mercer

Cannot believe they priced it so high. Hopefully, their eBay pricing will reflect the aforementioned $300 price.

Tried eoshd-log on the eos-m10. I used a canon log LUT from Color Finale with no other adjustments...

Hah, does the C100mkii have a 1" sensor, ef-m mount, 5-Axis IS...

Yup, I'd go in debt for that camera. They won't do it though. I mean, I have to assume that we aren't the first people to think about this, someone at Canon must've mentioned it... Hell... Renaissance mentioned something similar right when the XC10 was released. I would think a quarter of micro budget/indie filmmakers would own this combo.

Very true. The only issue I have with the camera is for narratives, I really need a complimentary camera for that shallow depth... I just cannot afford a C100 for the spec shorts I work on. If only Canon would release a C1... A one inch sensor camera with interchangeable lenses. The BMPCC has proven you can obtain a shallow depth with a small sensor and fast lens combo. 1080 (and maybe the 220mbps 4K) and Canon LOG with the eos-m mount for around 2 grand and I'd hand over my money.

In 30p. According to DPReview, no 24p until 1080p.

I really like the color. For $300, it may be worth a try. Will wait to see some other lenses used with it. Would also like to see 24p in their 2K mode at a better bitrate than the 15Mbps 24p in their 1080p.

How much ISO do you need? I've mainly used the camera in daylight, but I have brought it up to 3200 and there was some noise, it was definitely usable though. At 1600 it was clean. I may have a chance to run some lowlight test within the next week or so.

That sucks, it looks like a demon, that frequented nightclubs in the late 90s, possessed his shirt.

First I need to say that Canon LOG is not mushy crap, I know you didn't say that but it definitely needs to be clarified. The cameras that offer official Canon LOG are their higher end cameras that downsample the 1080p from 4K or shoot in 4K. The Canon LOG 1080p from my XC10 is as sharp and detailed as the 4K from the Panasonic G7, GX85, etc... The 4K from my XC10 is a professional codec and grading the Canon LOG files is a joy. It blows away any consumer 4K anywhere near or below that price. So, the question, for me, becomes... How well does Andrew's C-Log match up and can it be intercut with actual Canon LOG? Personally, I am at a point that I would rather have the cinematic colors and gorgeous skin tones of Canon 1080p than the sterile video look of most other camera brands. If I were you, I would maybe consider a C100. Selling your BMMCC and GH4 would cover the costs. Then use one of the DSLRs you already have access to, with Andrew's C-Loh as a B-Cam. Or get a 5Diii, use ML Raw for those times you want 14 bit Raw and for simpler work, use Andrew's C-Log. I'd be interested to see how well the ML bitrate hacks combined with Andrew's C-Log works. I am so over other camera brands that I actually ordered a dirt cheap eos-m10 to test Andrew's C-Log and see how well I can match it with Canon LOG from my XC10. If it's fairly simple to get them close, my next camera will be an 80D or M5. Btw, I also have a BMMCC, and for me, it is one of the most unenjoyable shooting experiences I have ever had. But I do admit, the footage is beautiful.

Dang, Canon should offer you buy one get one free.

I have not tested a microphone that requires plug in power, but from my understanding, the XC10 does not supply it... Which I find very strange.

I'm definitely keeping the XC10. I may keep the GX85. But I may get an 80D as a 2nd cam to the XC10, so I can do close ups. If I do that, I'll probably sell the GX85. I have to do some tests with Andrew's C-Log and see if I can match Canon DSLR with Canon LOG.

Did you ever sell your 80D?

Great cut at the end of that video! Just when I realize her shirt is-- Cut to Kidzrevil graphic.

I have, it was one of the reasons I bought it. S16 lenses will cover down to about 20mm. 1" TV lenses will just cover down to about 12.5mm. On a lens that wide, if you move to quickly, the image will fall off the edge... You can actually see the vignette float into frame. This is where the e-stabilizer helps to give you a little more crop. I'm still unsure if I'm going to keep the camera, but if I do, it will be so I can use vintage c-mount/TV lenses with the IBIS. They really help to soften that digital video look that is somewhat inherent in the Panasonic image.

I don't know that I agree with this. Canon colors offer the most cinematic images straight out of camera. Are there better options... Sure there always are better options, no matter the camera.

200mbps 1080p... I think I like the camera even better now.

Have either of you used the 35mm f2... The IS version? I just bought it refurbished from the Canon store during their sale last week.

I don't think anyone is saying it's "unworthy." I just had my eos-m out yesterday and I still love the image it gives, but Frank has an opportunity to have his work televised and that network has specific camera guidelines, so in this instance, he would be out of his mind to stir the pot.

That's understandable. Other than my XC10, I've only ever used low end DSLRs. Because I love the Canon Log out of the XC10, and since I cannot afford a C100, I've decided I am probably going to get an 80D... for close ups and DPAF. Hopefully I can match the two. If I was contemplating switching DSLR brands, I would go with a Nikon D750 or D500 before I'd go with a Sony. I get the appeal of the A7Sii, but I'd rather deal with Nikon Flat profile before SLog... But I am not that great of a colorist either. So with all that being said, I'd definitely pick the 1DC before the Sony. But that's just me... Or wait a year and get the 1dxii used for the same price the 1DC is going for now. The C300ii is beautiful. In the recent C500 thread, Kino recently posted some clips from the internal 10 bit 1080p and it looks amazing.

So, what lenses work well with DPAF? I assume most of the newer Canon lenses do, and LintelFilm confirmed the Sigma Art lenses do, but are there any other 3rd Party lenses that work well with it? How about the Tokina 11-16mm?

10% is a lot plus ProRes is a great intermediate codec. If you're using a Mac with EditReady, there are so many other benefits to transcoding the footage to ProRes before you bring it into your NLE. Also, I haven't used Andrew's C-Log yet, but we must remember the Canon's are still limited for their grading. I believe you will get some more shadow and highlight info, but you still want to get your exposure and WB pretty spot on in camera. And you definitely do not want to ETTR with them... if anything you may get better results underexposing a hair and bringing it up in post.

I think they are both great cameras, with their own unique looks. With MKiii you get ML Raw and it's simply gorgeous. With the 1Dc you get Canon LOG, equally gorgeous IMO, just different. Of those options, if you can afford it, I would go with the 1Dc... when paired with the right glass, the image is on a different level. There's just nothing else like it at that price point. But, in all honesty, if I had $4000 to spend, I would probably get a C100 mkii before either of them... DPAF, 60p, small file size, Canon LOG, XLR professional quality audio... a truly professional level video camera. You may be able to find a used C100 mkii and a used A7Sii if you're really interested in the Sony.

If you are thinking of going with the c100ii, unless you need the 60p and DPAF, I would consider just buying a used c100 mk1 from eBay. You can usually find them for $2000, I actually saw one go for $1600 a couple weeks ago. I saw a mark ii go for around $2500. The rental cost would be a quarter of that. So unless you are definitely using Canon EF glass for the DPAF and you need the 60p, the mk 1 may be more than enough and some people prefer the image from the mk 1 better.