Jimmy

I think while they are still selling plenty of glass, they are happy enough... But it is a dangerous game. Canon probably fair ok, as for every ex-DSLR user that goes to a small mirrorless, there are some that upgrade to a C100 or higher. Both companies could do with a big upgrade on the video side of their DSLRs though. 4K seem inevitable in the next round.

Yea.. Sold, sorry

I think you mean the pinkish grade or slightly off WB

Second video looks great. Really looking forward to seeing this camera with more cinematic camera movements. Judging it on Bloom's is daft... underexposed on a cloudy day, with location/people walking around like a stock video. Also, Bloom said that he needs to learn the camera settings much better... He probably had sharpness up, by accident.

Another consideration is that much of the C300 mk II behind the scenes footage is probably shot wide open, to get a bit of shallow DOF. Like any lens, it wont be as sharp, wide open.

The "Look Test" video seems to show quite a drastic drop in sharpness in C-Log, indicating there is zero sharpening going on, in camera, compared to the other gamma settings. I imagine alot of people are shooting C-log and maybe not adding much/any sharpening in post. It's not NX1 sharp, but the standard gamma seems to suggest it can hit 1DC levels.

Just watched the above on our 4K screen... It is a bit soft. Without knowing their post choices though, it seems a bit soon to judge. (Youtube creates alot of mud too)

"Easily outperformed" on paper.... The most important "feature" (at least for some) is the image though. I can trade in some resolution, some slow motion options etc etc for a beautiful image. That said, the lens is just too slow for the sensor size.... It is a deal breaker. Not sure what they were thinking really.

I wonder how many of you saying it to is not proper 4K have shot on RED? It is soft as hell until you tweak in post. Pin sharpness looks kind of unnatural anyway

It is just too hard to resist. When I got my FS700, it is all I shot for a week or so (even slo-mo cats!) Now I rarely push above 50p

Oh oh.... I thought the slew of slo-mo was insane after the fs700 launch.... Prepare for an avalanche.

Frustrates me too. S-Log is harder to grade than C-Log (or Canon Raw).... S-Log can be graded beautifully, of course, but it is just more labour intensive. I do not currently own any Canon gear, but if they finally do bring something interesting out, I will change to Canon again, as the colours are just great.

I have heard from a DP I work with in London saying that the dual sensor readout of the C300 mk II is going to be in the next flagship DSLR, along with 4K... No idea where he is getting the info though. I'm not claiming any insider knowledge, just hearsay. I do think they will HAVE to react though.... Not so much because they care about video shooter, but pulling 4K stills will start becoming more relevant to photographers.

​The reason it does not compute is because you are using a quote that I made long before the new Sony announcements. The landscape has changed again, Canon need to add 4K to their higher end models (and from what I have heard, 4K and wider DR are on the way)

Yea, it's a great one... Certainly has a distinct look.

Pretty sure it does 60fps at 1080p? But yea, the lens is the big downer, for sure.... Image looks stunning though, both examples show it looking very organic in both warm and cool grades.

This looks beautiful. A reminder that tech specs do not always make the best images.

Last month was a breath of fresh air, interesting conversation about filmmaking... Back to square one with the anti canon clickbait Shame, good forum and you post decent info, but the Canon clickbait is tiresome. Bored... Over and out

Maybe on the forum... Not on the blog itself... Every other post is half dedicated to Canon's failings

Someone needs to add internal 10 bit, then we are cooking on gas. My bet is on GH5

Very few stills photographers will ever move to Sony unless they seriously sort out their lenses. No matter how much crying the video world does, it will have little impact on Canon's key market. But the elephant still wanders the room... If Canon are this sinking ship, surely so are Nikon? Canon have a 4K DSLR and will doubtless have another, this year. Nikon, who knows?

At least with Canon there is some hope for trickle down though (plus they fell as backwards into the ML Raw delights), Nikon ride on the coattails of the industry, generally putting out the bare minimum. Canon have shown some initiative, like the 1DC and C100 mkII, even if it is overpriced. Luckily, I have generally stuck to manual lenses that can usually be attached to anything, so don't feel attached to one system or the other. I can see how it breads resentment/disappointment though.

The elephant in the room with these articles that lead to the inevitable Canon monologue.... Why not bash Nikon? at least we know why Canon do the things they do, and at least they do release things like the 1DC (Camera of the year!). Sometimes I think they are pressured by Sony to stay a step behind. Anyways.... A7R II looks damn cool, hoping the 5 axis stabilisation is good, that would be the cherry.

​In what world is it null and void? McDonalds could start shooting it's adverts on Arri65 or 8K Dragon... People wont start asking them to make 120 minute McFeatures though. Stick Brad Pitt in front of a 5DII and it will look a million times more "cinematic" to the average joe than some stock actor in a McDonalds ad shot on Alexa65... People are conditioned into what they think the cinematic look is simply because it was released in a cinema, with marketing, with actors they know and done in a certain way that they don't understand (mainly s35, good DP, good grade, good score etc).... even if all those things are applied to a McDonalds ad, they will never connect it with a cinema feature. The human mind doesn't really work like that. You can say that the average joe will say things like "wow, shows on HBO look like films",,,, That is part of the above conditioning... Good actors, DPs etc (and these will also shoot 65mm, if the director/producer desires).... But to say that Hollywood needs to separate itself from tv ads is crazy. People just do not think in this way. The only real clamour towards 65mm, in terms of selling it as a differentiator, will come from the IMAX side of thinks... but the audiences already know about that and, as stated above, it is very much limited to areas with IMAX. Anyway, there will probably be more 65mm shots in the coming years... But is in no way becoming the standard, which is what brought about this conversation.

Pretty sure things like actors, script, directors, sound, lighting, budget etc do just that. I doubt any average movie goer sits and watches a great s35 film and thinks "not bad, but the format choice was a bit too close to that TV advert I saw". We are already about a decade into cinematic TV.