Jimmy

​let's see when it launches.... do you not think this guy gave feedback to Canon? Could it not just have been a slight fault in one pre-production camera? If you have even an ounce of editorial nous... You would ask yourself these questions before clicking publish. once it is out... if it still happens, give them hell... For now, it is a non story and i think you know that.

Fan boy? I don't currently own any Canon gear. I just find the Canon witch hunt very counter productive to what is often a decent blog.

it's actually becoming a witch hunt on here... it is a PROTOTYPE This would not be turned into an article if it weren't a canon camera. It's pathetic

I guess this part of the sentence wasn't worth adding/? "Perhaps this was a prototype issue, but all it takes is some tape to fix that." How many hoops have indie guys used to get amazing footage from a DSLR? This is applies to drone work, unless you have crazy money. We have gaffer taped all kinds of crap on our photohigher gimbal to fix issues in the field.

It is not perfect... But usable. For the price... 4k 12 stop 4:2:2 would be worth jumping through a few hoops. I'm in no way committed to this camera... But there is potential for quality drone footage that is better than gh4 (on paper)

They could changing the architecture to 10bit?

This is all Andrew has to say about drone use, and it is wrong (again, more talk from someone wh doesn't use drones) "It’s great for a drone, claims Westfall – yet the large zoom lens cannot be operated remotely so is therefore useless on a drone" You would just put the lens at 27mm and fly... Not many, if any, drone operators would be using a zoom while flying... Just do it with the copter. Controlling aperture would b nice, but not essential.

He's obviously not a professional.

Why do you keep banging on about 50mm.... Is your footage really that badly framed and shaky that you need over 40% of the frame to stabilize and recompose? When I have used a GH4 on a zenmuse, I rarely have to stabilize at all, unless it was crazy windy. To me, it feels like you have dug yourself a hole and are now trying to dig back out using the "I'm a pro, I know something you don't" attitude. Please inform us all how shooting at 27mm equates to 50mm, if you are using a good 3 axis gimbal and don't need to massively recompose your shots? Maybe we are all missing something?

It is more than ok.... If you can control the jello on the BMPCC, it is great for drone work. As ever on the internet, this guy is talking about his specific needs (ultra wide panoramas) rater than considering how other people work. For instance we shoot drone footage for bmw and merc, usually at racetracks when they are testing their prototypes. They like aerial work and ground work to see various angles of the car in motion. Having a longer lens is often beneficial here, as we can get close ups of the cars without hovering dangerously above ridiculously expensive prototypes. We often just hover, almost like a flying tripod.

ya, they are really small drones. Those tiny skyjibs are like phantoms, really. and ya doug, anyone shooting with small drones are clearly unprofessional. No one other than someone with $70k worth of drone and camera could ever, ever make money or great shots. I think that someone who thinks that only an epic and a beast of a drone is "professional" might, just might, be the insecure one. btw - why are you stablising and framing at nearly 50%? Don't you use a gimbal, can't you frame your shots mid air? Maybe this is how the pros do it?

you think an epic will fit on a small droidworx? an epic would require at least 4 times the lift power. Pure nonsense.. just stop speaking shit. I am more than capable of making decisions that will make me money without some internet know it all giving me advice on a camera they have never used and on a drone they clearly know nothing about.

So Doug, you know my business better than I do? I have never lost money from a camera decision, I don't see how this would buck the trend... Maybe you can enlighten me, as you are clearly a drone expert. I need the best quality 4K camera to fit on a small Droidworx.... Please name all these amazing cameras that have internal 4K with broadcast codec.

People talk some nonsense on here about stuff they clearly don't do. I shoot drone footage... I shoot alot with the goPro in narrow mode to avoid the awful fisheye. It is roughly 30mm eqv, so the guy laughing about using a 35mm eqv is talking shite.... Especially when you realise the XC10 is actually 27mm eqv Then the guy saying it would need a rig similar to that capable of holding an Epic. The XC10 is 2.3lb fully kitted, slightly heavier than a gh4 with lens. We have rigged up GH4s and BMPCC on a Droidworx 4 rotor many times. Now whether the GH4 is better will be determined by V-log and rolling shutter tests... but impossible to say, at this point, that GH4 is better. 12 stops and 4:2:2 will take some beating... and I think the smaller sensor will help rolling shutter... time will tell.

Why can't people wrap their head around the idea that their needs are not the same as others. One of my needs is for a very light, high quality 4K camera that can fit on a small quad copter... hex at the most. Canon checked alot of my boxes,,, Though rolling shutter will need to be tested, The BM Micro is also very interesting to me, yet wont tick many boxes for you narrative guys, yet no tears about that. Big cameras like the FS7 don't do it for me, as I travel and shoot as light as possible... I don't sit and moan about Sony though, just because it is not for me.

FS7 seems like the perfect all rounder A cam, to me. Leaves ALOT of money for other stuff. C100 mk II is you don't need 4K

​The commemts section did. I have the NX1, nice camer... the DR is not comparble to the C300, let alone C300 II.... that is without even thinking about all the other things that make an A cam.

​The C300 was shot in rec709.... skewed test. Correct me if I am wrong

I've said it before, but get this baby on a drone and you have something pretty special. Lightweight enough to go on a 4 rotor drone like a droidworx.... 4K, 12 stops DR, IS, AF. Drone work rarely requires shallow DOF, I always shoot at f8 or above. You want infinity focus, generally. The minute someone make a gimbal for this, it will flyoff the shelves... and straight onto my drone Anyone moaning is just looking at it in a narrative/studio setting. It is a gopro on steroids. That is the target market, imho.

All these cheap cameras mentioned shoot 10 stops max DR with poorer colour. I guess image quality just isn't worth paying for?

There are no internal 4K FF cameras on the market, period (1DC is crop)

I got a realtime shot of my mum seeing an aurora for the first time, tears rolling down her eye. Sometimes, chasing technology is worth it (I made the purchase in a last minute scramble, before we flew to Iceland after deciding the high ISO tech was worth any shortcomings). Of course, for narrative work, we are pretty spoilt. Just get out and shoot on whatever you can afford... If you are good, it will look good. Chasing tech is part of the fun, but shouldn't be used as an excuse not to film.

c300 ii only does 60fps 4k via raw. 1080p slow mo rates would be a nice addition.

It doesn't have a battery or swapable sensors. It has no NDs... Is about 1/3rd bigger and heavier. It would struggle to mount on a drone. It has no OLPF, so moire and aliasing might be an issue. It has no EVF. It takes much bigger and more expensive batteries. It currently has Max ISO of 1600. Canon has dual pixel AF. Canon have worldwide service centres. Canon has great colour. Canon keeps DR throughout the ISO range. Canon is a low light monster. Canon have built in gamma settings to match other cams. Canon has some kind of AF system for manual lenses. Canon works perfectly with EF lens. I'm not taking any sides until I test both... But the C300 has some impressive featured and the Ursa needs EVF and battery plate to match the c300.. So price increases.

The most exciting developments, for me, are the gimbals, drones, dollies, mini cranes and IS like on the Olympus. These advancements will make cinematic images more so than 4K