Oliver Daniel

The amount of money you spend on cameras is peanuts to what you could be spending on super-portable lighting. For your main readers, the "enthusiast", the majority seem to leave lighting as an afterthought, the complain the colour/noise/rendition/clarity in this and that camera isn't good enough (in clips where the shooter really needed to use some lighting). There's the Icelight 2 - very soft and lovely. There's the Scorpion Light Kit. (I have this and it's absolutely fantastic. Clip a light anywhere on small Sony batteries!). Aputure - all their products, like the LS1-C, are marvellous, portable and affordable. Lume Cube - smartphone controlled tiny lights. I've decided to say "fuck it" and go native Sony so I can get the best performance from a single system instead of all this chopping, changing, adapting - and focus on creating 100%. I'll be getting this lens for my FS5 and whatever Sony stills cam I might have anytime soon. That reminds me - the FS5 deserves a mention. After a wobbly start in 2015, this camera has matured into a real workhorse beast this year. Such a versatile camera! Shame the TERRA 5k hasn't made it out yet. Looks brilliant as a concept so far!

Well now you mention it, I have made up my mind - after fully reviewing the purchase - I WON'T be getting the 1DX mk II. For these reasons: 1. The wi-fi module which should be built in, is very expensive for what it is. 2. The touch screen isn't tilted or articulated. Also with no exposure aids whatsoever, an additional monitor is essential. These are pricey and I imagine it would be awkward trying to use DPAF and an external monitor at the same time. 3. Memory Cards + File Sizes. Turnover is important. Sometimes shoots are so thick and fast, you need more memory cards in case you don't have time to dump the footage and format the cards. These Cfast 2 cards are bloody pricey! 4. CLOG. Like austinchimp said, I find dynamic range very important. Having looked at examples of the pretend CLOGs available, I see very little dynamic range benefit. A little more leeway in the shadows and a smoother knee, but not enough really. The roll-off is still pretty steep. I'm much more used to SLOG. 5. Stills. Nothing to moan about however the body as a stills camera is overkill for me, now I've held it. It's cool, but it's a chunky picture taker! 6. Target market. It IS a journalists camera - fast action and ready for anything. Great! But I'm not the right market for this product, the community around the camera is slim. Plus very little movement on third party accessories for video shooters. What I am doing: I have an investment in the FS5 which can be stripped down and bulked up as necessary. I've decided to pump my cash into this system and make it the best tool it can be, so I can get on and not want/need another camera for years. The FS5 can be stripped down for gimbal use and motion control sliders, and souped up into a 4k120fps monster. Using a quick release system and an assistant, I can change from tool to tool pretty swiftly. Autofocus? It's not critical, just very nice to have. But I think I'll be selling all my EF glass and buy Sony glass instead, so they work natively at the highest performance without issues. I'd be "stuck" in the Sony system however I don't really care, I'll have everything I need to shoot video. I'll grab an A6300/A6500 for stills or something. I think it's really beneficial to stick to a single camera system. You can really get to learn it and master it. All this chopping and changing can slow down progress and take your eye off the whole point: creating great content.

Not sure what you mean. I personally like the style in this piece. Not essentially the style I'd go for. You have some good points. I'm rather used to Sony Slog and I really like it, even though it can be a tough cookie to deal with. I know what you mean regarding the "Bloom/Miller" look (is that even a thing?), however I'd argue they have used the correct grade here with the woodland color and vintage camera prop. There's a richness beneath that washed out layer. Color is subjective, and on this forum, I know that a lot of users put great color down to "accurate" color (from examples posted). I'm more of a stylised color guy - I like my spot-on colors but with a sheen of character - whether that's a neon wash or vintage film, whatever helps the piece. My ideal image is really the Ursa Mini 4.6. The reason I don't have this camera is down to frame rates and bulk. Gorgeous image though. On the 1DX II - I'm going to try it out. I want it for a very specific thing. The options are open however there's a gap to fill.

You have a point. The lack of genuine CLOG in this camera stopped me from buying it at first, however some users have got great results from the EOSHD and James Miller profiles. MySon may of look even better if they used one of these. Most of the examples on the web are from wedding videographers, or photographers trying out the video features. They don't know how to grade for a cinematic image, and don't know how to combat exposure issues when shooting. A really good example of the 1DX II is a video called Woodland on Vimeo. They used Millers CLOG, yet Ivwould of used a sheet of diffuser or something to block out the harsh sunlight on some shots. Color is fantastic.

Seen this. Its a rather marvellous video with some great examples on the strength of the DPAF. The 4K from this camera looks brilliant. I'm at that stage where I've priced up the camera package and I'm wondering whether to pull the trigger. Those damn memory cards!!! So expensive. The FS5 is an important camera to me, and I'll use it on many jobs. Looking to upgrade it to the Inferno recording options. It has the slo-mo, Slog, lovely audio and ergonomics. The reason for the 1DX II is not only the stills, but the power of that 4k50fps DPAF on a gimbal and motion control slider. Camera movement is very important. I guess the stumbling block is whether I should save my money and soup up the FS5 as planned, grab an 80d for stills and get on with it. (Or not.... because, erm, cameras!!).

If the Canon had lovely 1080p, I'd get one. But it doesn't. It's 2008 style "720p" from a knackered 550d/T2i. WHY???? I don't like Sony for stills - it's all a bit charmless. This happens more so once you've held a X-T2 or EM1. I really don't like anything with a 1" sensor. Boring. My RX10 II had a very early grave. Aside this negativity, a friend asked me for a quick tutorial on his 5D mk III. While many enthusiasts are giving Canon a lot of stick, there's still a lovely charm when it comes to using a DSLR. Looking through the optical viewfinder and firing those continuous shots just seems really satisfying, although I thought my hands had shrunk when holding the body. Panasonic might have a killer on their hands in the GH5. Looking forward to your G81828384858687 review or whatever it's called. I do like Panasonic. I do.

I've been there before, messing with loads of bits, batteries and nonsense. But like you said, camera like the FS5 offer an all-in-one solution. Simply just add a mic and use an all-round Sony lens, like the 18-105mm kit lens. Use a baked-in look you're happy with. Modern lighting is battery powered. Very portable. Loads of options. Add a tripod and that's all you need for interviews and things similar. Unfortunately, my kind of work requires all these nuts and bolts. I just have to deal with it.

This is why I'm so close to pulling the trigger. There's nothing else out there quite like it. People say the big disadvantage is the codec. It's big and dated. However, it's data rich and not overly crippled, plus I'd just transcode straight from the cards to ProRes anyway. I've been shooting 1080p RAW on the X5R and handled it pretty well.

Yes - this is exactly what I'm getting at. I really like my FS5 and it has a great purpose in my work. So versatile. With the 1DX II - I've got the stills and a very reliable gimbal camera. So many shots can get ruined on gimbals if the autofocus is crap... or you are stuck with shoot on a mega-wide lens at f8. I'm not going to jump on it just yet - still got some homework/sums to do as I don't want to make an expensive mistake.

No worries, we all have different needs and opinions. How many of you have too many cameras when you should focus on one or two? I guess a little stumbling block for me is that I've recently got an FS5, which is doing well, and I'll be upgrading the firmware once Atomos sort the Inferno out. It's a totally different tool to the 1DX II, and as a video guy who likes to keep his kit concise, controlled and well used... it's important to make sure my FS5 goes through the battle test. The 1DX II does fill a void for shallow DOF camera movement, with the bonus of monster stills capability. I guess Sony are coming with this A9 flagship very soon too. It might make cheeseburgers or something more "groundbreaking".

The Ursa Mini 4.6 was close but it didn't quite tick the boxes where HFR is concerned. I'm with you on the gear thing - this is the reason I don't own a gazillion cameras and lenses. And if any tool isn't benefiting the overall production values - I get rid. I'm fully aware of these and the very cool 5-axis, however, we are talking about a device which can keep precise focus while pulling off some very smooth, orbiting camera movements. The X5R Osmo is great at some stuff, however it falls to bits when trying anything a little adventurous. (running smoothly at f2 around a rock vocalist in 360 motion). Many of my shots are being ruined as the gimbal bounces, jolts and readjusts, harming the movement of the shot. Previously I've had a BeSteady (now ACR Systems) and a Ronin-M. Both gimbals offer superior movement to 5-axis systems and the Osmo. However there were issues, and I felt limited as a single operator keeping focus and monitoring my shots. My productions require high production values, so if a piece of equipment is limiting me too much, I sell it or don't use it for rental. My business requires a great stills camera, with top quality autofocus and 4k60p for adventurous gimbal movement and motion control, that will make use of my EF lenses. I currently can't think of anything better than the 1DX II. Other options? - Wait for the GH5 and put it on a pistol grip gimbal for fluid movement (yet, I don't know what the camera performance will be like). Get an 80d for stills. - Keep the Osmo X5R and see what DJI have in store for their X5S Osmo. Get an 80d for stills. - Buy an Atomos Shogun Inferno for the FS5. Sell the Osmo X5R and get a Helix Jr. Change EF lenses to Sony lenses and grab the A6500 for stills. Sacrifice DPAF. Open to any suggestions like. I'm in no rush, getting ready for the new year. Do you have any of your own examples online of the 1DX II used with the Helix Jr? Thanks for the link and suggestion too.

True. Baby is getting bigger. So when she's got too big I'll be ready You missed the bit where I need autofocus with EF lenses. Don't know how the Inspire 2 is meant to fit in. Haha yeah, I've being going back and forth. I always seem to get drawn to it. The reason is because I require top end autofocus on a gimbal (with 4K 60p a must) and also stills. I can't really think of anything else. What cards are you using? They are pricey. Also, from what I know, you have a Helix Jr? How is it? (Movement, balancing, monitoring). Thank you. Always looking to do better and find the right type of clients. It's a tough one out there. I always do this actually. I'm going to my local camera shop this weekend to give it a quick whirl.

Hello all Gear Acquisition Syndrome sufferers, I would say that I don't have this disease, but I usually want a piece of gear because I feel there's a need for it. Currently I have an FS5 with EF lenses, and a DJI X5R Osmo - the latter of which I'm thinking of selling (for an actual gimbal like the Letus Helix Jr). I'm not really getting what I want from the Osmo (limited movement) and I don't have a stills camera, because I sold them. (Sony and Panasonic cameras). I'm drawn to the Canon 1DX II because of the DPAF and 4k60p for gimbals and motion slider shots. The autofocus and 4k60p combination would really help me out (better camera movement, better focusing, high quality, increased production value = more profit). The stills capability would be bloody great too. I have the money to get the 1DX II, but then again I want to upgrade my car. Been having these weird thoughts about buying the Canon 1DX II, making my money back quickly, recouping the funds and then upgrading my car. Sounds perfect, but we all know it isn't as simple as that. I'd get the camera in a heartbeat if I knew I could make my money back quickly. So i could get the car upgrade later. What do you think? (p.s, if you suffer with GAS - please be mindful I believe in money well spent rather than impulsive, expensive mistakes).

Depends on what you're shooting. I've got an FS5 because I can have a small video camera with all the bells and whistles in small files sizes, or I can bolt it up to be an absolute production beast - perfectly suited to commercials and music videos. It's probably the most versatile camera on the market, hence why I bought it. Currently I'm circling around a Canon 1DX mk II to fill a gap in my services (photography, great gimbal cam and motion slider cam with DPAF at 4k60p). Still waiting on Part 2 of your review I think you should look at what DJI doing, like someone mentioned. I'be got an X5R and use it mostly on the Osmo - it's a very liberating system in terms of ease of use and portability however I think the overall camera movement/ stabilisation and image monitoring needs work. The new DJI X5S and this upcoming "new professional Osmo" sounds tantalising - as a big improvement on the X5R version could be groundbreaking.

Is the Canon app any good for using auto focus on the 1DX II? If I got this, it would spent a lot of time on a gimbal - so having focusing away from the back LCD touchscreen would be ideal.

Gotta say, I'm tempted again by the 1DX II as it fits a gap in my shooting kit, but I can't quite justify it enough.

Thanks Andrew, this is a good article. I think consumers will be perfectly happy with their smartphones. They will get better, and consumers will have no need for another camera - it's not perfect, gorgeous, well composed shots they are bothered about. This reflects through platforms Instagram and what content is popular. Long gone are the days when Instagram was a creative photo sharing network..... you get FAR more likes on Instagram for a noisy, badly lit selfie of yourself eating a takeaway pizza, rather than a magnificent, beautifully lit, well composed shot you'll never match again. Again, because of the consumer onslaught of constant videos and photos being uploaded and shared online, there's some great stuff out there which isn't getting a look in. Actually getting anyone to give a crap about your latest masterpiece is much harder. A video of a drunk fat man dancing is widely far more interesting. Coming to cameras - we are that the point where they actually matter less. Models are getting replaced within months, users are on and endless buy-sell cycle to have the latest, and many people are not really learning their craft properly because they can't keep hold a camera for long enough. Lenses, lighting and camera movement have a FAR FAR greater impact then your camera. There's really no point in constantly changing, swapping , upgrading. It's a waste of time. Recently, I got an FS5 and soon an external recorder. I can grade the Slog footage well. I have everything I need - LOG, HFR, ergonomics, audio, blah blah. Man I can now do 200fps RAW!! But since having the camera, my videos haven't improved at all. I have more bells and whistles.. but it all comes back to what the hell I am actually filming with it. Sometimes, something does arrive which will dramatically improve your work, or will heighten creativity or make your life easier. However this camera race is far too distracting for many of us, and for a large bunch I think some people have took the eye off the ball as to why they are using cameras in the first place. I'm sticking to what I've got, and will be spending time on throughly improving my skill set, rather than my camera arsenal.

I hope so. I've got the Osmo RAW and the whole concept has the potential to be absolutely liberating. No fiddling about, mega portable, just shoot. The curent sono RAW isn't quite there yet - I think there's a lot of room for improvement. As it's such a valuable tool, I'm not in a rush to sell it. I want to see what DJI do with the X5S first.

While I feel the article is not on form (we're all human, I think), those that question Andrew's filmmaking ability seem to forget that whatever he is doing, it's obviously working as he's able to make a living off EOSHD. That to me is a very good business man. I think this camera race is something to brush aside at the moment. The options we have now are ridiculous - I think most would benefit from sticking to their current cameras, ignoring the next batch of camera releases and invest money into lighting, camera movement, lenses and essential video education (loads of stuff out there like Shane Hurlbut). I hope Andrew sticks to the 1DX II, reviews cameras here and there and we see more of an emphasis on other areas. Although that might not be a good business decision, as loads of people go nuts over cameras. The Panasonic GH7 will be announced with an auto Hollywood mode so we don't have to make effort anymore, and the internet will literally set on fire (when they find out the auto Hollywood mode is on a 2 second buffer and fills a 1TB SD card instantly).

In all due respect, I think this is one of your weaker articles. The comparison is weird (as the A7SII does look better) and this newish stance regarding Canon contradicts many other previous articles written on the site. I looked into the Canon 1DX II - although the entire package is nice, the file sizes are very large, you need a hotshoe monitor for serious work (exposure tools, tilt viewing angles etc), the highlight roll-off is steep, and finally we are back to the Franken-rig for steady hand held... so having a more video focused hybrid or a dedicated video camera will be a better option in a lot of cases. Plus, while Sony images are much harder to get a pleasing look - with skill, you can get some magnificent results. Many users are uploading very poorly graded S-log videos with horrendous white balance, exposure and lighting. Get it right, and you have lovely dynamic range, lovely colour and detailed image. No auto modes required! I can see the DPAF having huge value in many situations. I'm glad you are enjoying the benefits. However, I wouldn't throw out theta A7S II just yet, it serves a very different purpose and will be very useful.

Just got off the line to DJI Support, which is very hard work I must say! Very poor. Anyway, they said the X5R will receive a firmware update in December, as well as an overhaul on the Cinelight/workflow issues. Whether that means better software or a much easier way to offload footage - I'm not absolutely sure. Overall, this industry is moving fast and the technology is outpacing all of us. The tools are there in the bucketloads now. Content is more important than ever.

Bloody bugger. As an X5R owner, having owned the camera for 3 months and spent handsome amounts of cash - this release is very exciting however you can't help feel gutted that the company have been so quick to bring out another one with all the fixes the X5R should have. (Sony, anyone?). I'm not sure where the X5R stands in the market after this release. I don't know whether to hold on to it, or to sell it. This really depends if DJI will keep supporting it. I only use the X5R on the Osmo, and the experience is quite good. So it's good news to hear they are working on a "professional" version. The currents system isn't quite there yet as the stabilisation is decent, however the flow seems inconsistent as getting some shots to move smoothly while walking/running is a hard task. The value of having the combination as opposed to a regular gimbal is amazing though.

Ah, maybe I'm getting confused. 50/60fps is in s35 only, whereas 120fps is 2.2x. What camera has better 1080p than another could be debated non-stop, it doesn't really matter that much.

The A7SII 1080p is fine, I've used it often for 50/60fps. It's not as good as the original A7S 1080p, but the difference isn't much. Also the A7S 1080p is full frame, whereas the Mark II is S35. This only applies to cameras that ALSO have a normal 4k setting, not the cameras that have 1080p at the highest resolution. The only special case is the FS5, which has a "better than the 4k" 1080p mode. Internal of course.

I think there's a widespread fundamental lack of understanding of how FCPX works, mostly by those who don't really use it, or have used it once, thought it was weird, and went to Adobe. I was an FCP7 user, and I updated to FCPX in 2011. I was stumped and had no idea what was going on. But I looked at the new features and thought, this has got to be good. So I spent time to learn it. I've not looked back since. The new design was faster, intuitive, responsive, organised and very well supported by third parties. I use FCPX for everything now - music videos, commercials, corporates, everything. The update to FCPX 10.3 is the definite version... going to Premiere does feel a little "ancient"... now I'm pulling my hair out wondering what all these tracks and stacks are doing, ironically. There's nothing wrong with that, this design floats some peoples boats. FCPX feels to me like a true progression from track based NLE's, and like with anything new or different, give it enough of a chance and you'll learn to love it. My opinion is that it's design and performance is now way ahead of Premiere - and this may become fact if more forgot about the past and embraced it, as it is now.