IronFilm

Those prices are almost there! Will happen "soon", I hope/think/pray.

Definitely, if a "C100mk3" had been released when the C200 was, then the "C100mk3" would have had no raw, and probably a limit of 4K 30fps 8bit (might have had touch DPAF though?). But I'm just saying numerous people treated the C200 "as if it is the C100mk3" (for instance, never using the raw functionality), because a C100mk3 itself didn't exist! And still doesn't.

110% Yes! That the Panasonic EVA1 MFT should have been a thing, I've said it a million times: an EVA1 MFT was needed! But in late 2020, it is too late now. Fingers crossed for a Panasonic EVA2 MFT???

I bet the C70 is going to be Canon's best selling C Series camera since the C100 itself! (unless the C50 blows us away at an even lower price point, and proves my prediction wrong) Bingo, for many the P4K is a perfect A Cam for the hobbyist, indie filmmaker, or part time pro. Or as a B / C Cam for folks who are the next level up. C200 found its niche for the C100 owners who were happy with everything *except* they wanted "4K". As the C200 was for some kinda a "C100 + 4K 8bit", for many that's all they needed. Plus the C200 had an additional niche for shooters who did everything in house and didn't mind a bit of extra overhead, then the C200 might make sense. I suspect the FX6 will have a major compromise vs the FX9. What would it be? Ideas: 1) no TC, maybe even no SDI?? 2) old sensor? (please don't reuse the FS5 sensor!) 3) not FF? (doubt it) 4) no 4K 60fps 10bit? (or perhaps FF is only 4K 8bits, and the 4K 60fps 10bit is reserved to only the S35 mode)

You're referring to raw out of mirrorless cameras, which is: 1) a very very recent development 2) quite irrelevant to the pro market when mirrorless cameras are only somewhat rarely used on anything but the lowest of low end newbie professional shoot (to be fair, I do have a somewhat biased perception, as although I work on plenty of "low/mid budget productions", they are at least high enough budgets they can afford a sound mixer or lighting assistant, and not simply a OMB shoot winging it) Anyway, these raw shooting mirrorless won't be replacing the likes of a C70/C300mk3/FS7/FX9 any time soon. While I agree that good 10bit codecs are sufficient, I will go to the defense of raw and point out this isn't a fair apples to apples comparison as the FS5 sensor itself is quite old & dated.

Yes, for the indie "no budget" circuit. Don't think it is ultra popular (popular? Yes! But "everywhere"? No) in the low budget professional world. Bingo, within a couple of years, they'll be selling for what C100mk2 are selling today.

The exceptions, not the norm. Exactly, it is in line with what C100 series was at release. And a lot cheaper than the C200 was originally.

I'd seriously struggle to remember the last time I was on a shoot with an external recorder. (except for my own no budget stuff I shoot as a "DoP" with my ancient Sony PMW-F3) The last time might have been a few years ago with someone who had brought the brand spanking new Varicam LT, but hadn't yet quite been able to afford all the media to go with it. (P2 cards are pricey!) Or a couple of years before that, on a C100 web series shoot. Oh wait, there might have been a GH4 shoot between those two? Anyway, the point is I very rarely see external video recorders being used as the main production recordings. (they are used now and then for playback though, integrated with the director's monitor)

I'm not talking about 6yrs ago, I'm talking about right now. Unless they're shooting with a RED (which doesn't offer them other options), then low/mid budget professional DoPs are generally speaking not shooting in raw.

I have a couple of friends with an EVA1, but yes, they're very rare. Still think Panasonic should have made an EVA1 MFT, so they could have benefited from their massive GH series fan base. Exactly!!! That is why Panasonic should have made their Panasonic EVA1 with a MFT Mount (perhaps a locking MFT as the "base mount", but shipped out with a PL Mount on top). And even their eventual Panasonic Varicam LT Gen2 could have this locking MFT as the "base mount". (imagine being able to use your Fujinon MK zooms on a Varicam!!) Why though? The C70 people (the low/mid budget professional shooters, or the high budget people needing a B / C Cam) don't need all the R5 specs. When people are buying for their business, they tend to be somewhat more rational in their purchases. While R5 buyers are easily swayed by flashy headlines (8K! Raw!), that then the YouTube pimps latch onto to push the R5 onto their followers. It totally makes waaaaay more sense to put 8K raw into a very expensive mirrorless camera, than into a low budget professional cinema camera. Yup, you could own a Canon C70 *AND* a BMD UMP for less than a C300mk2 costs. (not that I'd recommend it, I still think these two cameras overlap with each other too much)

Wait for the Sony FX6 as well. Exactly! Heck, even the internal 10bit for some cameras is better than the same camera's raw output. (am looking at you Sony FS7!) The Canon C70 as an A Cam is aimed at low (perhaps mid) budget professional work (ultra low budget work uses mirrorless/DSLRs for their A Cam). They don't need or want raw in 95% of the shoots. Doesn't matter when Anamorphic AF lenses don't exist! They differentiate by being the best (or at least, thought of as that) when it comes to image quality. And by being incredibly good when it comes to overall workflow/ecosystem for the productions they're aimed at. It is strange, until I remember a key lesson from economics: "People have unlimited wants". And that people will blur the line between "wants" and "needs". (this is one of the key reasons why socialism will always fail. Because even if you can give everything that people want/need right now, that won't be enough! As people will have expectations inflation, and will have a new higher level of demands. Thus you always need a way to allocate scarce resource efficiently, which is exactly what price signals to. You abolish price signals, and you abolish the ability to effectively allocate resources to get the most out of them)

So you admit the C300mk3/C70 sensor is a better choice for S35 4K? Even if it is only better by a smaller margin, I'm glad that Canon put the better sensor into the C70. Plus how sure about the R5's drawbacks being software limitations and not hardware limitations? Yes, research here on EOSHD does indicate it has some degree of software limitations. But could it really handle for instance a 12hr day during the peak of summer heat filming nonstop a music festival? (once those return! Ha. In a post-COVID19 world?) I'd expect the Canon C300mk3/C70 could.

Bet that is what will happen, Nikon will put the priority on mirrorless as that is their future. But will maintain some DSLRs (but with longer lifecycles), which are released by being similar clones (but in a DSLR body) of cameras they've already released as a mirrorless camera. (like Z6 then being followed up by a D780. Perhaps in a couple of years time we'll see a top notch Pro DX Z Mount camera, that then a year or two later is released as a Nikon D550)

Controversial cameras do generate more discussion. Thus no surprise for me that the BMPCC4K is ahead of the GH5. As many people love BMD vs the haters of BMD. "Tricky" cameras also get more discussion. (what powering system? What memory cards? Just two points of endless discussion for Blackmagic, while for the Panasonic GH5 that is an open and shut case for most) Yes, it does reflect that the average person here doesn't use those on a regular basis.

The URSA Mini Pro is so much better in numerous ways, not least having built in NDs, and better QC. Although personally, the FS7 is very close in pricing to a UMP, and you'd get far more work to pay off the FS7 than if you got a UMP, so I'd recommend a secondhand FS7 instead.

Yeah I remember that time period too. Was very seriously considering a 2nd Sony F3 myself. But was always just a little too slow on pouncing on the $450 deals, thus was just waiting for one to happen for me. (rather than "overspending" and getting one for say $600) Plus I was on the fence if perhaps it was better to spend a little more for a FS700, as the FS700 was headed down to under $1K itself. Now? It's going to be a long time until we'll see an F3 for $450 again. At least it makes the decision easier vs a FS700! (of course now the FS5 is soon going to become as cheap as a FS700 was a couple of years ago....)

You must be new here, ever heard of @Mattias Burling? https://www.youtube.com/user/mattiasburling

But is it really "the best chip"? Not for a target market which is S35 4K. Not for a target market which cares about RS, DR, and other factors more instead.

It is definitely a small minority of shoots I work on that the DoP is using an EVF. But those that do, seem to really like it and use it. I can understand why there is passion for it in the "pro-EVF" camp.

C70 for weddings will be more common than you think. While I almost never do wedding filmmaking these days, I know back when I was, the C100 was very very very very common. (even worked on shoots using the C300mk1, except it wasn't called "mk1" as there was no mk2 then!) Yes, today in 2020 the C70 is waaay higher priced than a C100. But when you compare the price of the C70 to the original C100 pricing, they're not too far off. C70 is going to be 2020's new "C100". (well, unless the C50 ends up being that, which is probably what will happen. But that's just part of the general trend of cine cameras getting cheaper and cheaper)

That is a very good theory! Any reason why the C70 wouldn't get "Netflix Certified"??

Nah, that is a Z Cam

Also lacks SDI, which is a key feature for professional A Cams. But Canon has to do their market segmentation somehow! And the C70 is otherwise a camera with surprisingly few compromises.