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Maybe the social work he is referring to is counselling people who bought one two weeks ago at the old price.

https://www.amazon.com/dp/B0DG9C6CR9 Basically C400 sensor in C70 body

Isn't it easier with a boxy camera to rotate the body 90 degrees?

No IBIS is why I also skipped the R5C, the C70 is great for tripod work, it's nice to have an A cam that I know can run for hours, no overheating, and XLR inputs so that's what I use it for. For gimbal work it is so so if you are a solo shooter; it is right at the edge of what is reasonable for a one-handed gimbal, probably much more manageable with something like the Helix Jr. That sounds like a seriously expensive switch, those RF lenses that you listed are pretty much some of the most expensive that you can buy for those ranges. I am happy the C80 has no IBIS; without it the C70 still does everything that I need and more so Canon won't get any more of my money this year (hopefully).

Which was the deal-breaker for me with the C70 and would be with this C70 and towards the end of last year, I was seriously looking at switching to Canon for the; 28-70 f2, 28-105 f2.8 and 70-200 f4, plus an R3 for stills/hybrid. Having said that, the C70 was probably a bit overkill for my needs anyway and I would probably have been better with a pair of R3's and an R6ii, but it didn't happen anyway so... C80 looks a bit of kit though! But nah, I'm quite happy with what I have.

Definitely a better representation of the C80 vs CVP's sample footage. The white hot sunlight on the floor does a good job showcasing the DR and highlight rolloff. The Lotus Helix Jr gimbal did a good job stabilizing it and showcasing how small of a setup that you can use to combine a gimbal with the C80. I would be curious to see how the C70 would perform in the same venue.

I was watching one of Canon's promotional videos and related BTS, and I was reflecting that Canon has always been very good at choosing its advertising materials. Its promotional videos are never dull. In contrast, the Panasonic/Lumix promotional videos are on average terrible, and in general Lumix's marketing strategy is terrible. I remember a video of the GH7 and I wanted to shoot myself in the balls because of how clichéd it was. Of course I am talking about the artistic and communicative choices that are independent of the quality of the advertised product.

To me it still seems pretty noisy around 4000ISO, a second native ISO at 4000 would be nice, I have never filmed somewhere where 12,800 is necessary, but definitely 4000ISO is pretty common and to me it gets noisy. When I can crush the blacks in that scenario it is fine, but when I need 4000ISO just to properly expose skin tones then it is definitely noisier than say the R5II at 4000ISO. I know it's been stated that it is soft by design, but it is the softest camera that I have ever owned; softer than the C200, S5, R5, R7, etc. I have gotten used to sharpening in post, but it's still a little disconcerting to almost look out of focus prior to post processing. All I can tell you is that identical lenses pointed at the same source and the R7 is a stop under exposed vs the R5 every time. To expose them the same I have to do something (ISO, Aperture, Shutter speed) to the R7 to match the exposure of the R5. The C70 with the speedbooster beside the R7 has the same problem. All this video did was make me appreciate the C70 even more and made it apparent that the C400 does not have IBIS. The handheld footage was hard to watch. I did like how sharp it was straight out of camera (assuming they did not add sharpness), but it is definitely not a run and gun camera without a gimbal or tripod. I know...cinema cameras don't need IBIS, but I think if it had it, and they had a way of locking it in place when you did not want it enabled, that would make it a truly killer run and gun cinema camera. It's small size already makes it a good fit for gimbals, but no IBIS makes it a hard sell for handholding. Maybe the digital IS works better than most prior digital IS, but I doubt it. The image quality, other than sharpness, did not really look any better to me than the C70 with its DGO sensor. I think today, if you did not already own the C70, the C400 might be the way to go, but I don't think buying it to replace the C70 makes sense considering how good the C70 is.

I've still got a fair amount of firewire-captured footage from mine - it's OK viewed from a distance (it is interlaced SD video, compressed with an early realtime compression codec, after all). The first part of the video below (in 4:3) was recorded with my DX100 24 years ago, the second part (from 12:32 onwards) was recorded 5 years later with a Sony TRV33 single-chip camcorder in 16:9. Both have been de-interlaced, stabilized and adjusted (as far as I thought was sensible!). The content is niche nostalgia stuff for railway enthusiasts like me... https://youtu.be/p-u7CGdcXn8

Smart move by Canon (if not unexpected) since it's a lot more affordable for a lot of people than the C400 and it's not a huge premium over an R5 II. Hopefully they fixed the monitor hinge and there will be a first-party EVF. As others have pointed out, for people who love the DGO sensor (including me), this is likely to be an additional camera vs a replacement. Could slow initial adoption by quite a bit.

We all knew that was coming, the triple base ISO is going to be a big advantage over the C70 so if you shoot in low light a lot the C80 will be the better option. The C80 will also fix the soft image out of the C70, although it can be sharpened in post, the image straight out of camera in the C70 has always been soft, also no more speed booster needed to get back the stop of light lost due to the S35 sensor. The C80 would make a nice A cam to my C70 as a B cam instead of me using the R7 or R5II, but I don't shoot enough long form content to justify it. Maybe in a few years I will pick up a used one.

Yes, the streaming wars are over and at the moment the market is oversaturated with content. On the other hand there was always an up and down in the market - lots of people remenissing about " the glorious DVD years" (Indie film hustle podcast). Now is a great time for indie filmmakers to create their low budget projects.

@D Verco I really have no clue, if I had to guess I would think at least 12-18 months.....

Because neither of their own bodies have it, possibly a bit of an omission to not have it in the majority of their lenses? Many of the slightly older now Tamron primes had VC, their nomenclature for ‘OIS’ but fewer lenses these days, prime or zoom, seem to have anything, I presume because of the rise of IBIS? I was shooting an outdoor mehndi ahead of a Bengali Muslim wedding today and once again, it highlighted the gap in my lens arsenal… The 28-70 is great indoors. Light, compact, fast enough at 2.8, but outdoors, I don’t want to be in people’s faces, it’s not how I work and the Lumix S 70-200 f4 (underrated sleeper lens IMO, due to being relatively compact, under 1kg, constant aperture and internal zoom) is perfect for the longer stuff…but sometimes…most of the time even, I want to be able to shoot wide’ish and a second later, long’ish. I am still considering the option of the Samyang 35-150 because with that, I could possibly do away with both the 28-70 and the 70-200 and would have no need for the 28-105. But it’s big. It’s heavy. It’s not internal zoom. Well neither are (internal zoom) the 28-70 or the 28-105 and with the former it’s neither here nor there, but less keen on how far the 28-105 appears to extend. Hmmm…choices, choices, choices, which is actually a good thing to have, but maybe I do need to go for the true ‘one and done’, the 35-150, albeit at the expense of size, weight and external zoom… The curveball in all of this is not actually not so much the lenses, but whether an S2H and/or an S2R appear because then having an all L Mount lineup of 4 bodies rather than my current 3 Lumix for video and 1 Sony for stills, because my stills unit can then double up for hybrid duty… Anyway, it’s not a big deal or a ‘need’, just a potential option. I won’t make any moves until early Spring 2025 so still plenty of time to see what happens in the L Mount camera and lens space.

In my eyes this and the skating video show the most convincing image quality of any DSLM. These and some Z8 and Z9 stuff. And that by far. Kinda looks like a 6K/4K version of the image coming from a BMMCC or og BMPCC. I'm impressed!

If anyone is interested in Nikon Z6 III's video quality

I recently took apart some RF lenses and an RF body, and they are shockingly cheap and poorly designed inside. Canon have automated a lot of manufacturing and the mechanical side all looks like it was put together in CAD by a trainee. This is a particular shame as Japan was known for having the best mechanical engineers in the world. I guess this is what happens when you promote accountants to run the company over the heads of engineers. So many problems on the EOS R5 II for such an expensive piece of kit. They are like the boeing of Cameras. I would never spend 4K on something with incomplete firmware. It's supposed to be a mature product, it's not like it's first gen.