Maybe. The fact remains that there's no other solution at the moment. Also, let's remember that the DMC-GWC1 wasn't just ANY wide-angle converter, it's the one that Panasonic specifically designed for 2 lenses: the 14-42 PZ (at 14mm) and the 14mm f/2.5. I've heard of it working on others too (like my Olympus 14-42 EZ), but not officially. With the Panasonic 15mm f/1.7, it supposedly works, but it'll only get you to 12mm f/1.7... might at well get the Olympus 12mm f/2.0 and save weight. If you were to tell me in 2012 that there would be no other solution to this in 2022, I would have called you crazy. Of course, M43 manufacturers would have found something in 10 years. Sadly, it doesn't look like it'll EVER happen.

I hope they didn't pay someone a ton of money to design that webpage! They probably did. 😬

Nice web presentation. Very pleasing to look at. Like it! Go OM, go!:)

Dolla dolla bills y'aaalllll

I don't watch too many YouTube reviews but I have to admit that your near-awkward Web 1.0 video style is kinda endearing. If I have to see another blue light special review on the bridge of the S.S. Cliche-aprise I may just gag. And since nobody on YT makes videos about the 5D Mark III and ML Raw, I have very little reason to watch. With that said, why are Canon going all in with the R Mount? The R3 seems kinda nifty I guess, but I'd much rather have RawLite on an EF mount 5D Mark V with IBIS and internal NDs. Like you said, the DSLR revolution is... over. Maybe we should start producing art on cameras that were released pre-2015. Fuck 'em!

Yes I hate the HDMI placement! It's exactly where my hand naturally wants to rest when hand holding the camera. Filmed again with the C70 today and it is very liberating (coming recently from BMPCC and Mirrorless) having it all in one box with great battery life, NDs and superb audio preamps. Colours are easy to work with and the dynamic range is very good.