Kisaha

The truth is, the legs failed, but miserably, on brand new sets. The one when we had a big job with the new (back then) C300 fully rigid for a short, it was really disappointing. In general Miller is top notch, except those 2 occasions. Just have great experiences with Sachtler that I rent for so many years now, and they go as expected, really impressive. Sacthler legs on the small Chinese Aces fail as well but for the money that little head is great for dSLR/mirrorless, but even a C100mkII with a 70-200 is testing its limits (and fail most of the times). It is not good to play with the limits of those, and well know brands are usually more truthful with their limits, unlike Chinese that declare whatever they want! Most of the tripods are perfectly fine if you do NOT move them. But if you want to make some motion, then the good ones show their (price) range.

http://www.panasonicforbusiness.com/2017/04/andrij-parekh-13-reasons-why/ and I quote: "Parekh captured UHD (3849 x 2160) AVC Intra 444 files to expressP2 cards. “Most of our audience are probably going to watch the show on their iPhones or iPads, or maybe a television at home. The AVC Intra codec’s resolution was perfect for broadcast, and it didn’t require massive data storage.” ..I do not consider 13 reasons why as a low budget production, at least not in the sense they are discussed here. I didn't watch the review, but a tripod has to be proven through time, I do not know these specific ones, but I have used most of the best Chinese brands, and only some certain Benro are ok. I have seen Miller tripods fallen apart, I wouldn't trust a dodgy one called "Came - TV"! Most of the "great" Chinese ones work amazingly well for a few months, but when they start acting, then you just throw them away (Secced, some Benro even). I rather give 1000$ more for the real thing, and keep it for a dozen years, than save 1000$ and keep it for 16months. Also, the head movement is very expensive. Good Cartoni and Sachtler are absolutely fantastic, even with heavy equipment and rigging. I am not a great fun of Miller (because I have 2 very bad experiences with 3-5000$ combos) but I have used some great Compass ones.

As people say, it will be placed between c100mkII and C300mkII, something between 6-8000euros (the old C100i and ii will lower their prices a bit, to fit the newcomer), and the new Panasonic may be at the same price range too and they will compete. An FS5ii must be due as well, it won't be able to compete with those new cameras. Exciting times, as Panasonic was out of the competition, and I was "bored" of the Canon and Sony offerings!

don't you love it when you can say "told ya so"?! Cheers Dave, hope this is going to be my next camera. I hate to be an early adaptor, but I am waiting for a C100markII replacement for more than a year now. I just can't wait anymore!

Arrival was too mediocre for me, some other year in history it wouldn't be not even in the top 30 (maybe 31!). Every year I am seeing less and less films I really like, and I have to search more Asian/South American/European cinema for finding the rare gem. I used to watch all the Oscaric films as well, this year didn't even bother. http://www.imdb.com/title/tt4936450/ Bacalaureat (The Graduation) was my favorite last year, and that wasn't even close to a masterpiece, but it was an excellent film. Maybe it wasn't Deakins, or Villeneuve, or had 74 billion budget, but it was true, and followed me for many days after.

It is easier to buy an expensive car, than run the costs of it. Servicing, fuel, insurance, taxes, etc That applies to everything, in my opinion (and experience) everything in the workflow is important. Especially with tripods, you can't cheat, there are no very cheap Chinese ones, and you can't buy smaller if you don't want to harm your usability, I learned that the hard way (it is always hard!) a dozen years ago.

@ntblowz interesting, I am in tape 4 right now, I will be looking at it with a different eye now!

"Arrival" was so mediocre, really believed in Villeneuve, really disappointed. I still remember watching a different cut of "Blade Runner" on VHS tape someone send from England when I was a teenager. It was huge for us back then. I am not expecting the same chills and thrills, but not because I am older now, because the writing isn't there (or here) anymore. Giorgos Lanthimos the "Dogtooth" and "Lobster" Greek director was a famous advertising and video clip director here, serving the mainstream, I do not even remember one TV spot or video clip of his that I liked. His films though were something else, well, the key was Efthymis Filippou, his screen writer. What I am saying, the main issue is the script, we are lacking good scripts, and in general, younger generations send emoticons or videos, not words. In our pursuit of visuals we forgot to write, read and listen. P.S oh, by the way, how disappointed people are from the new Star Trek franchise?

+111111 Well done @jcs Tom's definitely owes you a vey cold beer someday! Try the low cut filter, and it will be fine. For voice recording you don't need most of the low frequencies anyway.

I did a run n gun low budget documentary series for a small TV station last year, and I used the Canon C100mkII AF 85% of the time. I saw the light. Since then, I didn't have a job that I had to rush so much, so I have use AF only on the Samsung NX1 3 times, while on the Ronin with, maybe, 95% success. For the next chapter in my pro life, I am really looking forward for a C100mkIII or C200, or whatever will be called, with a CN-E lens, I am expecting this combo to increase my productivity vastly. AF is here to stay, it is not philosophical, it is just becoming better and better, C300mkII has already a few more AF tricks, but there will be always MF for purists and people and situations that we need total control. In my opinion Dual Pixel is way ahead any other system right now. It seems like Canon bet on the right horse. Again. Not only they pleased the hordes of their amateur funs that do not care (or need, or have the way to edit) 10 bit video, and only care to keep the occasional family moment, while shooting pleasing color pictures, but they also transferred successfully AF to the pro level.

Very good production video, amazing city (this, must, be). The most important issue with stabilizers is the balancing procedure, if it is equally good (hopefully better) than the Crane, then they have a winner, if it's not, then, don't!

@mercer Understood, Canon and Sony have the most complete line in photo and video, that is why they are market leaders in most categories. But whatever entry or middling Canon you buy, EF-S lenses do not work on their full frame cameras anyway, so it isn't exactly true that there is a great continuation. Also their mirrorless range is another mount to consider, EOS M, and with just a few lenses, so you have in reality at least 4 lines, EF-M / EF-S / EF / Cine line while in Pana you have only m43 and the pro mounts in Varicam. There is the GH4 still on sale, for most people that is a perfectly fine hybrid and do not have to pay 2000$ for, more or less half of it! The problem isn't that Panasonic do not have a middle camera between G85 - GH4 and GH5, is that Canon charges too much for their 80D, 7D and up. Except dual pixel, which is truly incredible, middle Panasonic cameras are much better than 80D and down, even if they cost the same amount of money. Do not forget that GH5 is reaching dSLR levels in size and weight, you can't have that for cheaper m43 cameras, their biggest selling point was always how light and small were, you can't just make them bigger than full frame dSLRs, you can do that to a specialized video tool like the GH5, but not for the rest of your line. I consider the JVC a camera to bridge the gap between GH5 and the new Panasonic, it is close to the GH5 price anyway, no 10 bit (and IBIS of course), but everything else is there. We don't even know the Pana price yet, why we are so certain that it will be 6500?! There is also the DVX200, a little more than 4000$!

Sorry but what I see is terrible, I supposedly have a color corrected 1440p monitor (not top of the range, but a few years ago it was quite good). The Face Detect photo just under it seems much better!

@mercer Read 80D, replied with the only words worth of this camera. As you know C100markII is my favorite camera for most uses, but if there is a C100markIII with 4K capabilities (and it should be, really soon) then it won't cost 4500 euros, so the new Panasonic will compete with the III, and not the II. The C100markIII it can be north of 6500euros, to close the gap between the 13.000 euros Canon C300 mark II (and look at those specs for 13.000euros). When they are both out we will compare and decide (I am definitely in the market for such a camera), I favor Canon in general, so many years they have treat me good, but as you know I am brand agnostic, whatever works; but in 2017 I can't buy a 4500 camera with only 35Mbps 8 bit bitrate, even though it is a magically robust codec. Raw isn't something they will give for cheap, even the new Ursa reaches 5 number price territory if you include all things necessary. I can accept such a camera for 6500euros, if it has everything else I need in that price range, and get raw out of a Atomos or Video Devices recorder. Seriously, for more expensive products we just rent a camera, but of course it is good to have raw with some way. Now, if Pana gives as raw in that price range, then thank you very much! In my next buy I would like to use more dual pixel technology, so ideally I would like a C100markIII (or C200, whatever it's called) and a CN-E lens. P.S what's wrong with G85?! I consider it to be a more advanced camera than the 80D, and native lenses are just fine. GH5 is extremely cheap for what it offers. Unbelievably cheap, and there is the GH4 for less than 999$ as a worthy option.

@mercer 80D is a joke of a video camera, I do not understand why it is mentioned here. I guess you have misunderstood the whole industry, the productions that need raw are so few in the general video creating scheme of our times that it ain't even make a dent to sales. Even for documentary TV series C100markII or 8 bit 4:2:2 is mostly adequate. If you do a few projects per year and have all the time in the world or a big budget, then ok, most of the time we are rushing to keep into deadlines, and raw workflow isn't the fastest or most convenient one (both pre/pro and production wise). Every company protect their product lines, and that make sense for customers as well. What is the point to have a lot of similar options from one company, it doesn't make sense. Just check car companies and their models (take Citroen par example, where their product line is very clear) and you will understand how things work. Also, to keep with the car terminology, a racing car (raw) has the absolute power, but a professional needs a small van 7 times out of 10, and the rest 3 ain't a sports car either!

Great! With the NXL the Samyang 24mm/1.4f becomes what? (what is the crop factor in focal length and f-aperture?)

I guess you mean "Leroy Merlin" superstores. Can you link as the specific Osram and Leroy Merlin lights? I would never think of using hardware store lighting for video, but why not! I agree with the WB comments, something really fishy is going on with it but I haven't figure out a certain way around it. Any 95+ CRI led will do the job though, just be careful with the included gel (or plastics that used as gelatins) because almost always aren't what they are supposed to be, but this applies to all cameras in general, as it is a LED light specific issue and not in camera.

First of all it is funny that some people are certain of the specs, features and characteristics, when in reality the only thing we know is that there is an EF (or EF-S) lens on a picture. The Craft camera was more real than this one on those renderings a year ago! Second, it is also funny how people are start fantasizing everything they need, and want, on a 6000$ (or whatever price has, but it would be 4500-7500$ for sure) camera, that render 95% of all the other cameras useless. The good thing is that in one month we should know most things. GH5 was a pleasant surprise ( I do not think that is a coincidence that A7 series cameras had a price deduction almost immediately after the GH5 release) and Pana can build from there and offer as a great tool for small to middling jobs, but that camera won't be shooting iMAX projects any time soon. I am sure people on Canon and Sony are eating their nails right now!

@Parker Excellent! Seem like its own film stock. Do you care to elaborate a bit (or preferably, a lot!). The NX500 is so small, with the same NX1 sensor, that is a complete steal (if you own NX lenses anyway). I have the same exact use as Parker does, also a tiny silly Manfrotto tripod that fits even into my regular bag pack, or at the top of my camera bag (a big camera bag, not a huge one though) and I always carry it with me, as a B cam combo, or back up combo. I also have a small rig with a matte box and rails and stuff, recently I just used it as a B cam for interviews on a serious documentary shooting (I was doing the sound, and I joked with the DP, which of course we work together since the beginning of time, that I could pass the NX500 as a second cam and no one would even comment on it, and I did! Actually I saw the finished product and the NX500 is more in the interviews than the JVC LS300, but the JVC with its 4:2:2 broadcast ready codec performed slightly better in Resolve.)

Yes, there is no way to change it, unfortunately it is somewhere deep inside, hidden and unable to manipulate it! This is what I call a Unicorn lens, very groundbreaking characteristics, great combo and performance together. The green color I set in 0.95 (instead of 1), you know that you can change most things in every profile? I mostly shoot 1080p for various reasons, so if people have more advices about the super sharp UHD modes can contribute more.

No, you can't, that is the main complain we have with these cameras, and that you can't zoom in for focus while recording! Even though this specific sensor seems like the most advanced crop sensor ever produced (28megapixels, first BSI ever, incredible fast readout - that is why it has the lowest 1080p rolling shutter than almost all the other cameras) the aggressive noise reduction they applied is destroying everything in higher ISO, especially in video, but in JPG as well (at least for photography it has raw). Iwould like to hear your impressions after a little while with the camera, as I know you had/have other systems as well. What lenses do you have? I am trying to avoid shooting above 1600ISO, and keep noise in minimum, it seems like the NR kicks in just after 2000ISO or something. The 16-50S 2-2.8f helps a lot in this, as it is the fastest zoom crop ever.

This rumor seems like a sure bet. Anyone that started shooting video in 2016 could predict such a thing. What I found interesting is that more and more people are calling for a variable sensor. That would be amazing, and one step beyond C100/FS5 (but similar to LS300).

The second utility, in the end of a whole shoulder mount system, seems exceptional for me. When a little while back I did a similar research about the system, I read a lot of comments with QC and usability complaints and then stopped looking further into it. If it works as advertised, it is an excellent solution, and maybe worthwhile for our LS300 (we have the Metabones right now). I would love to hear from actual users here. It isn't an A++ wireless focus system, but for simple jobs, it maybe worthwhile, and the crop factor ain't that bad either..

No worries, just joking, wish I was living in the 70's, flower power and all!

@ArikhanI am probably much younger than you think! I just started to work and educate myself from a very young age! Certainly I wasn't born in the 70's!