mercer

So... yeah then this camera isn’t for you. Luckily, there are other cameras out there. Of course, I don’t think there’s any added workflow. Resolve and FCPX reads the files natively.

@DBounce I understand that but to be fair you represent an even bigger niche market. Correct me if I’m wrong but didn’t you say that you don’t do any professional work? If so, the fact that you would even consider the C200 as an enthusiast puts you in one of the most unique market segments. With that being said, there are plenty of cameras out there and I guess I don’t understand why people, who would never buy a C200 anyway... or even any Canon... are getting so angry over the lack of anything in the camera? But I will say, if the cost of the media doesn’t bother you, I guess I really don’t understand your issues with the camera... shoot Raw... it seems like you have everything you need for the storage and if you want to get a little more out of it, then use an external recorder and get beautifully downscaled 2K from the Raw output. Honestly, until someone mentioned this... I didn’t even know the C200 did this. With a BMVA, one could get amazing ProRes files with the C200B.

Sorry Don, you know we’re buds but that was a silly comment. My point was that 99% of the people on this board have as much of a chance selling a documentary to the BBC as Trump has at becoming Pope... so why sweat BBC standards? As far as Canon being in business... Sorry but I can’t help but laugh. Canon is the most successful camera and lens maker of all time. The idea that a 10bit middle codec on a $7500 camera that is marketed towards professional filmmakers should make or break the company is just ludicrous. Canon knows what their customer base wants and it knows that the overwhelming majority of its users do not have the interest or computing power to handle 4K, let alone 10bit. Just because Panasonic wanted to cater to the videographer niche of the market (which is great) doesn’t mean the standards for all consumers have changed one iota. And trust me, 10bit does not make that much of a difference with color grading. If you can’t grade an 8 bit file (which I am not very good at) then those extra 2 bits aren’t helping you all that much. It took 14 bits for me to get noticeably better. So be happy with 8 bit for the immediate future or get a Panasonic. And trust me if either Panasonic or Canon decides one day to get out of the camera business, you can guarantee it won’t be Canon. Don, why would anyone continue to buy the GH5 if the GH5s had IBIS? And I’m sorry, this professional DP argument not wanting IBIS is just outright silly for the simple reason that very few professional DPs are using any variant of the GH5... But I guess that depends on ones definition of “professional DP?” Honestly I don’t know if the GH5 is a flop or not but I suppose the sales aren’t as great as the interest in the GH5 is on this forum. And I would go one further and say that the comparably priced Canon camera probably has better overall sales numbers. And yeah, nothing to admit... I don’t think it’s any secret that I like Canon cameras. But I don’t sweat the choices of multi-national corporations. Canon released a camera that can shoot 14bit 1080p Raw, how it ended up happening is irrelevant. To be mad at Canon for not offering it themselves is a colossal waste of time. The end result still equals me shooting 14bit 1080p Raw... so the world is good.

It’s not “Canon being Canon,” it every manufacturer being every manufacturer. It’s the same reasons the GH5s doesn’t have IBIS, they’ve just decided to protect a lower model than a higher model. Business is business and every corporation in the world does the same exact things. The beauty is we have choices.

@webrunner5 So what, get a bigger card and stop every half hour. Or multiple cards and stop to change a card. I don’t think production ends for the day for a card change. And yes if you are shooting a run and gun documentary, it’s probably not the right camera and probably wasn’t designed for you. Get a C300ii or a C100ii or an EVA1 or shoot in the 8bit variant... or buy the C200B and buy an external SDI recorder to capture downscaled 2K from the Raw at 10bit. But sorry, I don’t think BBC standards should be a concern for 99% of the shooters on this forum. I mean, if you want to drive on the Autobahn, then don’t buy a Ford Fiesta. Or in converse, if you want great gas mileage, don’t buy a Lamborghini.

C’mon, if the media is too expensive, then this camera is definitely not right for your production. But if you’re making a serious short film, with a budget, then another grand for Cfast 2 cards shouldn’t be a concern... I mean seriously... who is going to spend $7500 for a camera that shoots 4K Raw up to 60p and then complain about the cost of the media and want to shoot 8bit?!?! But the real hilarious part of this argument is that the people complaining about the cost of media to shoot Raw 4K on the C200 are fine shelling out comparable costs for the V90 cards to shoot h.264 on the GH5. If you want a serious camera, you have to pay serious money and if you don’t, then there are plenty of amazing options in the sub $3000 consumer category.

I think you posted a similar link last year which also showed a strong showing for Arri and Canon and a small showing for Panasonic.. In fact, I was surprised to see how many filmmakers used the 5D Mark iii last year and that was one of the many reasons I chose it over the GH5. But I don’t agree with you about Kinefity, I think they released an amazing camera with the Terra 4K.

Yes but in that mirror space, they could include a hefty ibis system or internal NDs... who am I kidding... Canon won’t do either.

Pretty crazy how much better these Sigma lenses with the MC-11 adapter are compared to the Canon/Metabones option. I still don’t think the Sony PDAF is as natural looking as Canon’s DPAF, I noticed some light pulsing, but for most applications, it’ll do and many Sony users will be very pleased. That 24-35mm is sharp as a tack. The next time you Shot ML Raw, I’d love to see some sample footage with that lens.

Who is Steven Spielberg for $500, Alex.

I guarantee somebody could post the same topic/content in both sections and the post in the main forum would get more views and discussion. Obviously, you cannot control what people respond to but I think it could be easily measured that the tech is of bigger interest than the results of the tech.

Yeah but the problem is people on this site seem more interested in the main forum where the tech is discussed than the shooting sub-forum where creativity is showcased.

Awesome... Is that a screengrab

You can almost get a Zeiss Compact Prime for that kind of money...

@Mattias Burling I literally just saw and liked this on IG... nice shot.

Nice as well! I’ve heard good things about that 35mm. Here’s a few more from the Minolta...

Minolta MC 35mm 1.8

The obvious explanation is that Ebrahim kidnapped BTM and sold him to another forum?

That recent photo you posted on IG of gunpowder shot with the 7artisans is absolutely stunning!!!

@Andrew Reid That’s right... it would be a perfect walk around lens for me. If you need some length, keep the 85mm 1.4, non Art (half the price of the Art version but probably the same lens or close enough) in your bag, just in case. Great two lens solution.

It gets great reviews but it’s big and heavy. But I love my old Minolta 24-35mm and my Tokina 24-40mm... just a great focal range for a zoom in my opinion... so awesome as a two primes in one solution with that ability to punch in or out a bit when needed.

Yes, I would guess that there have been more EF lenses sold than Nikon lenses... partially due to Kit lenses being included as both a lens sale as well as a camera sale.

@webrunner5 honestly, having grown up shooting Super 8 and VHS, I am blown away by what any of these cameras are capable of. Hell, a t2i and a GH1 are insanely better than the mini DV I used for my first short and that was monumentally better than the Hi-8 camera I had before that. We’re really lucky.

The GH5s uses a Sony sensor capable of Dual ISO... so I’m pretty sure Sony could have Dual ISO on an upcoming camera, so I doubt Sony is too worried about Panasonic. Hell, Panasonic isn’t even in the top 3 of mirrorless sales in their own country.

I thought you lived in Greece?