mercer

@tomsemiterrific that 17-55mm is the lens I keep hearing about. I just lost a bid on it last night. It's that good?

I just spent the past year chasing specs, and although I learned a lot, my footage isn't much better than it was when I was just shooting with my eos-m... I was just chasing that elusive resolution. I know you've been looking for a camera to shoot your next feature with, if I were you, I would just grab the C100 mkii or C300 mkii and be done with it. You know they'll be reliable and the cinematic look is built into their color science. And honestly, I still watch most movies on a 720p JVC, so what do I know... It looks good to me.

Installing Magic Lantern is simple. You download Magic Lantern to your computer, verify the camera is running the proper firmware. Format your card in camera. Put it in your card reader and copy the files from magic lantern on your card. Then put the card back into camera and run firmware update. I don't know how much you would want to spend, but the mkiii is the best camera for ML Raw. The mkii is good as well. Any of their cameras that use CF cards works the best for Raw and will get you closest to 1080p Raw. Yeah Canon can be infuriating some times, but like you said, they get you there in the straightest line possible, especially for someone like me that is horrible at color grading. I think they just have too many camera models, so they up sell everything. Thanks for the lens suggestion, I will definitely look into it. I've also heard good things about the 35mm f2. It's a little pricy but I'm at a point where I'd rather have a few good lenses than a dozen okay ones.

Is it though? As a consumer I would rather give my money to a company that is honest about their technological issues than to a company that gives everything but the kitchen sink and half of it doesn't work properly. Say what you will about Canon, but when you buy one of their cameras, it works as advertised. And don't forget, Canon was the first DSLR/DSLM to have 4K. My point about heat dissipation was about highly compressed low bitrate 4K that the other companies are offering not the mjpeg or xf-avc codecs they are using in their higher end models. And as I said before, when your high bitrate 1080 looks as good as downscaled 4K from other manufacturers, then who needs 4K? Who really needs a 4K TV for that matter? They've created a catch-22 for consumers. They tell consumers... "Here's a 4K TV." The consumer replies... "Great, what can I watch on it?" They say... "Here's an expensive camera that shoots 4K, but it will overheat before your kid blows out her birthday candles." The consumer bends over and takes it in the ass with a big fat smile on their face. And then hands them a few grand for a TV and a camera.

And here's another one for a FF mirrorless lens patent. http://www.digitaltrends.com/photography/canon-30mm-28-lens-patent-full-frame/

Here's the rumor from canon rumors... http://www.canonrumors.com/some-canon-mirrorless-talk-cr2/

But probably because they want to wait and put it in one of the higher end rebels so they can up sell it.

Yes as flexible as e mount, not as much as m4/3 obviously. But C-mount lenses, Pentax 110, a lot of options. As of now, I believe it's just your generic speedboosters, ef and Nikon F. I assume an FD is probably on the horizon as well. As far as 4K, IDK why they can't put in a 100mbps mjpeg version or MP4 version like Panasonic. I remember that interview from the guy from Canon saying they were having heat dissipation issues. But as I said in my previous comment. Their high bitrate 1080p looks as good as Panny's low bitrate 4K, so for me where's the benefit? I am downscaling to 1080p before the edit, so I am losing nothing and saving time. I also really like the new body too. It's nice to see them move to a power switch rather than the button. And I actually like tilt screens better than articulating screens, so again I am pleased with that. My questions are bitrate, IBIS, and how well the DPAF will translate through their ef to ef-m adapter. And price. Because they don't sell TVs. Or they were being honest last year when they said they were having issues solving heat dissipation for 4K. There is absolutely no reason to lie when your excuse is a flaw in technology.

It could not have XC10 specs without the fan. If it had 4K it would have been in mjpeg. Which would have been fine by me. But don't forget, they're supposed to be releasing a FF mirrorless by year's end. If that doesn't have mjpeg 4K, then I would be surprised. As is, it's a little monster of a 1080p cam. Haha, I was so happy with the color I was getting from my original M and then I fell under the spell of that sultry, slutty 4K and I was chasing bad color, especially since I'm a horrible colorist, for the past year. I pick up the XC10 and 50D Raw and I remember the freedom of not having to tweak every increment from a picture profile trying to get my reds desaturated and my oranges not to pollute every pore. 60p with Canon color or overheated 4K with green skin tones... I'll take 1080p 60p please. I wonder how well the DPAF works with their ef to ef-m adapter?

If it has the same bitrate as the 80D and comes in at less than a grand, the M5 will probably replace my GX85. And if the 5-Axis is as good as it is on the XC10, it definitely will. With a speedbooster, it will be a 5-Axis FF pocketable monster. Would have liked to have seen 4K, but the 1080p from the 80D looks as good as 4K downscaled from the GX85, so who cares about 4K. I'll save transcoding time. It's probably their version of Panasonic's Hybrid. So maybe a crop.

Great information here, thanks. I mostly use 1080p with the XC10, so that's not a problem. I'd just like a two cam set up for close ups and then the 80D would become my knock around camera... Or the M5 if the specs and price is good. I've actually been pretty impressed by the footage I have seen online from the 80D. That high bitrate, looks as good as the 4K, downscaled to 1080p, that I've been getting with my GX85. With Super 35mm and fast lenses, the 80D looks like a winner. I've also been getting into stills lately. I originally was going to pick up a D5500 for stills, my GX85 for knock around video and my XC10 for run and gun prosumer work, but a week ago I got a great deal on a mint 50D that I loaded Magic Lantern Raw on and I am enjoying that a bunch. So, to make a long story short, most of my cameras are Canon, so I think it makes more sense to start investing in a system as opposed to these hodgepodge of different camera brands. Btw, which 2.8 STM zoom do you have? If I get the 80D, I definitely want to start trading up some of my 50, some odd, vintage lenses for one or two, good native primes that will work well with the 80D and DPAF.

Taotronics has some nice products. I may have to look into them for the XC10... As you know, going handheld with IBIS and a RVMP sucks when you're dragging around 2-3 feet of headphone cord.

The eos-m is a fun camera. Up until I picked up the XC10, that was my favorite camera to shoot with. The M3 has some extra controls (focus peaking, tilting LCD, IS) and is not much more money, so you may want to consider that model instead. Of course, the original M can be used with ML.

Thought I'd chime in because I am looking for a simple solution as well. I hate that most headphones have long cords, especially when plugging into the camera when I am the solo operator. But lately I have been using small Olympus field recorders in my actors pockets and a 3rd on my shoe for ambient sound. The Olympus recorders are great because they are balanced nicely for dictation and nature recordings. But I digress, the new Olympus model has built in Bluetooth for headphones, so since I am also looking for a simple monitoring solution I am considering this recorder and wireless headphones. Maybe a Bluetooth transmitter could be useful for you Lintel?

But Canon just released the 5d mark 4? I actually think that eos-m5 may be their flagship mirrorless... Or should I say, their 5D of their mirrorless line. They introduced the base consumer model, the m10 last year, so it seems like maybe they are delineating their mirrorless models?

5-Axis Hybrid = IBIS + E-Stabilizer. You only can get 5-Axis Hybrid by having the E-Stabilizer function turned on. The question I was asking is if the Normal IBIS is indeed 5-Axis. Most say it is, but the only literature that shows that are pictures describing Dual-Is. With manual, vintage lenses, I have found Normal IBIS to be not that great, so I wondered if the Normal IBIS was in fact 5-Axis. Most forum members have compelling arguments that it is, I am still not a hundred percent sure I agree, but I am no longer too concerned with it either because I have had no issues the 5-Axis Hybrid and in a few instances the extra crop helps me with some of the lenses I am using.

Looks good. How do you like the 80D? I was thinking about maybe getting one for a two camera set up with the XC10. It looks like they match up fairly well with Andrew's C-Log Profile. And it seems as long as you let your kid talk she is completely comfortable in front of the camera.

Interesting test. Hmm. Not sure what to say. I have used the camera with the 5-Axis Hybrid IBIS for almost a month and never encountered that tremor issue, but I have never used it with an ois lens, only vintage manual lenses and I have never propped my elbows on anything while using it. Am not saying either of those things were the cause, just explaining my circumstances with it.

Oh gotcha... you're probably a lot younger than me, so I'm sure you can tell me how to do most computer thingies... And yeah, I am not really a fan of flip screens... I tend to be a klutz and I suspect I would snap it right off. Plus I like to have the camera in front of me, it seems off balanced with the screen out.

Place your link on a new line, wait a sec and it will embed itself. But yeah, that is a pretty nice image, the shadows are clean. And apparently the in camera audio can make any singer/songwriter rhyme "sausages on the fire..."

That's true... a lot more options with the ef version. I actually read somewhere, I can't find the link now... I think it was on the lens bubbles blog, that if you use a slim, no glass, md to ef adapter (i think they're used for macro shots) with an ef speedbooster, you can obtain infinity focus... I guess the glass from the speedbooster works like the corrective glass from a normal, with glass, md to ef adapter. If it even works, I wonder if it would alter the additional crop factor from the speedbooster.

Sorry, just saw this. And yeah, that's right there are speed boosters. But if I remember correctly they only have Nikon and ef? Of course, I will probably be using my Nikkor lenses anyway... they seem to be my go to lately... so we'll see.

Did not know that, good to know.

Thank you for sharing Marotte's work, I wasn't familiar with him at all. And yeah, clog from the 1dC is simply gorgeous, and to be honest I'm not sure I would trade anything the 1Dc offers for DPAF... That image is so organic, so cinematic that you almost need to physically and personally pull the focus to be a part of the process. As far as breaking the 180 rule, hey whatever suits you. I'm pretty sure @kidzrevil and @jase expose that way, and I really enjoy their work too.

It really is an awesome camera. Well worth what I paid for it. But it has a few drawbacks... 1. Media cost for 4K. I have only shot 4K twice, once for some stock footage and a second time for a short that I wanted the extra punch with. I usually shoot 1080p log. It's beautiful. The 5-Axis only works in 1080p and I am more than happy for most of what I use it for. The log I try to her close to the native ISO 500, I will light for that but will go up to 800 if need be. Anything else I usually shoot in Wide DR, I have used that up to 1600 ISO without any noise issues. By 3200 some noise does start to creep in. Hope that helps.