Kisaha

I hear that "crashing" or "virus" theory all the time. I have a 5-6 years old PC ( I am not even sure how old it is, it has a Xeon 1234 or something, how old is this?) that is always ON, except when I am leaving for trips bigger than 3-4 days. I use it for everything, never any issues, just did a clean Windows 10 install when they were out a year(?) or so ago. I even had a terribly Acer laptop back when in film school, I edited most of my stuff there, and it is still working( actually this is a miracle!), except the DVD-RW. The issues I have are more software related (I am getting bored of Adobe, I am one good upgrade of Resolve away from abandoning them for good), not hardware or anything else.

I would like to be paid by the camera (from the CF slot), and revive the NX line (you used to shoot NX don't you?!).

@sandro Do you have any NX lenses?

I, too, am excited. I have already saved 75euros in my secret stash (which is the Rage Against The Machine Vinyl, no one will search there!), and I want the CN-E too. If you do something, let's do it right!

That's exactly the comment I wanted to make, but censored my self respecting the many Apple users here! But well done, saying what is true!

I do not know if I have to laugh or cry about it. In any way, I want FC support NOW, because I have to give 400GB of footage to some iMac people and I would love to bypass transcoding to prores!

Exactly that what I was looking at! BP4029, whatever examples I have heard are just fantastic! You are seriously into my mind (be it Canon's or microphones!)! Had you ever put the Audix on a boom? Swinging it around, and what not? I am worrying if it is extra sensitive to handling and booming. Schoeps, for most of my jobs is overkill here, I was considering more the 8050/8040 or the good old 50 (which isn't less expensive that the Schoeps, to be honest, I just am using it for so long.. but it's distinctive sound I am starting not to like that much anymore), for something slightly cheaper something from Neuman. I have excluded AKG and AT similar mics. The issue is that I was considering the Ambeo for the different recordings, and start doing some VR/360 stuff (even though, I doubt the market is ready for it here), and until I found any market uses for it, to record stereo ambiences. I was wondering if I could just use the Ambeo, and by pass the Audio Technica, because, you know..money! Or do you think I should buy the AT, and when the market for Ambeo matures more, invest on that too? How is the noise floor of both those mics, because I would like to use in places with distinctive silence! I seriously hate all you Northern Americans for your B&H!! 199$ for the mic, is a steal! It is almost 400$ here in Europe.. and it is manufactured here, anyway!

Yes, but how it affected your image? I am asking, because seriously I can't really comprehend the master black metering. What people think about the best Master Black setting?

@fuzzynormal @jonpais I tried to save some money to our friend! @jcs Audix seem ok, the problem here in Europe is that is 600euros, and is available only in a couple of places. I can't find it in their catalogue either. What is going on with this mic?! Do you think it is still worth it for 700$? Now I usually rent MKH50, or use my Oktava for lower budget stuff, do you think the Audix will be the middle ground, or should I go to the higher options straight away? Completely irrelevant: I was considering the Ambeo, but I was wondering if I can use it as a stereo ambient mic. Is it possible to do more traditional recordings with this mic, and is it worth it?

Depending the use, the OP has to come back and help us - help him! What is the best mic for my case (and uses), ain't for you, ain't for him, etc With sound we have to be realistic for what we want to achieve and how. The best way to do it, is take the microphone close to the source, as easy as that sound, it is one of the most difficult tasks since sound were put on celluloid! What I said, is that very directional/shot gun type microphones are the worst to put on a camera, it is a terrible idea really. I did a music documentary series, 1 year with 416, then 2 with the Rode, and when I came back to the 416 for the 4th year, it was a revelation! I never used the Rode ever again. The 600 is a great mic, it really is a different approach of the classic ME66 mic, which again was my back up mic for many years. I do consider getting the 600 for some specific uses, but I also do consider the 440 for camera mounting, for scratch sound, maybe atmosphere and what not. As you see I really like this brand, it is because I have used most of the others, too! PS: sorry HockeyFun, I run out of Up votes! Glad to see the old voting system back!

It isn't even close, and you can not tell from this kind of test here. I have seen this guys videos, and honestly doesn't seem like knowing a lot about sound. He has a video about the MKE440, check that as well. I am using 416 for 19 years now and a lot of microphones in the market. 416 ain't an amateurs, or a video person's mic. Most of the times, the criticism of the 416 is coming from people that they do not know what it is and how to use properly. Of course there are other great mics right now (look at everything more expensive than the 416 and you will see a lot of options) with more moderns approaches and technology, but in the most difficult day, when I do not know what to expect, and the weather is weird, then the full Sennheiser kit (blimp and mic) is my best bet. MKE600 is a great mic for the money, but it isn't even close to the 416 (the price shows anyway). There are other things that affect the pricing, like construction, durability, loose of sound characteristics through time, etc MKE series has the 400 and 440 (stereo short shotguns) as well, better look at those last too, they are more appropriate for camera mounting. The 440 especially is a great idea, is stereo, covers a lot more space in front of the camera than a traditional mono mic (and much more than shotgun type microphones), has an internal amplifier to by pass the usual terrible internal ones, you can buy a dead kitten (the hairy thing we put around microphones to cut air), so you can use it with moderate (rather low) air, and most importantly is a directional stereo mic, so you can concentrate to what is in front of your camera, "best" (that is so relative, I can't believe I typed it!) for small groups, or two persons interview as well. Other stereo mics are good for recording ambience sound, NOT dialogue but that's best to do it NOT with a mounted mic, and not while recording (because of the various noises we produce while filming).

I knew it could sound offensive, that's why I added the "honest and serious question" quote there. I remember you got the XC10 and a Panasonic one, but haven't heard from you for some time, wondered if you changed recently. Well, the point is, that if NX1 covers most bases, then it is more economical to keep the camera until it brakes. I tried to find a better solution this whole last year, but I couldn't light heartedly say that "yes, this is a system that I will enjoy". This last year I used GH4, Sonys crop and non, 5D II and III, and no mirrorless or dSLR is better for all around video. GH5 like a good candidate, I just haven't used one yet. We will see. He was really lucky, indeed. I hope we all are, because most of us in Europe are still in warranty, or their cameras work great! We missed you in our forums dude! Godspeed!

@ntblowz my impression is that the batteries are the same as the C300markII, not the C100 series (and C300markI). But I am not 100% sure. It is good to have raw, C200 could be exactly the same camera, without raw, and the same pricing, and still being absolutely fantastic for what it is. Panasonic actually revealed a few specs from a camera that doesn't exist (or any footage of it) with paid raw, and costs the same money. For some people, with 2 cards (shoot one, empty the other) can do a lot of stuff. No one would ever record a live performance, with raw (except for music documentaries of U2 or crazy rich project). Actually I do not know anyone doing a wedding in 10 bit, and people with very high budgeted weddings. A music video, a short film, a corporate maybe, green screen/CGI/After effects stuff, and internal. I think it is a great idea, if you don't pay for it (unlike Panasonic, that is!).

While exactly those STM lenses are the best for Dual Pixel AF, and even the CN-E lenses are influenced by those of how the focusing mechanisms work! and Canon reps said that good old traditional cine lenses aren't the best for fast, reliable DP AF. On an alternative world, Nikon lenses could have been the defacto video lenses of our generation. I believe the C series cameras helped with those lenses sale and vice versa. They created some kind of buzz, that sold a lot of lenses (when the first C300 and C100 were out, people were buying one of those and a pellicase full of lenses!) while before they were using camcorders with fixed ones (remember that the Sony EX-1 was more expensive than the C100 cameras on realease, and now people complain about the 7500$ of the C200!), or similar.

@Jimmy and all: Can we clarify this please? I heard this 2 conflicting views about the C200 sensor. In my mind, it is a big deal what sensor do they use. The first things I read about the camera the Canon reps said that it is the C700 sensor, but then I got confused!!

what is the point of having negative black?

Yeah, I hope that applies in general to NX stuff. It is 2 years in EU, and there are still new cameras out there (with obligation for the company to service them for 2 years since purchase).

@DBounce Indeed, very well thought. With the EVA I had in mind something that could connect the lower end of video (let's say GH5) to the higher ones (Varicam). For sure we don't know a thing about what the image of the EVA will look like, so everything is in thin air right now, as we (most) know specs are telling half, or even less, of the truth, and what about the Dual Native ISO? it certainly won't be 800/5000, so what if it is 400/2000? C100 eats 2000ISO for afternoon snack. Not only that, what is going to be the Sony response? I am sure they must have something almost done at this point. They probably laugh at the Pana and Canon announcements. They can offer the world, if they want, the only problem is the recently released FS7markII, that wasn't as groundbreaking as we would like. The Canon has already announced that it is going to be a free upgrade, while Pana announced that the raw upgrade will be a paid one. Some one that cares about raw should consider this as well. It is not silly to complain a bit on forums, some companies have people following the reactions. It won't be strange if Pana includes changeable mounts, and Canon 10bit codec.

@Andrew Reid Thank you Andrew, I believe that until the release of the camera (you don't have to edit something that doesn't exist yet!) all major NLE will support the codec (it is Canon we are talking about, not some brand!). can anyone please provide the specific hardware that needed for 10 bit workflows (video cards, monitors, etc). Don't we need specific video cards (BM, Aja, Quadro at least) and specific monitors (that cost thousand of euros, I mean a lot of thousands, not just 1 thousands!)? What else do we need? Are the requirements same for raw? @Andrew Reid I do not like the new voting system. First of all it is very antagonistic, why do we have to down vote? It will increase hostilities into the forum I guess, and I can not see easily who is up voting/down voting. I strongly prefer the older system.

Can someone explain me a 10 bit workflow (software and hardware) for the GH5 and raw workflow for the C200? I have the suspicion that most of us are unable to work with any of those, but I would like to know hardware (e.g video cards, monitors)/software/costs.

@Fritz Pierre I agree with you, too! You expressed some of my thoughts on a clearer and more discipline manner! It is not rocket science that companies should improve and build on their own mounts and thousands of lenses they have already sold. To be clear, I never owned anything m43, but I just see a brilliant idea to have cameras that you can interchange lenses and take you from family photos to A-B-C camera setups for corporate jobs and/or documentary, and what not (imagine a EVA+GH5+G90 kit, or whatever the next middling Pana camera comes after the G85/GX85). Right now I do something similar with NX1/NX500/NX3000, and when I have a better camera as A, then I still can use the NX1 and NX500 in some capacity, even the NX3000+fish eye instead of a GoPro. Variable sensor can offer the best of both worlds, and honestly, I rather get the C200 for a little more, the EVA design and ergonomics seem a little bit off to be honest, and Dual Pixel has proved (with M and dSLRs, and C100mkII and C300mkII sales) that is a biggest selling point than "pro" people want to admit. My next question about the C200 would be, what is the B and/or C cams I can get? It is pretty obvious that M series doesn't cut it.. I would love to have a C100/200 camera and a worthy M for my everyday/B camera.

@Mattias Burling As a lot of us here value your opinion greatly, what is your take for these new low-ish budget Cine Cameras (C200 and Panasonic)? It seems like the Panasonic wins in the middle codec, while "loosing" in the lower codec and internal raw.

@jax_rox Having a variable sensor is a great advantage because 1) they have a complete line of entry level cameras to cine cameras with the same mount. Interchangeable lenses between their cameras, so you can have 2 or 3 different Panasonic cameras and change lenses between them depending the project, and/or use 2) they sell more lenses 3) we can use smaller and lighter lenses 4) great marketing advantage 5) one can use hundreds and hundreds of different lenses, even smaller than m43 6) you use EF lenses, if you want, that is how we use the JVC, we don't own not even 1 m43 lens, but If I change NX to the GH5, I would like to have a few native m43 lenses to use. What is "failed"? JVC LS300 is in the market for a couple of years now, and it still sells. Samsung cameras were great cameras, and still are, the cameras didn't "fail", the mother company just chose to change policy and investments, and they decided that the whole market was going down. I am not going to cry about it, and why should I? I really enjoy using these cameras, and they make me happy, and earn me some income. I follow the market closely, and I will act accordingly. If a lot of people in the internet prefer a variable sensor camera, and not another EF mount camera from someone else, than Canon, then this camera can "fail"! and to be honest, if something doesn't change dramatically before its - unknown - release, most probably will fail.

@kidzrevil They are giving him 1350euros (1520$), that is the most support I ever heard from a camera company! He probably had paid less back then. \ Meanwhile, you have changed how many cameras since abandoning your NX1? (that is an honest, and serious question!)

@jax_rox How the popularity of a technological solution affects its usability? ("Sure, the JVC may have done it, but how popular is it..? "). This variable sensor is a brilliant idea, and have implemented some unique features and innovations because of that. Actually the biggest selling point of this camera is the variability(sic) of this sensor, certainly not its high ISO capabilities. and in some circles (weddings, events) and some markets it is an option, it is a sleeper camera, that didn't make the news like these Cine cameras did (and JVC marketed it as an advanced camcorder and not a cine camera) but slowly and steadily has build some dynamic. Together with the Atomos it offers 4K/60frames, and fixes the monitoring issues (its little monitor is very bad!), and you pay less than half. Popularity isn't the one and only measurement, believe me, I have 3 NX cameras, and I use the JVC frequently!