Oliver Daniel

The first camera I ever bought was the Canon XHA1s and the the 60d. At the time I was gobsmacked by the entire DSLR video thing. Now I realise Canon were never really using their stills models to appeal to video professionals. None of their DSLRs have ever had basic video features.... even the 1DC. Canon want video professionals on their C-series, and it's as simple as that. Sony offer ridiculous specs and give you everything as if it's a laugh, even if it means a little overheating. Or shitty colour. I like Sony. They will get better with the nitty gritty. They are a sensible system to buy into. On big commercial sets, if I ever see a DSLR it's the 5D III. And the C300. Saw an FS7 once. And the JVC LS300 for that matter! I like Canon's reliability and pleasing images though and I bloody hope they would give their low to mid lineup more attention with video, but it's not going to happen. (Or save up and get a 1DX II + 6 million hard drives). Meanwhile... Panasonic, Sony and Blackmagic all offer many solutions for us video nuts that offer a lot for every little. The only thing holding you back these days is yourself. On a positive note to the 80d, I'd rather use this or any Canon for stills than any other brand. They just look better, don't they?

If you've ever used an FS7, the menus make using the camera not very enjoyable. This particular camera has so many different settings (with your PP's) and also slow motion and 4K... If you like to change these over often during a shoot, you kinda gulp before having to change a setting. Can't say much on the JVC - however it really helps to have quick, fast access to all key settings which Sony doesn't provide on most of their cameras.

I've also been curious about trying out this camera. Colour looks like Sony with a dash of Nikon. It's been poorly promoted.

At weddings you have to move fast and the hours are long. I'd say go FS5 and get the A7SII as B-cam. You might want to see if the firmware fixes the reported issues on the FS5 though.

This camera seems super cool and lovely and stuff, but there is a MASSIVE gap in Panasonics camera lineup between the GH4 and the Varicam LT. Where is their competitor to the likes of the C100, Ursa, and FS7? It wouldn't be too much of a stretch to see a GH-Pro Video camera with: MFT mount with Super35 sensor. 10 bit 4k up to 60fps. HD up to 120fps. V-Log. Ergonomic handheld style (like FS5). Built-in LCD/viewfinder. Priced around FS7. Compressed RAW HDMI/SDI out to recorder. Would you buy it?

Skin tones are a pain on the A7SII, although I have a couple of LUTs that really help with Slog2 and Cine4. I also find that Crumplepop Finisher helps too. It's an excellent plugin, just dial down the sharpness and brightness from the default and it's great! If Sony sort out the issues with the FS5, the proposed update with the Odyssey is an absolute monster of a package that makes total sense for many purposes. I DO like the look of the 4.6k URSA Mini, however I have to consider health too. I've done 4 back to back shoots in 2 weeks using the FS7 handheld and Ronin M + A7SII, and quite frankly, my entire body feels destroyed today! Burn out!! The FS5 has terrific ergonomics and features - I want to see if the image quality + skin tones can "get there".

I don't know why people are arguing over cameras. They are only cameras after all, with different purposes for different situations and different people. 1DX II - seems like a great package for people who do BOTH serious photography and video.

I agree with Rich - you should 100% go for the A7SII, especially since it's a music video. A7SII advantages are: - IBIS (awesome!) - 50p and 100p for slow motion. - Small size, easy to transport. - Much smaller file sizes. - E mount, adapting lenses is easy. You will have to factor in these things though: - Battery life is very, very poor. I go through around 8 batteries per shoot. I'd recommend getting some USB powerpack if battery charging is an issue. - Get a 5" monitor for the hotshoe. I find the back LCD quite hard to use. I have the Sony CLM-FHD5 and it's a revelation. On Slog2 - it takes practice but it's awesome in the right conditions. In lowlight, use another profile like Cine2 or Neutral with PP off.

Nice one! I feel the same regarding HFR... there is a significant quality hit/crop factor in mirrorless models and also the internal FS700 codec. I was looking at Raven/Scarlet-W for next year but I'm going to keep an eye on the FS5 + Recorder options for high bitrate HFR. I hope Convergent bring out a 5" version of the Odysssey. Another important thing is weight. The FS700 and FS5 will save your back. Hope the FS700 works out for you. I've used it loads. Great camera.

The 1DX II is a stills camera for stills shooters. That's not to say you can make something amazing with the video features. Those who need peaking and zebras should buy a proper video camera, or if needs be put a 5" monitor on the hotshoe. There's no wrong way. Whatever works.

On the A7SII, the 4K looks far superior to the 120fps HD mode, understandably. Because of the crop, noise and macro locking in Slog2 is far more visible - especially colour noise. Also, the aesthetic is very very different, quite obviously. You need a different set of lenses to get a similar look to the full frame/S35 footage (or a Speedbooster if using non-Sony lenses). Sony A6300 buyers should be aware Recently I've been surprised by the results coming from the A7SII. If Slog2 is exposed and graded correctly, it's absolutely amazing. I expect the A6300 should be similar. I'm curiously watching the FS5's progress and FS Raw. All together, it seems like a nice family of cameras that can shoot near enough anything that can be matched perfectly in post. Sony's colour leaves a lot to be desired for sure, but they will only get better. (A7SII colour is much improved over original). A 10-bit out would be magic (for future). Stills wise - I still much prefer Canon just for the feel and quality of the images.

My faith is restored in Slog on the A7SII, so it's great the A6300 has this function too and isn't crippled. This sounds like a very cool camera to compliment the higher end models. I've attached a location shot I did in Whitby, UK at the Abbey. Shot on A7SII, Slog2 (modified profile), Sigma 18-35mm (at 35mm).

This week I wrapped on 2 back-to-back music video shoots - both completely different (one was shot in an abandoned building, one at a harbour). The tool of choice was the A7SII, and I have to say, this camera (besides it's weak points like battery life), was an absolute revelation. The schedule was very very tight, so the low light capabilities and IBIS made shooting very fluid and fast. Slog2 managed the bright outdoor scenes really well. I don't use the back monitor, I use the Sony CLM-FHD5 (got it for cheap) clip and it's a great combination. Used the 5-axis IBIS on the Ronin-M and the shots were ridiculously smooth. No bounce at all. Another great combination. On the 1DX II - I find it a very interesting camera - just a very different tool. That autofocus feature would be awesome for gimbal work, yet I would miss the IBIS a bit on the A7SII. But the Canon has the colours! But the Sony has Slog! But the Canon has 4k 60fps! But the Sony has E-mount! But the Canon has better stills! But the Sony is lighter! But the Canon is more rugged.....and so on.... To be honest, I'd probably get the 1DX II if it had C-Log and the initial rental was a successful experience. Stick it on an Edelkrone Pocket Rig 2 and use an LCD-loupe - job done. Having a small monitor on top is no big deal - works great on the A7SII. The Canon is completely workable for video and makes total sense if you love your stills too and have EF glass. The only issue is that cameras like the FS5 (now seems to have reduced price in the UK) can be had for less money and can be updated (soon) to raw recording. On the topic of bigger cameras - they are designed for crews. Smaller cameras are better suited to your tiny crews as the big camera doesn't slow you down. That's obvious though.

Andrew, have you managed to play with any other uploaded profiles on your 1DC? Surely someone can unlock a lovely LOG setting, or even snatch C-log from the 1DC. Possible? Move seen a few "EOS Movie" vids on YouTube - as standard seems to look like much clearer and detailed 5D mk III footage with a bit better dynamic range. Definitely needs a proper lovely profile for us cinematic nuts!

I do plenty of music video shoots, and the data rate on the 4K/60fps isn't a massive issue. Most clips are 10-20 seconds long, cut with a performance in 25fps (UK). Files are always transcoded to ProRes and Proxy for quick editing, and will be done on an overnight basis. It's very rare that I have to edit files straight away, fresh off the shoot. It depends how this camera performs in the real world, nobody knows yet. The image might be worth it, maybe not. In other cams around this price range, there is the FS5 and Ursa Mini. The FS5 is especially interesting with the FS RAW update. It would be great for Convergent to release a 5Q recorder/monitor. Would be ideal. If the 1DX Mk II stacks up, and some uploaded pic profiles can increase dynamic range and roll off, and you like top end stills... It's a very tempting option. I love stills on Canon, far far more than Sony, regardless the less "flashy" technology. I wouldn't be surprised if this was disappointing, but certainly interesting. I need a "thick" image this year, and maybe a purchase of a major camera into the next year when the current new batch have matured, been tried and tested. That said, I'm having a lot of fun and fight with the A7SII! Bastard of a camera I seem to like!!

Yes I have an A7SII being used all the time right now - 120fps, 4k, IBIS, low light, E-mount. It's fun! The reason I'm interested in using this camera is because I much prefer the Canon image (C-series) and the features look promising. I like the small-ish form factor and stills. But like you said, could be total bullshit. Video dynamic range will probably be total crap. We'll see. I'll rent it. Like the Scarlet-W and Ursa Mini. See what tickles.

Totally. If the specs translate to fantastic images, then this looks like it will be a very interesting hybrid shooter. File sizes are normally big in professional work anyway. There are other cameras we can use when bigger file sizes will be an issue. 4k/60p is a huge deal for a DSLR. (The only reason i bought a GH3 at the time was because it was 1080p50 - first time feature!) The HUGE pressing matter for me is regarding picture profiles/dynamic range. (It would be very interesting if someone got the C-log curve and put it in this, surely that's possible somehow?). Also if the HD 120fps holds up well. Hoping they release a video promo.

I'm not too fussed about the codec. If that means better quality, then so be it. I'm currently frustrated a little with the A7S II, the image always feels a bit too thin and you have to fight it. I enjoy using it, however I'm really looking for something more "critical".... pleasing colour, focus critical and a better feel to the image. Commercial work is very critical, especially clarity, colour and skin tones. The smallish form factor appeals as it fits all my current grip gear - unlike the Blackmagic Ursa Mini and RED Scarlet. I hope the impressive specs stack up in the final image. Curious about what can be done with the PP's.

I have to say this looks like a very interesting camera indeed, something I've always wanted to see in a Canon DSLR. I love the colour from Canon cameras and I really miss it when dealing with my gigabytes of Sony footage. With the additions of 4k 60p and HD 120fps, this is a future-proof camera that has a track record of holding it's value very well with the other models. For video shooters, this camera will certainly need an external monitor like the new SmallHD or Pix E5 (I find the Atomos too big). Also as a stills cameras, I still prefer my long-gone Canon 60d to what i've shot on any of the Sony A7 cameras. By far. The image just feels a lot, lot better. Questions that need to be asked? 1. How do all the 4k frame rates work? Full read out? Skipped? Cropped? 2. How does the 120fps hold up? Is this also cropped like on the A7S II and C300 II? 3. Does the camera now have basic video features like peaking, zebra? (Likely not - monitor essential). 4. How much can we do with the picture profiles? Is it possible to upload C-log into the camera, or use another user-defined log mode? 5. How much dynamic range is possible in video mode? (determined by picture profiles?). I'd say I'm very interested in this camera, both as a video unit and a stills camera. It seems like the kind of camera you'd love and keep for years. Rugged, durable and beautiful. The deal breaker for me is in the picture profiles area. If some kind of dynamic range maximising profile can be implemented and the video modes hold out, I'd be very interested in buying the camera. I'll rent it for sure!

The thing that I'm finding, certainly in the UK, is that there is a higher demand for video work than ever...BUT....the cost is going down. Some of the quotes you complete against are ridiculously low, and you think "how the hell do they do it that cheap!" I'm not willing to take down the price, I'll always stick by it. I just make sure the client knows the full value of what they are receiving. This is a very good point, and I agree somewhat. The issue is that some niches become not-so-niche, and you have to broaden your horizons. I started with a Canon XHA1s and some crappy chinese redheads filming local bands. Not many people were doing it, so these bands came to me frequently. Now that camera tech is so accessible, this market isn't worth considering anymore as it's full of "price-based" buyers and everyone knows someone with a cheap DSLR. I now work on management and label only music videos, plus commercial/corporate work. Both very different markets. Thinking about my niche again - it's not my market but my creative style. My clients come to me for the "look" of the videos...so that's my focus. The niche. Back onto the topic of health... I've found it's definitely worth sticking to your prices a you will turn down all that cheaper work that wears you right down, but you will have more time and space to work on the better prospects that come in. It's far better to work on two projects per month that equal the financial value of 8 cheaper projects.

We are totally right about this. Not sure if they are aware of this happening on the FS7 XAVC-L mode though? (although most shoot XAVC-I). The FS5 is the most interesting camera ergonomically I have seen. With the built-in features, it seems ideal for my type of my work. Rock music videos, documentaries and artsy pieces you can get away with noise and artefacts, but on commercial work... the FS5 is currently far too much of a risk, as each shot needs to be clinical and perfect. Other systems just make it easier to get there quicker. I'm honestly craving for a thicker, richer image now I've used Sony for years. The image (besides the F55) has always seems thin and diluted if that makes sense? I'll hit the market this year for a serious A-cam looking at Blackmagic Ursa Mini, RED Raven/Scarlet-W and Canon C300mkII (all rental and tested). I'll keep a careful watch on the FS5 RAW though... I can't seem to ignore those brilliant ergonomics! Still shooting on the A7SII extensively and Sony are seriously pushing things... so it's definitely worth staying in that pipeline.

I've got that book yes. Read it. I think it's got some good stuff in the book, however I feel Den is a little up his own arse. Even though he admits it, I find that type of personality hard to deal with. The other thing is that I think quite a chunk of the book is flawed. The marketing tips such as "free reports" just don't work for a lot of us. The book is also a sales pitch to employ Den as your coach, so I feel that it's not really a book that's helping the reader, it's more of an advert to sell further services. I liked it though, on the whole. The important thing I came away with is that quality of service and product is always No.1 - work on that and pricing becomes an afterthought. Although the video market is now fiercely and utterly competitive - if the service you offer is of exceptional quality, people will pay it. I've doubled my quotes since and it's gone pretty well. Not always, but mostly. One thing to take note is that I've seen Den's work and it's nothing special. The Sony A7 and FS launch films don't sell the cameras at all to me. He's obviously a great salesman, very knowledgable and delivers a solid, reliable client experience. I remember the day I left my day job to run a full-time production outfit. The job was tedious, made me very ill, and it was all rather pointless. I asked myself "Why am I wasting my time???" I ripped some paper out of my work jotter, gave in my notice and walked out. That said, I've had even more ill experiences doing production work, and this is because I've completely overworked myself until I become a complete cabbage. I love doing the job, and because of that love, sometimes it is too hard NOT to rest. You just HAVE to do the work! The dilemmas of health and business!

Thank you. It's quite apt that you mention this, as we are currently looking at bringing another person in. It's the first time we've been challenged by general health matters, and as the company are pretty much a main two, if one of us croaks then that's 50% of the operation down. Both of us? The ship doesn't sail. Music video production is exceptionally battering these days. The cost has gone down and the expectations have gone up. So to meet budget, you have to come up with some wild (yet creative) solutions just to meet budget. As our development has also crossed into commercial work, the work is far less physically demanding but the process can be mentally rigorous. My daily tasks involve shooting, lighting, full editing, grading and media management, gear prep, gear maintenance and repairs, treatment and pitch writing, shot lists, visual research, sales and quotes, client admin and management, web design, social networking, driving, purchasing, location scouting, financial admin, meetings and other random bollocks. I can just about handle it. One of the best pieces of advice I ever received was "you are only as good as the people around you". Previous to that advice, I had to carry a lot of productions literally single handed as others were either not pulling their weight or were undermining the project. Not all, but plenty. Since, the team I have around me are very positive, supportive people who look after each other immensely. It's a big deal.

I've strategically took a "break" from the FS7/F55 and almost exclusively shot on the A7SII. Very regular handheld work with the bigger cameras started to really, really hurt. Not that the A7SII is anything like the bigger cameras, I've just been shooting a little differently so I don't wear myself out too quickly and get decent enough IQ. Before anyone says, I've not tried an Easyrig yet! It will be soon as the Ronin-M for over 5 minutes use bloody kills too. It certainly bloody does! ;-)

Specs-wise, this seems like a big step up from the usual conservative Canon approach to video. However, like you said, we must take note that video is horribly utilised in their DSLR's yet very nicely done in their C-range. I expect the 4k 60fps to be full of aliasing and moire, and the 120fps to be worse from a windowed mode. If this isn't the case and they include C-log with basic video features like peaking - it will likely be a tremendous piece of filmmaking and stills kit.