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Canon now has an Only Fans page.

The C70 does have some of the highest DR of any shipping camera - it's a DGO sensor. If highest dynamic range is your deciding factor, you won't find many cameras under $10k to match it. Is your project run and gun which is why you want the internal ND - for super fast changes? Some other options for "internal" ND: - Use EF or PL lenses on an RF mount camera and use a converter with swappable inline ND (such as Canon's EF-RF adapter) - If you don't need it to be on a button and just don't want to deal with front filters, look into a rear clip-in filter - they are available for many cameras and in my experience, work well.

I shot S5ii h265 yesterday as b-cam to the ursa mini pro, and for some shots I'm really preferring the S5ii image. Consider the fact that the BRAW out of the S5ii bypasses most of the complaints people have with the L2 processing…if you can deal with a monitor and latency…that image is literally the best you can get for its accompanied features under $2.5k, no question. I’d agree though, the S series first gen colors are special. It’s what makes me want to pick up an s5 or s1h sometime.

The benefits of N-Raw won't be visible on Youtube. It's overkill for most projects but for HDR it's a must have. I also noticed that the quality is worse than H265 in 4K modes on Z6III due to line skipping.

Could be it is unique to the Z6 III as pretty much every fellow on every forum or on Youtube I searched, even the fellow whose video is linked at the start of this thread, said the same thing that View Assist with N-Log cannot be trusted. Would be really nice to get it fixed on Z6 III too. I have used only 4K 100fps, as I edit on 25fps timeline, and with 100fps AF has worked as well as with 6K 50fps. Even in the dark, subject lit with dim flashlight the AF could stick to the subject quite dependably. At the edge of the frame AF would not lock on the subject if it was really dark and subject not moving, but when it got the lock it stuck to the subject. Compared to S5ii even after it's latest firmware update, this Z6 III AF seems to be a bit stickier, more trustworthy and it will not loose the subject as easily as S5ii did, especially if someone walked between the camera and the subject. The estabiliser is maybe not quite as good as in S5ii, and stabiliser itself in normal or VR mode is not that good as in S5ii or in GH7. The estabiliser works only with H.265 UHD up to 60fps, so I have not used it much, only tested how it behaves. The VR mode is ok for my use and mostly I get good results with it. With longer focal lengths having heavier lens helps of course too, like it was with the S5ii. IMO with Z6 III and NRAW you get a FF 6K 60fps and APSC 4K 120fps, bit better IQ, AF, EVF and can use higher ISO values than with S5ii. I like the switch to photo mode too in Z6 III more than having custom modes on S5ii. S5ii seems to have a bit more DR, has better IBIS, open gate and some functions are better implemented. Tried even Sirui Saturn 75mm 1.6x anamorphic with it and it was good, but only on a tripod. Now with Z6 III I got the more resolving and calmer IQ I wanted, but lost a couple of other things.

Been following this excellent website and forum since I got Canon 550D in 2010. Ended two months ago to Z6iii after using GH3, GH4, GH5, S5, S5ii and have shot also a bit with GH6 and GH7. If viewed from 3 meter wide screen with true 4K HDR projector, there is a slight difference in resolution and colors in 6K NRAW vs 5.4K H.265 in my opinion. The 6K NRAW seems to be a bit sharper, but not over sharp, and colors feel a tad richer. For example, during the sunsets NRAW seems to have nicer hues to my eye, but it could be my Resolve skills are still just lacking for correcting H.265 NLog white balance. Correcting NRAW WB is just easier. Z6iii 6K50p NRAW in normal quality is 11.7GB per minute vs 3GB for 5.4K50p H.265. The Z6iii NRAW is noisy and it flickers if you under expose. Still, by over exposing a stop or two according to the wave form and zebras ISO 12800 seems usable. The slight amount of noise looks more organic to my eye on the big screen than noise in H.265 Still, if S5ii did not have that slight over sharpening compared to original S5 IQ, and it had 6K50p mode, it’s H.265 at 1.5GB or even 3GB per minute would be perfect.

I looked at a few more examples of this kind of thing yesterday and came to the conclusion, that without even trying it, raw is not for me 🤔 It's those file sizes when it comes down to it. If ultimate image quality was my thing rather than 'high level of quality that is 'good enough as far as I am concerned', then 200mbs smashes 2500mbs in my world because I don't need file sizes 12x the size for marginally improved image quality some of the time that only the nerdiest of nerds would ever notice. Nah, quite happy with burning a custom LUT at the time of shooting into all my footage. I have no need to please anyone but myself and my paying client who is paying and trusting me to deliver something similar to that which I showcase which comes full circle back to shooting to please myself, because that is what they are seeing and buying into. Which is partly why the S5ii (I should be on commission from Lumix) for me cannot be beaten, as in add up all the features I want out of a camera and system, for my needs, and it's top dog at any money. Considered Z8 and Z6iii and a number of Sony's and some Canon's and a few Fujis and nope, - nothing quite measures up. I still prefer...just, the image straight out of the S1H, but you can't burn a LUT straight into the log footage and it's AF is a bit wonky. I've been editing a ton of footage recently and with most clips, I am saying to myself, "yep, just what I wanted and limited tweaking required" and if it's off in any way, it's more because of my failures re. lighting and WB where I have either not recognised something or simply forgot to flip to another custom setting. Perfect? Ha, no, just as above, 'good enough as far as I am concerned', for my wants and needs. Raw would just be a major headache and overkill. At a level of 12x. As a minimum.

All depends what your benchmark for happiness is. If it was the stock 1080p codec on those cameras, then the raw was an insane improvement in every possible way. It's still a stunningly beautiful image today. With none of the super-smooth and clean look of today's not-quite-raw codecs.

I'm pretty dubious about all of that! I'm not so sure about the low light 'big advantage'. Yes, the 12,800 ISO base is going to be a fantastic feature, but the C70 is already a fantastic camera in low light because of the rich inky blacks you get with DGO. You're essentially getting an additional exposure at the shadow level and (with the great dynamic range) you get fantastic low-light imagery. This was actually a key factor that made me buy the camera in the first place. I film in subterranean poorly-lit locations with the C70 all the time, and it is brilliant for those kind of scenarios. Unlike the cameras that have to crank up ISO (like the A7S derived Sonys) you get great highlight control alongside rich shadows. The C400 (albeit pre-production at this stage) looks noisy and thin by comparison. Also - when do you ever actually shoot at 12,800 ISO? Like I say, I shoot in dark spaces very often, but never require that kind of facility. Don't get me wrong - it's a nice feature to have, and might come in handy here and there. But it isn't a key feature in my books, almost always makes things look unnatural, and you are going to be better off with DGO in most situations. I'm talking here as someone who is likely to buy the C400 and is excited by it, so I'm not trying to rubbish the sensor tech and implimentation (which is the same as the C80). C70 is soft by design, just like many high-end cinema cameras. Its a point of preference really, and not something that needs to 'fixed' in my view. I'm looking forward to being able to choose between softer (doc and fiction) and sharper (corporate / client work). You don't lose a stop of light between sensor sizes. Speedboosters work in a unique way to refocus light, which is where the stop gain comes from. I notice that the C80 has SDI though - that is another differentiator from the C70 (HDMI only).