Oliver Daniel

I've always adored the Canon image - preferring my wife's stills on her 700D compared to my A6500. I'm pretty much ignoring camera announcements / gear stuff right now - however the C200 has peaked my interest as an A-camera. The DPAF, higher frame rates, Canon image and the option of internal RAW are all reasons to be attracted to the camera. I have an FS5 with RAW upgrade - 4k 100fps, CDNG, 10bit ProRes etc. Hard to beat, but looks a bit weaker against some of the C200's main assets. The C200 does have a big problem - the vacancy of the middle codec. Hopefully fixable in 2018. But there's another one. It's a professional camera, used for professional jobs that pay well. (or it's an expensive hobby camera!) For this purpose, you then have to start thinking about smaller B and C cameras - and this is where the prospect falls. Sony has an A7S II, A7R II, RX10, RX100, A6500, A99II, A9.... many options in different sizes and purposes for an easy multi-camera workflow. Canon has..... erm, Canon 5d mk IV? XC10/15? Both great at some things but limited compared to Sony. I'd love to go Canon and I've thought about it many times, but the compromised features of their smaller cameras make it very difficult to consider, when multiple cameras are being used or you need a backup. I see no financial or professional reason to switch from Sony, I'm just curious about the C200 because I love working with canon images. It's an emotional thing really. Overall, how much of an issue do you think this is?

It's an interesting comparison, that's for sure. There's 2 types of people who buy cameras : those who do it for a hobby, and those who do it as a job. You have to ask yourself one question when buying a camera: Does it make my life easier? This of course can be broken down into the size, weight, features etc that will give you an incredible advantage over what you already have. A significant difference that will change things for the better, when you're making videos. I have an FS5 with RAW upgrade and Shogun Inferno. I've spent little bits of the past few days to try and convince myself that a C200, EVA1 or even a GH5 would overall and fundamentally make my life easier. For the better. For the art. For the long term bank balance. How do you measure that? (p.s I much, much prefer using GH5 sized cameras above all else. I LOVE the pictures from a Canon. I don't love using the Sony, but they have all the features I need).

Yep, this camera is a production workhorse... it's not designed for mirrorless camera street shooters, Vloggers, shoestring budget filmmaking.... As an FS5 owner with all the bells and whistles - I have 4k 100fps and 2k 200fps in ProRes or CDNG. Spoilt really. This C200 does peak my interest though. In my limited time with the rather boring C300 - it was an absolute pleasure to use that camera. The C300 II seems like a big misfire as seems like it needs to be heavily discounted. The C200 has some great features the FS5 doesn't: Dual Pixel AF. Superior Colour. Internal RAW. 4k 50/60p internal. Easier to grade Log. No need for bulky external recorder. Better focusing / peaking (going off previous C-series cameras). Those features are very, very worthy and actually very surprising. A big deal. However, there are a few reasons why I'd currently be in no rush to replace my FS5 with this: Critical reasons No broadcast "middle" codec until early 2018. B camera for gimbals, 2nd camera etc for smooth matching. The 5D mk IV isn't exactly worthwhile whereas Sony has a gazillion options with tons of features. 100/120fps mode uncertain. Moderate reasons Would lose 4k 100fps and 200/240fps modes. Regular ND instead of electronic ND. No Speedbooster. Less lens adaptability. Good stuff at last by Canon though!

Been shooting some stills on the Helios 40-2 85mm....... Oh my!!! Absolutely beautiful images. Bokeh is soft and swirly. Skin tones glow like they've been photoshopped to perfection. Is this witchcraft? Any lens that's like this, I want. Now.

That's excellent. In all honesty, I don't actually like social media. While it's very useful for positive outcomes, it's absolutely battered with non-stop bollocks which makes it very difficult to see the hidden gems of content. The video industry is changing massively, and this is because of smartphones and social media. (I'm sure you all know about the square format!) Brands aren't spending as much on video (or are just plain alienated by it), and industries such as music give you laughable budgets - even big labels with big artists. So businesses are opting for regular video content but at a short form level, instead of spending a million billion $€£ on one 'hero' video. We're now seeing a massive amount of Uber style video providers - where you basically press a few buttons and you get a video for fuck all money. (YouTube Director, Animoto, Ripl etc). Many companies and agencies are setting up video in-house, and makingbit themselves. So there's quite an emphasis on videographers / filmmakers now being a consultant, as well as a creator. If you're just starting out or growing, you have to go all guns blazing to be seen. Also it helps if you have something unique to offer. Social media is growing so we have to take advantage of the right platforms for our audience. YouTube is a great platform however it's massively competitive. There's so many uploads it's difficult to get your stuff viewed when searched organically. Facebook is growing immensely with video, and is a serious consideration. Main thing is, keep creating awesome stuff and be happy with what you're doing.

Yep, I'm always banging on about this in the office. Buying your followers to look good doesn't create any kind of organic high quality. I'd rather have 50 followers who offer great insight, communication and value rather than 500,000 random buggers who couldn't give a monkeys. Here's my take on social network needs and where your ideal audience could be.... I'm only just this week sorting it the f**k out so I don't die of starvation from lack of self created content sharing on social media. Facebook Fun, informative and interesting content that's widely appealing and shareable. You HAVE to "boost" for anyone to actually see anything though. It does work. Very powerful if done right. Instagram Visually exciting, conceptual, artistic content. This is where you show off your stylish stuff. Twitter Personal insights and conversations. Sadly I've never got into it. Don't think I ever will. Zzzzzzzz. LinkedIn Powerful as fuck if you're hooking up with other professionals for work. Should be a priority if you're doing filming for work. Snapchat Where you're you. A human. A selfie human. I'm signed up but I'M PETRIFIED.

Haha, yes I've raised this before.... BUT.... I intended this topic to be more current and different, as I was initially talking about modified and re-housed lenses / modernised "vintage" lenses, cool accessories etc.... although i do appreciate the constant cheap vintage lens love.

Funnily I have an FS5 with Raw Upgrade and the Shogun Inferno. I can shoot 2k 200fps, 4k 100fps, Raw, ProRes, etc etc.... Also a big HDR screeeeen!!! HOWEVER I actually much prefer shooting with the A6500 or A7S II because they are small yet produce really high quality images. Slog2. Also IBIS on vintage lenses! CHEAP (ish). Had strange, weird thoughts about getting rid of them all and getting a GH5 with the audio thingy and buying lots of groovy lenses. But then decided that might not be the best thing to do. Or is it, if i like small cameras better? Or not? Or? Hmmm..... This new Panasonic is interesting..... and I do think the C200 is too. They can't just release the C200 with 4k 8bit as the only upgrade, surely? p.s I prefer taking pics with my wife's Canon 700d than the A6500....there's a deep feeling of satisfaction with taking those Canon images.......

Hey Lens Geeks, I went onto Mr. Gale's website and saw that his DSO Trump lenses have been removed and replaced with these really cool looking APOGEE lenses. They come as set and cost a significant amount of cash. I congratulate Rich on making these lenses so awesome and sought after, but I don't have the funds for that set, even though they look perfectly featured. I'm looking for any other type of well constructed, modified vintage type lenses that portray unique flare, artefact and bokeh in the images. I understand there's loads of olds stuff on eBay, but I'm really looking at something more polished and solid to work with. Maybe also some people who change the bokeh look in Helios lenses (but not shit). Also, I'm wondering if anybody knows of any accessories that also add an effect, such as any lens filters. This is what I know of so far: Lomography - they have some cool looking lens sets, like he Petzval, and have a Kickstarter on this portable Neptune set. MotionSix - they have tinted and anamorphic flare filament lenses on offer. I've used a 29mm from them with a fixed 3.5 oval aperture. Flares are very nice, but lens was difficult to focus and extremely soft. LensBaby - never used their products, so can't vouch on the quality and features. VidAtlantic - they do lens filters and anamorphic oval mods. Don't know what they're like. MeyerOptikGorlitz - they are making modern versions of their legendary soap bubble bokeh lenses, like the Trioplan. Anything to share / know of / blah blah / etc etc ??

I can weigh in on this. About 18 months ago I was frustrated because I'd get a lot of very flattering positive comments and reviews about my work, but not really seeing the benefit of this financially. Unfortunately these days, if you're able to give yourself a great social media presence but you're work is mediocre (as compared to a poor social media presence with incredible work) - it's more likely the former will be more successful. I've been studying the "business" and "social media" side of things on a course, and although it would take me far too long to say everything here, the overall conclusion is that marketing does come before your art. Social media is the No.1 distribution platform, so if you're not bothering with it, it could be very difficult to get anywhere. I've only just now, this week, picked up my social media strategy. I'm not being false, I'm not doing monetised reviews or any of that crap, I'll just be documenting what I do in bite sizes, and what value I'm able to deliver and help out (in a very non-salesy, authentic, organic, real way). I'm just going to be myself. I'll show what I'm doing as it is. I'm also camera shy. So there's that too. The difficulty I've had is my creative side feeling starved. The benefit is, I'm hungry to create and the artistic side is about to receive a mighty, mighty push. I advise anybody to use social media to show your work and value. But be real and authentic, or the audience will see the "fakeness" a mile off.

In 2017, it's definitely not the camera. It's the user. All of them can deliver great results, if you make it so. I've seen A6300 footage which at first sight I though was RED footage (these users happen to be very skilled). The GH5 will have crap loads of poor footage out there. It's price is very accessible and amateurs will be pushing around Vlog like you would an elderly person on the edge of a cliff. The GH5 in great hands will be a monster. I'm absolutely astounded by the 4k image from the A6500. I shot a paid music video project using only the A6500 and the 18-105 f4 in autofocus and absolutely no other gear at all (to see what would happen). I think you need to put the camera (and yourself) under pressure, it forces better results. This video might be out this week.

I've been using resolve on and office the last 6 months - I definitely think it's better than Premiere (which I find to feel a bit ancient in terms of it's usability and UI). I saw in your post you haven't tried FCPX in a few years.... do you know the version available today is much much much better now? Give it a whirl! I like the way Resolve is evolving and some of the features are unique (grading, audio editing, CDNG), however because I find FCPX so much faster and enjoyable to edit with (like the Magnetic Timeline 2) - when I edit wth Resolve I really miss the modern fluidity you get with FCPX. Resolve really needs more plugin support from third parties, plus a few cool tricks on timeline editing to challenge FCPX's "scary at first, but really awesome new way of editing". That said, Blackmagic are probably the most interesting and exciting video/film industry product company in the world right now. Top job.

Ah, well we're buggered on that solution then. I know a lot of users on here struggle to see the value in Mac.. for me I just can't use anything else, even if it is double the price of a comparable PC. I find them much more enjoyable and intuitive to use. Also it has FCPX, which is an absolute blast. Might be worth checking out DaVinci 14.

I know a solution. It's called Final Cut Pro X. The days are are long gone when Apple radically changed it. This is now an absolutely incredible edit program. In comparison, Premiere feels vastly outdated compared to FCPX's fluidity, speed, reliability, innovation, intuitive usability. It's just fantastic. One of Apples best properties. If you're frustrated with Premiere, FCPX is a no-brainer. Time for people to let go of the past and wake up.

Wouldn't be surprised - does seem like an out of character update for Canon. Their firmware releases are like one small increment along the lines of "Fixed function that no one will even notice anyway." I nearly bought a Canon 1DX II and decide against due to lack of native CLog and the silly bastard file sizes in MJPEG, as well as the cost of Cfast2 cards. Now I've got the FS5, A6500, A7SII and Shogun Inferno. Ooomph!! These additions could make it more compelling for video, maybe if I shot way more stills all of a sudden, (which is unlikely), I'd get one (if the update is sure). Surely the 1DX II will get this too? (if true).

Those images are from a music video I made in Blackpool UK last week, using the A6500 exclusively,mostly in 4k, Slog2, 18-105mm kit lens only. All handheld. Natural lighting. Video out in a month.

In December 2016, I wanted a stills camera. After some thought, I was swayed by the A6500 because of the video features. (typical!). I've been testing this camera mostly on the excellent Zhiyun Crane (on a price / value ratio I'd say it's the best gimbal you can buy). On my most recent shoot, I put it in the deep end. I used Slog2, the 18-105mm kit lens and exclusively used autofocus for the entire shoot. Felt weird. (stills attached) Overall, this has the potential to be a very special camera... but it's not...quite...there...yet. Here's my mini mini mini review: PROS The 4k image is the best 8 bit 4k I've used. Certainly the best in Sony's lineup. There's a very special sauce going on here - it's super gradeable, detailed and the A6500 colour is much improved. Colour is improved? The image and skin tones are very, very pleasing - both using a standard everyday look and a stylised look (which I tend to go for). Sony look? Not here. Autofocus is very responsive. Absolutely essential on the Zhiyun Crane, makes it so much easier to focus on the shot as the image is 99% always in focus, even at shallow DOF. Compact power. Very nice to hold in the hand without a rig. Super light. 120fps is surprisingly good. Sharpened up and exposed nicely, it's a stellar 120fps. CONS Rolling shutter is a problem. It's easily avoidable however it can be annoying and ruin a shot. There's very little in the 120fps mode. Battery life is poor. This is a constant issue with Sony mirrorless. Even if they make the bodies a bit bigger for a higher capacity battery, needs sorting! The LCD dims very low. Maybe this is to manage heat or whatever. But the LCD does dim quite significantly. LCD gets scratched easily. These cameras need a cover to come with the camera, or flip the other way round. Got 3 scratches on my LCD from transit. Some of the buttons are flimsy and thin. Sony need to extrude the buttons more. The wheel on the back i especially fiddly to use. CONCLUSION The 4k image in XAVC-S is absolutely fantastic - I've not been wowed by image quality in a while. But it do get giddy when editing it. What's going on there? The shortcomings do dilute the experience a little - and Sony should sort them out for the A6700. With other expected updates, this would be a classic camera. There should be more love for this camera, as it sits under the hype shadow of the GH5. (I expect the GH5 to be awesome, but haven't used it). Overall - it's a very useful tool in the bag with some stunning features, great for stills too.

That's interesting, what lenses did you use? The IBIS seems very active with the 18-105mm, very stabilised and much better than the A7SII. Looking forward to see how the GH5 develops. I'm "off" cameras the the moment but a tool like this is exciting for the independent community.

The A6500 with native Sony lenses is very effective in IBIS. Really very good. The colour science is also much better, and is really pleasing if you dial in your settings and grade. This has kept improving through each camera. The colour isn't a disadvantage if you know how to treat it Sony issues for me are the poor battery life, complicated menus and rolling shutter. If they fix these and add more horsepower with their data and bit rates, they will be difficult to ignore. I'm not getting a GH5 as I don't need one. Looks awesome though!

Dude, the ANUS hasn't got shit on the new camera that... wait for it.... Wall Street are making for hedge fund scam artists turned cinematographers. I got the rumour from a sugar puff toothed drone pilot who is actually a recycled paper plane entrepreneur. The camera literally takes all the best bits from current cameras, and with Zacuto inspired modularity, you get this all in one: RED Weapon 8k sensor with combined backside circuitry of the A7SII sensor. Arri Internal LUT and motion cadence wizard engine. Sensor has also been embedded magically into the Olympus OMD-EM1 mk. II IBIS. Sony Electronic Vari-ND. "Very, very, uber, massive Pro" version of Sony FS5 body in carbon fibre. Built-In Atomos Inferno with Odyssey 7Q microchip "Blend Mode". SonyCanon QPAF. (A6500 autofocus combined with DPAF = Quarter Pixel Autofocus). Sony powered Ursa Mini 4.6k user interface. Zacuto rigging made from titanium AND adamantium combined, including the Octo-handle (it has 8 handles so 4 people can carry it at once). Takes Duracell AA batteries for power (256 required for half an hour worth of recording). Instead of SD cards/ SSD's etc, it has a slot for a 40TB G-Tech Studio hard drive (you can get 6 minutes of footage in 8k on one hard drive). The camera can be broken down for drone usage into a Panasonic Micro URSA but it only has 3 stops of dynamic range in 1080p. You can connect the camera to the Digital Bolex for absolutely no reason whatsoever. Rolling shutter is controlled by keeping the camera very still - a world first. Wall Street are taking pre-orders at NAB for the one camera available at only $378,000 per shoot day. They hope to sell many units by offering an affordable, complete solution for a wide range of filmmakers. Many well known blogs will sponsor the camera and publish their lab tests before the camera is finished. A mini version of the camera is available for Youtube Vloggers with over one million subscribers, but it doesn't have an articulating or tilting screen.

I'm with you on that. I won't need much else with an FS5 hanging around. However, whether your camera is $1000, $50000 or $10,000 - it's likely that all those cameras are more than enough to shoot quality footage with. Focus your energy on everything else - the camera is just a screwdriver in a toolbox when building a boat.

The young guy in the video makes a lot of sense - you have to give him credit for being uber-sensible. My mantra is: If there's noise in my shot, so be it. I got the shot. And it works. Light, composition, lens choice, perspective, location, filming style, people.... all these things have way more impact than filming with a better camera. It's easy to kid yourself that you need a better camera, but SO MANY forget the bigger picture of having a camera in the first place. A better camera will have very little influence on making your stuff "cinematic" if you don't apply the key principles around it. Right now - I have the FS5 and the A6500. I have the FS5 to cover all my jobs as a great all-rounder - plus due to many requests for HFR, it does that too. The A6500 is used for gimbal work, B-roll and stills shots. For every job i do, I'm covered. New GH5? Ursa Mini Pro? Nice, but not needed. A waste of money. Have these Sony cameras had a dramatic impact on my overall content quality? No. It's the artistic choices like lighting, lens choice, grading and style. It's the casting choices (spending more on talent). It's using a location in creative ways. It's editing and rhythm. It's getting everything synchronised. It's publishing work to be proud of. The cameras are now at a point where we don't need to be concerned with them, or have to jump through hoops to work properly. We're in a content age where video is the biggest type of media on the planet, and to stand out, you have to wake up from the merry-go-round of camera obsessions and make some really engaging stuff. I really couldn't think of any big reasons that I'd part with my cameras just now. There would be little benefit to upgrading them, just another hole in the wallet. Frankly, I'm done with the gear acquisition illness many of us have. It's incredibly distracting, time-wasting and not creative at all. Of course, it's part of my job to keep up to date with it. But losing time due to thinking about new cameras, not anymore. There's a lot of camera gear blogs now. Many of them are sponsored because people have to make a living. They are a good source of news. Opinion pieces are subjective. BUT...there is a gap in these blogs. There's barely a focus on the craft, experimentation and artistry of film making. Maybe because these topics are less hyped, monetised and clickable.

The implementation of 10bit is the major benefit as compared to 8bit. The codec, the processing, the data rate and sensor all play a factor - 10bit is not going to work at its full potential if these other factors are left behind. The FS7 is a great example of well implemented 10bit. Absolutely superior to the FS5 in 10bit internal. That said, with most watching video on smart devices - the "final" image quality of 10bit doesn't offer a huge, life-changing leap. I'm caring much less about specs and focusing on improving the content in the frame. Understanding light and composition is far more powerful in improving image quality. We're at that time now. The tools are awesome. Beyond enough.

I'd like to see: "The New Ursa Micro".... - MFT Sensor. - Can record in 4K, but has a "golden" 2.8k mode at up to 60fps. - Tiltable and Removable Micro Video Assist (so you can put it in a convenient place on a pistol grip gimbal, or monitor from strange angles if adapted for action shots). - Pro option Ursa Micro slots into an accessory which gives you audio options and a handle.

I knew this was going to happen. They didn't announce a new camera last year because they didn't want to screw up the shipping this time. They waited another year so it would be ready on announcement. That said, the Ursa Mini Pro is a serious piece of kit. Fantastic image with new body features that even betters much more expensive cameras as an all-round package. Not going to get distracted, got the FS5 and Inferno. That mini panel does have my attention for Slog colour grading! I'd love to see an Ursa Micro with the 4.6k sensor (or thereabouts) made for pistol grip gimbals and action shooting.