OliKMIA

I don't have enough experience with this Camera to answer at this point. I think there is no miracle. This is 8 bits footage, even with great Canon color "science", there is less latitude in post. I'm receiving my C200 tomorrow and I will shot a couple of video and put them on this forum with an upload link for the community, including low light and "complicated" lighting. No idea, I assume it's above 35mpbs. Would be surprising to get 422 10 bits footage with less than that.

Good point. Thanks. Yes, actually I haven't found much of these mic on the used market. I can send you one from the US if you want

I can give you a little bit of info on the C200 as I just bought one after using it last week. The 8 bits footage looks very good. There is really something with Canon footage. The Wide Dynamic Range profile is very easy to grade if you don't want to go all the way to C-log 1 and 2. I probably prefer Canon 8bits footage than Sony 10bits. That being said, it might be a no go for broadcast situation. The lack of middle ground codec is huge dick move from Canon. Usual with this company. And don't expect to record 4k raw/10 bits with an external recorder as the SDI/HDMI out is limited to 2k. The definitive proof that Canon crippled this camera intentionally to protect the C300/C500 line... There is no 4k DCI in 8 bits. Only in raw Raw is very heavy (15 min per 128GB) and the Cfast cards are ridiculously expensive. This is also a dead media. The raw footage is nice but it needs a lot of work, it comes out very grainy and you'll need to denoise which adds more time to the already long workflow. The 120fps footage is crap, DPAF is not available in this mode Overall, the 4k footage is on the soft side. Not bad but don't expect to crop in that much. The C300 will give you the middle ground 10bits codec but you'll loose the 60p I went with the C200 because it's still a nice package for the price, the camera is relatively small with nice features such as strong ND10 and DPAF. I also have a lot of EF lenses. Low light is good. Perhaps you should rent one before buying it. The C100 is cheap but also cheaply made (eg. horrible EVF). I'm not a fan of Sony so I discarded the FS5 and FS7. The Ursa mini is not run and gun camera which is what I need. ISO craps out at 800. Finally the EVA1 was very tempting but it's not perfect neither (bad screen, no EVF). I'll try to upload a couple of 8bits video sample from my C200 when it gets there so you can see by yourself.

We have a shitload of other mics, shotguns and lav to triple or quadruple tap each indoor interview but a hypercardioid mic is a nice addition to the mix. They'll be connected to two C200 and/or a Zoom F4 based on the setup. The mid-range option will be fine for this personal project. I'm not very concerned about that but I prefer to double check with the community to save time. And you, what is your feedback on these mics? Some of them are in you gear list (http://ironfilm.co.nz/sound/). I'm all ears!

Thanks you all for the feedback. Much appreciated. Looks like the Audix SCX1/HC is a solid mid-range option, basically the "poor man's Schoeps MK41." I'll try the Audix and report back. It will be humid in south Florida but I'm not going to shoot in the rain forest neither. Only for indoor interviews. That being said, thanks for your input, I also read somewhere else that the MKH50 was a very solid mic. Unfortunately, I simply don't have the money at this point after buying the C200. I believe the Audix SCX1/HC will do the job, I also have a shotgun and a Lav as B and C mic for redundancy.

Yes, I can potentially try them all and return to amazon but It's always helpful to benefit from the community experience. No need to waste time on a specific model if everybody says it's bad. From my research and based and the previous recommendations, it looks like I can't really go wrong with these 3 mics: Audix SCX1/HC, Audio-Technica AT4053b, AKG CK93 The Audix seems to be a good option recommended by many. I'll probably compare the Audix and the AKG.

Thanks for all the feedback. I forgot to mention that I will use this microphone in a very humid environment (South Florida). I know that some mic are sensitive to humidity. What do you think?

Thanks for your comments, it's helpful. And what's your take in the Indie / Prosumer category?

Hi, I just purchased a C200 for a documentary and I'm looking for a super/hypercardioid microphone to pair it with for indoor interviews. Basically, there are three categories of microphones: - Entry level ($100-$200): Samson C02 and Oktava MK-012 - Mid-range ($500): Audix SCX1/HC, Audio-Technica AT4053b, AKG CK93, Neumann KM 185 - High-end ($1200+): Sennheiser MKH 50 and Schoeps CMC6 MK41 I cannot justify the high-end microphone option after dropping big bucks for the C200 but I don't want to go on the cheap route neither because audio is often overlooked and bad audio rendering can ruin an entire project much faster than poor image quality. Therefore, I'm going to go for the mid-range option which is enough for my project. I'm inclined to get the AKG CK93 because I like this brand (great headsets) and the price is right ($460). This mic is also modular (the capsule can be switched to shotgun). But the other brands also seems fine. Question: do you have any feedback or experience with these microphones? (Audix SCX1/HC, Audio-Technica AT4053b, AKG CK93, Neumann KM 185). I would love to hear your experience, good or bad before getting one of those. Eventually, I'll probably try them (thanks to amazon return policy) and decide which one is right for me. Thanks in advance for your help.

Someone once said "Insanity Is Doing the Same Thing Over and Over Again and Expecting Different Results" Flat-Earther too but I'm not sure it deserves an article. Please don't ban this guy. This is very entertaining.

Older cameras had 24p when they still was a huge gap with Pro models. And at the time, the C lineup was not very developed. When canon started adding DPAF and 4K, they crippled it somehow with lack of AF, huge crop and now the removal of 24p. They just want leave a large gap between prosumer cam and pro cam. Someone shopping for $6500 camera might also need a B and C cam with relatively close look, APC-S and S35 are close. A few 90D might do well with regular C200/C300 footage for quick cut and B roll. Canon try to sell A, B and C cam at full price. Not sure about the reasoning, does it really work for them? Big prods might buy that but how many customers do they lose in the process? I don't know. But it's not just about price, mounting a M6 II on a small gimbal would be much easier than a C200. Getting B-roll with light and small gimbal is great, doing the same thing with a C200, not so easy. It's all about margins not sales. They probably make pennies on entry level DSLR but the margins in the Pro camera business are comfortable, even after factoring the smaller production batch: Need a longer cable? $350 !!!! https://www.bhphotovideo.com/c/product/1184818-REG/canon_0887c001_un_10_unit_cable_for.html A 90 Wh battery? $430 https://www.bhphotovideo.com/c/product/1159864-REG/canon_0870c002_bp_a60_battery_pack_for.html A 4" monitor $650 https://www.bhphotovideo.com/c/product/1340812-REG/canon_2417c001_lm_v1_lcd_monitor.html

As soon as they release an entry level cam with DPAF and no crop, they magically remove 24p. Don't you see any link here? As you said, they used to have 24p in the past on anything, including sub $500 entry level DSLR such as the 100D. First they release 4k after everybody else, then they release 4k with with huge crop, to finally implement 4k on cheap mirrorless by removing DPAF and now this. I'm not sure if you are blind or if you playing the devil's advocate. Crippling and segmentation is nothing new or specific to Canon. All manufacturers do that at some point (Sony with shitty codec on the A7x, S1 with shitty audio) but Canon is just mastering the art. Same as the lack of intermediate codec on the C200 (and no 4k raw out!!), etc. Canon line-up is full of crippling, more than the other brands. That's all. The reason is to protect their higher margin Cxxx camera business, it's both simple and very dumb, which is why you might have issue to grasp at this difficult reality. They are somehow terrified that people would buy entry level stuff for B cam. Sony and Panasonic don't, FS and EVA exist along with A7 and GH/S1 product. People won't give up a pro cam for a DSLR but these type of cameras could be nice as B or C cam if you already own the lenses and want to maintain a certain image consistency. Your explanation doesn't add up, no matter how many times you repeat this non-sense on every thread. It just goes against basic observation of Canon release history over the year. Nothing to be mad about but this is just embarrassing for you at this point. Not sure if you are a troll, a Canon Rep or really believe in this fairy tale. That said, I'm out of this discussion. Have fun.

23.976 only They can't help it!!! That would be strange if true, especially in the C500 range. "See impossible"

"The Z6 isn’t a bad camera. Why has the market seemingly rejected it when it’s better specced than the A7 III?" Lack of native lenses. Feeling like, as Canon, these first mirrorless releases are just half-baked first generation cameras that need improvement.

They don't have the resource internally to do that, it would be an endless task. Plus, HR prioritized the Video Crippling department over Legal affairs.

Hi Andrew, I sent you a PM via FB. I'm not qualified enough to talk about the patent things and there are a lot of unchecked facts at this point but this story about defamation and libel against you and EOSHD is very surprising. I would like to try to post this on Fstoppers because I believe that freedom of speech means something but I want to get your side of the story first. However, I understand that you may not want to spread this beyond your forum. I totally respect that. Let me know if you are interested, Fstoppers is not NYT or the Guardian but this is an important matter that should be covered, even at my very modest level. Best of luck with all this.

Be careful about this lens, some have a lot of micro-jitter issue due to the optical stabilization. The problem is widely reported on several Pana lens. Some got fixed via a firmware update. Not sure about this version now but just double check.

The lack of innovation is debatable. In the past 5 years only we had: - Generalization of IBIS on many FF camera - 10 bits video files or even beyond that - Amazing and affordable lens selection from Sigma and other third part manufacturers (samyang, tamron, etc.) - Generalization of 4k and now 4k60 - Standardization of video assist features - Cheap, effective, and easy to use 3 axis gimbals. I built my first gimbal for drone in the early 2010s and just settings the PIDs of the controller was an immense time consuming pain. - Cheap drones everywhere thanks to DJI, Parrot and other brands like Autel, etc. So, yes I'm a bit amused about this level of whining and hysteria. Yes, we should have a lot of stuff in life, I would love to get a "Full Frame camera with full modern touch screen interface, DPAF with AI, Raw video and 4K60P 10 bit no crop, IBIS" but it won't happen ever. Each companies has strengths and weaknesses, technologies protected by patents and we will never get the silver bullet camera with the best of everything. Even Panasonic had hard time to come up with 4k60 in full frame. The phone and the photo industry are two different animals, sales are on the low millions versus billions for smartphone in volume. Not even talking about the margin. It's not hard to understand that the level of investment won't be the same. But Sony UI is just plain stupidity, it just happens everywhere. People like me denounced Canon conservatism many times in the past, just google my name and Canon, you'll find my articles, I even quoted Andrew there. But unlike a few years ago, Canon is no longer the only option so I just moved on, I got the right tool for my needs and went out shooting. Incidentally, I spent much less time on this forum crying about motion cadence, organic feel and other mundane stuff which are a bit irrelevant at this point. That said, I wish you the best of luck with your endeavor and your next video projects. Cheers.

I am tired from all these Japanese camera crap company that give us 2010 technology at high price over and over again. >>> We have so many options now for video, GH5, Fuji, Olympus, Black Magic, Sony, Nikon, etc. Plus drones and cheap gimbals. The situation is radically different than it was just 5 years ago. If we can't produce great video with all that, Japanese companies are not to blame. DJI has been crazy innovating for years, they make the best drone with incredible cameras, the best gimbals, best action cam, .., When they enter the market with a new product it’s always the best. >>> They did push the envelop for sure but some product were poorly supported and/or abandoned by this company. For instance the X5 and X5R. The Inspire 2 has its share of issues and the X7 haven't been pushed since the initial launch. Their ground gimbal are buggy as hell and the Osmo Raw was a joke in terms of usability and workflow. There is a lack of consistency with DJI. They changed their LOG curve many times and the forced updates tend to bring many problems. Finally, have you ever tried to get serious assistance from DJI customer service? Hint: they are not very helpful even when you spend big bucks with them. They have given us 4K60 and 10 bits in 1inch sensor for years in super tiny cameras when Sony is not capable of doing so in a much larger RX100 in 2019. Ridiculous. >>> The first 4k60 was on the Phantom 4 Pro and the image quality was quite bad thanks to line skipping. Also, drones offer the advantage of natural air flow for cooling, either from the propellers or the motion of the drone. The architecture is very different than a regular camera, most of the time the sensor and the processing units are not stacked against each other in a small body. The design and heat dissipation parameters are completely different. This camera could be a game changer with modern touch screen controls and ergonomics associated with clean aluminium body with a last gen Sony sensor and massive specs like RAW, 10 bits, 4K60P and so on. >>> Why not, I wouldn't mind to see more disruption in this market. I own several DJI products and I would be open for more competition.

Couldn't agree more. I wrote a detailed analysis of the difference between Fuji and Kodak. Diversification was key as the CEO of Fuji explained in his book. https://petapixel.com/2018/10/19/why-kodak-died-and-fujifilm-thrived-a-tale-of-two-film-companies/ However, unlike Kodak. Canon doesn't depend on a single line of product. The consumer segment of the imaging division only represents a small share of the Canon's profit (10-15%?). Therefore, Canon will survive the hit but they can only blame themselves for this. They stretched their brand and their outdated production line too far.

I can understand your frustration and you raised many valid concerns but what's the point? Nowadays we have so many options to choose from: Sony, Panasonic S or GH series, BMPCC4k, Fuji, Nikon Z, etc. The video DSLR revolution was all about creativity for the masses (amateurs, indie and small prod). This is what triggered the inception of this blog I believe. That's it! We have everything we ever dreamed of: anybody can spend $3 or $4k and get an excellent 4K60 camera with decent lenses and add a drone on top of that. All of which fits in a backpack. But where is the film-making here?

There is nothing nightmarish in this. Just the opposite, we have so many great affordable options to choose from now. Even though gear matters depending on the requirements, I don't really care because gear is not a limiting factor anymore. Unlike a few years ago, anybody can shoot a great film or documentary with very low camera budget. I don't necessarily agree all the time with Mattias but he has a point. All these endless topics about motion cadence, compression, bits, curve X and Y are a bit boring nowadays especially when there is very little actual movie making and demo real going on.

Yeah, my main still cameras are a bunch of 6D and 5D3 for timelapse and I just don't see any upgrade path at this point: Canon R: basically a reheated 5D4, unusable video in 4k, ridiculously expensive lenses, outdated sensor tech Canon RP: RIP Nikon Z6 and Z7: ridiculously expensive lenses, the Z7 doesn't have a dual card slot which place this camera in a weird category (not pro but priced as such). Panasonic S1 and S1R: potential issue with the alliance, very limited selection of lenses, HUGE mirrorless body, poor battery life, issue with the AF Sony: horrible colors, horrible interface, lag, feels cheap, lot of sensor dust but at least it's improving (battery life) and the lens selection is good thanks to other manufacturers The Nikon D850 is great for stills but I don't want to invest in a dying system (F mount). So I'm sticking with my 2012 canon bodies for now. Keeping a close eye on Panasonic though.

Very interesting piece. Thanks.

https://www.videomaker.com/news/vimeo-buys-short-film-editing-platform-magisto-for-200m/?fbclid=IwAR3K5meVnUtwVjudvAuUcpiSnGObiRQM3ACFjhIpyUSaBF9_Jka_eZtyovo News has just come out that Vimeo has acquired Magisto, a 100 million user startup focused on creating and editing short videos. This is a huge purchase for Vimeo. To put it into context, Vimeo in total has 90 million users, compared to Magisto’s 100 million users. So far the terms of the deal haven’t been disclosed yet. Israeli publication Globes is reporting it’s a $200 million deal. However, TechCrunch talked to a source that didn’t deny the figure but did say the deal’s final price won’t be settled on until the deal is officially closed. That should be happening at the end of Q2, according to Vimeo.