DBounce

At $5k a pop, they better have breathing under control.

Use Filmic Pro, you can dial in custom white balance and tint.

Some YouTubers have the budget for these, but most do not. I like the concept of these lenses, but if they are merely re-housed stills lenses, then the price, which is likely to be around $5k each, is extremely high.

No you were not asked where the footage is. I fully understand that no one has footage outside of Sigma. I merely questioned your otherwise interesting article’s title. As I do not feel an article that claims to be “comprehensive” can be absent of the single most important aspect of any camera... the footage. Also no information of base ISO... or ISOs if it is dual? It was a simple comment. It was not meant as a personal attack on anyone. And for the record, I’m pleased to see more players come into the video market, as I believe competition is a healthy thing and great for consumers. Perhaps you will ban me for saying these things? I have noticed of late, that pretty much everything is tolerated by those claiming to be tolerant... unless what is presented is a difference of opinion. That’s where tolerance ends.

Well that won’t happen this time. The C500 Mk2 is that much.

With the recent announcement of the Sony FE C 16-35 T/3.1 G series lens, it would seem that in Sony’s eyes, the time of manual focus is approaching an end. Granted, the new series of cinema glass does allow for manual focus. But perhaps more significant, is that these new lenses are designed first as AF lenses, with optional manual features. Combined with Sony’s newest AF technology, these new lenses should prove to be an impressive and flexible option when compared to more traditional manual only glass.

How can this be a “comprehensive” first impression without a single image or a single frame of footage?

Yes, but as mention was made of the C200... a cinema line camera, I believe my assumption still stands. I think the harder sell is a $7000 DSLR in 2020? For this reason it’s possible Canon might pull out all the stops for this final edition.

Well they surely have not crippled the C500 Mk2, so perhaps there is hope yet? Still, I was expecting the new Quad Pixel AF to finally show up on this camera, so maybe not.

Word is that the D6 will feature only minimal video specs, as Nikon want to keep the focus on stills for their flagship.

I believe at $3000, they will not sell many. No log and while some like the lure of raw, many more would prefer something lighter. I love the concept, but it will remain very much niche at that price point. It really is a video first camera given that it lacks a mechanical shutter.

I just had a play with the PB footage... wow. I feel it must be said. As a C200 owner, and owner of many Canon products, this Sony looks fantastic. Dare I say it? I believe this Sony looks more cinematic than the footage I saw from the Canon C500 Mk2. I believe this camera just might be epic. Threw on a simple Film Convert and everything came together. The motion cadence is spot on. And the colors... did I say colors and Sony in the same sentence? Whatever, they look glorious. I'm simply blown away. I suddenly find myself rethinking my plans to pickup the C500 Mk2. Now if they can get that same color science into an A9 or A7 series body, that would make the perfect B-cam. It seems Sony is really not playing games with this one.

There's nowhere to go from the bottom but up. The way I see it a master can make anything look great. They can make the most painful experience look easy. I want tools that are sooooo good it's like cheating. Yeah, you could practice driving nails into wood with your fist... but a hammer might be a better choice.

Which imo is why he's a terrible person to look towards when judging a lens or camera. I prefer to see how these tools performs in the hands of a complete buffoon... that way, if it still seems good, then it must be brilliant.