OliKMIA

Yeah, and then at the product announcement you read all the *** *8K at 30fps: Timelapse mode rendering only *4k120: 2.3x crop, AF disabled, 2 seconds recording limit, converted to 30fps only * 7-8 stops IBIS: when combined with 1.8x EIS crop, AF available $8995 That's being said, if they finally give us clean 4k60, no crop, full sensor read out, no binning or skipping, and not BS crippling, I'll order it right away at $3-4k. Hopefully with some sort of articulated screen and not the size of brick.

I would say that price, codec and lens selection is a huge plus for the Pocket 4K. You can put a lot of adapted lenses, use all the available M43 glasses, codec selection is big. In contrast the S1 is still expensive, native lenses selection is limited and expensive, doesn't bring that much to the table (no FF 4k60p) and is just so huge and heavy. Pocket 4k is $1300, S1 is $2500. The image from the pocket 4K is still nice, perhaps not as good straight out of the camera than the P4K but the robust codec option facilitates grading. Personally, I'm still deeply in love with my GH5 and I'm not considering the P4K. The S1 is a great body but it's not a huge improvement specs wise to justify to upgrade from the GH5 unless you need to shoot in the dark.

Same thing as BTM_Pix said. The analog route with FPV system works very well with "old" GoPro. You can find all in one FPV monitor for $100 online (minitor + battery + video receiver). https://www.amazon.com/s?k=fpv+monitor&ref=nb_sb_noss_2 An antenna costs $10. Then you just install a video transmitter on the AV out interface. Range will be more than enough (get at least a 100-200mW video transmitter, with CP antenna on both ends). As for the GoPro, the wifi link is weak, it might be fine if the follow car is close but it will be prone to disconnection. Plus the latency will be bad whereas there is almost no latency on analog FPV system except for the one introduced by the AV out interface but this is not major (less than a second). As for mounting, I recommend the magnetic route which is easier and more reliable than suction cup. Plenty of options for GoPro online. For serious rig, the RigWheels RigMount is very solid. However, a few cars don't have magnetic hood but they are the minority (usually high end cars or green vehicles).

I registered on this forum in 2014. At the time, there was very limited option for indie filmmaker beside the new GH4. But in the past 5 years here is what we got: Generalization of quality video on DSLR/Mirrorless : 4K is becoming mainstream on entry-level camera. 4k60 is common while 10bits is the new 8bits. Raw is a the corner or already here (Pocket 4k/6K, Sigma FP). All brands implement good video specs on camera nowadays. Consumer drone revolution: cheap, effective and portable drones. Gimbal for all: just as the drone, what used to be an expensive and complex high end equipment is now available for a few hundreds dollars on amazon. And the system works out the box with minimal effort. New editing tools: Adobe brought Lumetri, Da Vinci is a serious option (for free), there are plenty of useful plugin available. Editing tools are so good now. My videographer life in 2014: Camera: I had a Canon camera (shitty for video) and just bought a GH4. There was not good gimbal at the time and IBIS was a niche feature. Drone: DJI was a small unknown company, only making camera-less drones. I used to film aerial video a with a custom built FPV drone and the whole thing was a mess. Soldering, calibrating a lot of parts (ESCs, FC, radio), messing with flight controller and gimbal PIDs, frame and props resonance with gopro scan that created jello on the footage. Dealing with a mix of analog and digital parts. Radio link required external ground station with special high gain antennas. Finally, the whole system took and entire bag (drone, ground station, LiPo charger, FPV system). People don't realize how amazing drones are today. The fact that we can now purchase perfectly working drone, with stable camera, no rolling shutter issue, incredible radio range and portability is a blessing. My videographer life in 2019: Camera: plenty of choice from all the manufacturers, 4K everywhere, in 60p and 10bits. Sigma FP, Fuji XT3, GH5, Pocket 4k and 6K. Panasonic launching FF camera. Most mirrorless have IBIS. Sonny revolutionized low light video with the A7S line. Gimbal: I can't even keep up with the release. A good gimbal costs $400 now. DJI proposes all-in-one tiny gimbal camera for $300. Drones: Mavic Air, Mavic 2 Pro with 4k10bits, etc. Autel just announced an 8K drones (EVO II) I'm amazed by the profusion of good gears available today. I fit all my stuff in a large carry on backpack: 4k10 bits drone (Mavic 2), cropless 4k60 cam (GH5), cheap gimbal (Crane), excellent still camera (Canon 6D), and a slider with accessories. So I must admit that I don't really understand all the gear whining on this forum. The Nikon Z6 is "pixel binned" and external recording is late. Canon cripples its next camera? The a7s3 might be a revolution? Who cares? There are like 10 good alternatives on the market. Just get the next XT-3 or use existing cam already (S1H, S1, A73, GH5, Pocket 4k, etc.). I'm not targeting anyone in particular but I found EOSHD to be a valuable resource in 2014 when we got to deal with limited equipment. Now, I just don't see the point. Most of the posts are just an endless suite of gear whining and fight on pointless details. We acclaim every progress by hyperbolic statement ("10bits or 4k is a revolution") just to forget it the next day and dictate new requirements to manufacturers. Then, we get outraged because raw upgrade is not already available on a consumer grade camera. That's endless and not productive. Unlike 2014, gears are not a problem anymore, this is not a limiting factor. If you can't deliver a good video with the actual stuff today, that's on you. I wish that we could focus on actual film-making. All the best.

Yeah. I agree with what has been said: the EOS line is mainly designed for video/doc, therefore this ranking is not going to be favorable for Canon. EOS cameras are all-in-one solution for small filmmaker and doc producer who don't have the time/manpower/budget to mess with DP, focus puller, and an army of PA. I've always been trashing Canon for crippling its DSLR camera but I purchased a C200 last year for a documentary because it was the best product for the job: I needed a well rounded camera with solid AF. I'm not a fan of Sony menu, codec, and colors. The EVA is great except for the pathetic monitor (couldn't they just copy/paste the one from the GH5?) and the AF, so I picked to the C200. The lack of intermediate codec is a pity but the C200 8bit log is surprisingly good and can be pushed reasonably well. For interview, once the lighting is in place, any idiot that can setup the right exposure and W&B will do a great job with the C200. No need to fill up hard-drives with hours of high bitrate interviews. PS: that being said, the C700 is a joke and probably a huge sale flop.

Impressive move from Canon. Looks like they want to give a little B cam brother the the C500 MkII. Hopefully some of these specs will make it to the next EOS R or 5D MkV.

I've done a couple of 1000mm+ equivalent shots with the GH5 and FD 400mm lens. Mainly to capture the sunset and moon. I also use the Ex-tele conversion on the GH5 to gain another 1.4 crop (or shoot 6K mode and crop in post). I got this system to hold the lens, it's much better than a regular tripod attached to a super front heavy GH5. The key is to balance the system and place your tripod right above the CG. https://www.bhphotovideo.com/c/product/554350-REG/Manfrotto_293_293_Telephoto_Lens_Support.html Then, you need a solid and rigid tripod. I tend to keep the legs relatively short to maintain the stiffness of the system. In any case, I turned the IBIS off as it cannot stabilize that type of micro vibrations. I also use a relatively high shutter speed, it allows to do a bit of post stabilization if necessary. 180 rule will turn any vibration in a blurry mess. As for focusing, I focus directly on the subject or to something very far away, changing the ISO if necessary between the focus point and the real subject (eg, sunset). Finally, you'll need a day with little or no wind

I'm not sure to understand how you work with your drone and camera. When you say "a camera trigger command is given, but the image is not written to the SD card.". Do you have a physcial switch (servo) that actually press the shutter? Or perhaps it is commanded via a command cable attached to the camera and mapped to a channel and your radio? On the other hand, it seems that you put your camera in "timelapse" mode and keep shooting during the entire flight. In any case, it seems that your problem is related to the camera buffer and/or memory card speed issue as someone indicated before me.

Ok, the camera and codec is nice but let's talk about the main topic here: What is this super racing/gaming rig that you show in the pictures?

Not hard to understand. There is a market, this is just a small one.

Good point but even the director in the link said it "everybody else was on the C300s." This is a niche market for very high end production that can afford a bunch of $6,000 camera because it's convenient in some specific situation. If I remember correctly, a few 5DMk2 were used a stunt cameras during Mad Max production. Not really a mass market.

Looks like another schizophrenic move by Canon: On one hand they don't want to be completely left behind and try to play the specs game by adding features for the stickers on the box But on the other side, the implementation will suck, it's probably going to crop and omit key video features to protect the cineline. In any case, who will buy this camera for the video specs? Pro sport photographers don't care about video. Pro video people can buy a real Cine camera at this price. Video enthusiasts and indie filmmakers won't be served by a brick DSLR cam (limited gimbal value), fixed screen, no video assist features... It reminds me the 1Dx2. The 4k60 on a FF camera was a big "wow" upon release. But then people realized all the dealbreakers: huge 800mbps file, no LOG, no video features, etc. I Haven't seen anyone using the 1Dx2 for video work: too big, to expensive, not video friendly, ergonomic designed for war and olympic games photographer.

Disagree, there is a lot of useful content on internet these days. For instance, this channel has hundreds of clever videos. It's mostly about cooking delicate dishes but you can find computer tutorials as well. Highly recommended:

They gonna have to let Mokara go, can't afford the licensing fee and his payroll. That's a sad news for this forum as Mokara was a constant source of entertainment.

King tides in South Florida. Basically the entire region is just a few feet above sea level and the annual high tides (Sept-Oct) are becoming more and more problematic with water rising. It's called sunny day flooding...

C200 and GH5 at the moment.

How strong is the ND? Past a certain point/ND strength, you may want to use an IR filter as well.

Didn't know about the PDAF update. But it was not available when I had it.

Used one for a few months. Overall it's very good for the price and some of the weakness are to be expected at this price point (eg. small sensor, bad low ISO and weak DR). PRO: Very small and portable Excellent gimbal stabilization 4k60 100mbps bitrate in 4K60 (h.264) Screen on the handle (but very small, just use for framing) Good battery life (about 1h30), can be recharged with USB-C Price Nice tap to focus feature, relatively responsive even though it's hard to see on the tiny screen CON Poor dynamic range, same tiny sensor as the Mavic Air Noisy footage, especially in the shadows (like the Mavic Air and Mavic 2 zoom) The attachment with smartphone is very bad and unstable, unfortunately some settings can only be changed via the DJI App The smartphone connector is only provided for iphone, needs a micro USB adapter for other phones, which only adds to the instability of the system Manual exposure only available with the phone + App The 28mm focal is a bit narrow to my taste, this is especially noticeable when you start walking (up and down motion). I would have preferred something like 24mm. AF is on the bad side (a later firmware update improved the AF, but I haven't tried it) Poor low ISO performance, normal for this sensor size though

We are talking about a company that even cripples its $7500 pro camera: the C200 that came without middle ground codec. The 1DX2 doesn't even come with LOG and decent codec. This 1DX3 won't be different. Canon's history is full of video crippling. Just pick your pain: DPAF disabled, massive crop, no LOG, no 24fps, recording limits, crop, stupid inefficient codec, etc. They'll fuck up the video specs somehow. Canon couldn't care less about the S1H and the competition, all that matters is to prevent product cannibalization and keep the offering segmented.

Quick update. I ended up buying the Audix SCX1-HC and it sounds very good after a few tests indoor and in tight spaces. Need more testing but it looks good so far. As for the build quality, this mic seems very solid.

"Why isn’t the screen articulated? Why isn’t it visible in even moderate sunlight? For those used to the convenience of shooting cinematic video on mirrorless cameras, it breaks every simple convention." Apparently the EVA1 screen is also a piece of garbage: too small, not bright enough and very reflective. This is just dumbfounding for $6,500 camera that came out after the GH5 which has a much better screen. All they had to do is to recycle the GH5 screen.

The C200 came out two years after the C300 mkII so I believe that the DPAF is more advanced on this one. Especially since it was designed with the touchscreen in mind unlike the C300 which came as an addition later on. But don't quote me on this, this is more a feeling than a checked fact.

+1, I was able to test the C200 before buying one. It has a small learning curve and the exposure is different based on the profiles (WDR, Log, raw, etc.). Definitively need to do some test before shooting for real. Yes, the DPAF was important for me in my decision to go with Canon but it's not magical neither. Better than all the other Pro cam as this point but it still hunt and breathe in some situation or with older lenses and non canon lenses. But overall, that's a very useable, natural and fast AF system for that type of Camera. The C200 AF is more advanced than the one on the C100 and C300. Unless you need 60p for slo-mo. Depends of the use and if you can pay it back quickly. As for 4K, this is not really an issue anymore. I always shoot in 4k even to deliver 1080 footage unless the delivery requires it. 4k footage is not big on the C200 (150mbps like the GH5) and modern computer handle it well. So it's not going to fill up hard drive and create bottleneck on normal editing station.

Thanks for the info. Never heard about the Sanken CS1e. Seems to be a lovely SC mic with a reasonable price. Yes, we have the Zoom F4, my partner wants to upgrade to the F6 but it's taking some time to get there!