Kisaha

@IronFilm I love Tascam! DR680 not though, not really meant to be on the field, why do you have 2 of those?! One of the reasons I am skeptical with 633 is that I am waiting to see what Tascam will offer, and if I have to go full Zaxcom mode, and never look back. "Zaxnet is mostly excellent, to have NOT" means that is a great feature to NOT have, maybe we got a bit lost in translation here, but what I meant was that you have to go to Nomad 10/12 to have Zaxnet in build, and those are not cheap, so an investment I can not do. If I was going Zaxcom (as you said earlier) I would definitely wanted everything Zaxnet connected! If I go SD 663, then going Lectrosonics and the such.. It is not only the limiters, the phones pre amplifier is very bad in Zoom (worst than some similar Tascams) and most importantly, the low cut filters that I use all the time (I think), plus the mic pre amplifiers (while Zoom's are impressive, they are nowhere near SD/Nagra ones, we have to wait for the MixPre to listen to them though!). By the way, what bag are you using? I am torn between K-Tek and Orca at the moment!! Great talking some sound in this forum! Cheers. Similar tools look similar, a hummer is a hummer, a car is a vehicle with tyres and an engine, an airplane is a long thing with wings!

In my experience, only higher end Canons have similar color science, and Canon in general, from m43 and Sony, it seems like every one or two models they have something different in their color science so do not count on it. In Sony land, menus again are mostly different, and they are keep changing them (they won't be there for at least half a dozen of years!). I told you before, FS700 seems tempting, but is a nightmare of a camera to rig and use. Plus in my experience the build quality is questionable, at least. Plus the FS700+Odyssey is quite expensive and huge to carry and set. If you are spending so much money, buy a C300mkII+CN-E lenses that have you covered 18-200, a 5DmkIV, and a M6 and you are covered from all angles. JVC is not similar at all to the FS700 combo, I am not sure why you keep bringing it on, they are not comparable in mostly anything, except they both shoot video!

@Emanuel Obviously there isn't a healthy market, as all the statistics we have is that photographic equipment sells less and less, Samsung is out, Pentax barely survives, Nikon is going down - really hard, Sony wins the market but not the profit etc etc As it is, the JVC LS300 is a camera on its own category, there isn't an interchangeable lens camera offering 4K and all the rest for such little money, while JVC isn't known for their photo cameras (sic), while they are rather well known in ENG and digital video. It has a whole tier on their own, while creating a photo camera will put them against at least 7-8 other companies on a shrinking market. I am not sure you are really familiar with the camera LS300, it is far from a bigger dSLR, is the new version of the classic JVC video cameras of the late 90's and early 00's, not a GH5 imposter and while I have mostly good things to say about it, not everything is ideal. A modern video camera, not a classic cine camera, JVC advertises the camera as such as well. What I would be more interested, is to see a bigger LS500 model, something to compete with the likes of C100 and FS5, here is a tier that we have only 2 brands competing. Panasonic saw this market opening and already teases their new camera. The run and gun segment between 5-6000$/euros/money is a rather significant one, with a lot of people doing wedding videography, sports covering, live events covering, small corporate videos, cheap video clips, short films, internet content with such cameras, that have it all in convenient size and weight, usually with just a couple of lenses, and do most things right and reliable. There is also a bigger margin of profit for the companies as squeezing a few dozens to 1 hundred of $ out of entry level dSLRs isn't the best approach, when you can squeeze hundreds to thousands out of top of the line video cameras.

I really enjoyed the 18-105 for the money and the size. The stabilizer is great too, impressive at times even with the a6300. There must be some sample variation going on, as I have used 2, and one was clearly better than the other (maybe some case of moved elements inside?). No much experience with Sony cameras, but it seems like a good small combo for the a6xxx cameras. If you have the money, and the space in your bag, and the willingness to change lenses on a shoot, 2 better lenses are always much more preferable than one worst! I have seen the 16-70 once, I just hold it, felt plasticky (even thought there was metal all around), but I heard only good things about its image quality, and I always go for 16mm in APS-C, and it is not that more expensive either. f stop, build quality, no dust proof - spill proof, would be my only worries, but these apply to both of them. Certainly 2 of the most interesting Sony lenses of their kind.

@IronFilm I mostly agree with you, it is just you can't have it all, and for so little money! It reminds me a guy on another forum that complains that there aren't great 120fps cameras with the A7sII high ISO performance for less than 800euros, and he goes on for a couple of years now. Recently he "demanded" in that price range 4K/60p (thanks God he doesn't even know what 10bit are, or else..). I am really skeptical about going 663 or Maxx, and Zaxnet is mostly excellent, to have NOT. To go all in Zaxcom is a thing though (their wireless solutions seem excellent and pretty straightforward), but I like ergonomically the 6 series by Sound Devices (dead serious design and usability, plus the battery solutions) while I haven't used any Maxx or Nomad. F4 in my opinion is too digital, and it doesn't excite me much, my comment about the Mixpre being "half a world" better is because of the analog circuitry. When I am working with top SD and Nagra devices, what I am hearing in the post is a completely different world than the usual Tascam and Zoom stuff. Even older top machines (Fostex anyone?!) have great sound, but lacking in features/portability/power management, but analog filters and limiters, together with Class A pre amplifiers (and excellent phone amplifiers, something that Zoom sucks) is a nuke against TNT bombs. Another issue I have with Zoom is their ergonomics, seems too Sony a600 to me(!), I wish Edirol/Roland had a great new machine to compete with F4/F8, I really loved working with those back in the day. All in all, I am waiting for the first MixPre reviews, but I feel those will be out of stock mostly instantly, and for a long long time! For my needs, it will be an excellent little recorder until I see truly the need for a better recorder (the few better jobs I have, I can always rent), and then it would be an excellent (and tiny and light) backup recorder, or audio interface. Or else, F4 will be just fine for most jobs anyway! A camera is more than a sensor with a lens mount. Cameras are also ergonomics, battery life, monitoring systems and a lot more, especially in the run and gun, and low budget market that you do not have 5 people on the camera department and 30.000$ just for the rigging of one, and that camera was certainly not a high budgeted one, I loved the idea though, seemed great on paper.

..and if you don't need the top handle, there are microphones on the body for reference sound! Battery life is mostly excellent too. Why to have one in dSLR form? The LS300 sells for less money in the US than the GH5 with the XLR thingy box on top and a good set of ND filters. There are a couple dozen of dSLR form cameras around to choose from.

Why it's still there for half a year though?

@IronFilm That is why I said "in Sonosax's terms"! They won't upgrade for at least 2022, and it is very cheap for Sonosax anyway. Even for cameras lifecycle it is relatively new, the Sonosax's are almost 2 years old, give or take a few weeks. The "entry level" Zaxcom has an (optional) UHF stereo transmitter that sends audio and timecode. If that is not enough, there is a "middle" solution with the name of Nomad (model 10 and 12)- Zaxnet and all; you are not getting that feature for cheap in anyway! Sound devices (sic) are not cameras, the old Sound Devices are still on sale, and most do not upgrade to their newer ones, as their tested workflows deliver to post, professional and broadcast quality sound anyway, just for people starting, is rather silly to invest on an old machine right now. To be honest, MixPre's seem just amazing for the price, just put a couple of Sony batteries and keep recording for days, and the analog circuitry inside is not a couple of steps difference, is half the world. Here in Europe MixPre6 is 1000euros and 633 5000euros, not even close, I do not see owing a MixPre is stopping me later to buy a 663. What are the things you like in the Zoom's that MixPre do not have? I will be soon in the market for such a device and I am heading to the MixPre6 to be honest, seems like an excellent little recorder for most jobs but I would like to hear it for a Zoom's user approach. The ones I know owing one (and only the F4), is just because there wasn't anything better under 800euros.. Also, do you have an opinion of choosing between F4 and F8 (except the obvious more inputs!)?

@IronFilm You got MixPre 3 and 6, these are going to sell a lot and quality wise must be a notch up Zoom's F4/F8 with analog filters and limiters (and true knobs you can really turn!). What are you missing from the 633? Sonosax Sx-R4+ is brand new in Sonosax's terms and a new small Aaton must cost close to 9999$. 633 and Maxx are perfect as they are, and if you can afford them, they will be fine for broadcast for at least the next decade.

Interesting to see so many replies on a Dageurreotypy! We definitely need Panasonic to compete in the FS5/C100 category; that will make things interesting, and probably cheaper.

That happens to me with another brand, Juno, or something, everything's fine until 45%, then fall from a cliff. Just under 49% I replace it.

@BTM_PixYes, of course. The aforementioned JVC, that I so much respect and use lately, has a S35 variable sensor. You can't compete with the C100s and FS5s of this world with a smaller sensor. We are using S35 for so much time, and I personally love it. No full frame, no m43; S35! The solution of course is the variable sensor, pleases everyone (including you and me!). DVX-200 still costs 4195$ and has a sticker saying "Top Seller" on B&H!

@BasiliskFilm Rolling shutter ain't much improved. This sensor can make the perfect video orientated full frame mirrorless, but it needs some tweaks and improvements still, but it is in a very good level already. Now, if it doesn't cost as much as a small true cine camera, that would be much appreciated.

It seems like Max is Sony's new favorite son. Missed your opportunity there Mr @Andrew Reid!

@webrunner5 It's good to know, too bad I missed an opportunity to buy some shares, I could influence the production of a LS500! In my mind, the whole LS300 project is the more impressive if JVC created this very interesting little camcorder completely on their own. Canon mkII is an amazing workhorse of a camera, but except dual pixel AF has nothing groundbreaking in it, the aforementioned LS300 has more groundbreaking features (like variable sensor, prime zoom function, various streaming video capabilities and a few more) than the C100 series. Canon is starting to age, the industry moves to 10bit workflows, HDR, need more frame rates, and 35Mbps (even though they seem like a much more robust bitrate) doesn't cut it in 2017. People already start talking about 8K, and C100 has not even has any 4K. Even if only had the internals of the GH5 and a few more, then it would already be more interesting than the C100. We discussed this before, GH5 is a video orientated mirrorless camera, has nothing to do with an entry level cinema camera, they are vastly different markets. I can't see someone that just gave 1999$ for the GH5 and use his old 12-35 2.8f lens and his old batteries, to worry that much for a 6000$ camera that probably can match with the 6000$ 18-80 CN-E and have a killer combo for most things. Although, I can see the opposite to be more possible, someone that just gave 12.000$ for his new Panasonic and CN-E, can easier spend 2500 for a nice kit that can use as a B cam, and his personal all arounder. This seems like the sensor incorporated on the JVC http://www.altasens.com/images/AL41410C-PF0476-10.pdf It is really interesting to see these frame rates and resolutions in 2014.

I am really wondering if the C200 isn't already a XC15? I would guess that after the C100mkIII announcement, the mkII will be around 2500-3000euros anyway, so not a lot of room for a C200 I guess. But of course (worst case scenario) there is a lot of room for a 7500euros C100markIII, and then, maybe a C101 is more logical in that sense (and we all go buy the Varicam LT mini nano and the GH5 and I stop defending Canon, which I do not own anything modern out of them anyway!)!

@webrunner5 We obviously talk about a variable sensor, not a m43 one. I do not own or have any m43 glass or cameras while I have a lot of different lenses for different mounts, I just express the versatility of such a thing, and why not, but use some m43 glass too (even though we use EF lenses with LS300 right now!) with a smaller, and all around camera like the GH5, or other. I thought that JVC is owned by Panasonic by the way, and I do not think that having a sensor, and take parts of it is copyrighted or whatever! That would be an obvious upgrade for a lot of m43 users that started video productions with the GH series cameras, and would help (or at least support and defend) their native sales too.

I totally agree with @Fritz Pierre and actually I am pro "variable sensor" for Panasonic cameras since I realize that this is easily done, after the LS300 release! They can even implement a changeable mount, and that would be perfect. Imagine how much flexibility, and advantage that will offer to the m43 system, and how great an A-B system with the GH5 would be. I would call it an advantage.

You act like customers do not have a mind of their own. People are free to buy whatever it is in the market, and most of them, choose Canon. There are more than one reason for high Canon sales, even in some big mirrorless markets are number 2 for 2016 (before M5 and M6)! Canon ain't the devil, is just the most successful imaging company in the world. C100 and C300 cameras are(were) huge successes at their time (and still are) and they just need to come up with a newer version of their best selling C100 series. They just created a CN-E series of lenses, and I see a best selling product right through it, and in the first try, while if you have read the reviews, Sony in their 3rd try haven't succeed to offer a great such solution. Of course there is a Canon premium in those products, but I am willing to pay it if they save me money, health and time in the short or medium term. A C100marklII (if it is out in 2017, and it should) and the 18-80/70-200 CN-E lenses (and probably a Tamron 11 or 12mm zoom) will be enough for most people, for most productions in the planet until 2022! Canon reads the market right, have a very wide product list from compact cameras to big cinema ones and the best selling lens series (in almost every category) in the history of humanity. Their equipment is mostly reliable and enough for the purpose they are manufactured. Do I own one? No, because in 2015 Samsung NX was just amazing to pass, and where is NX right now? Nowhere near Canon. Depending the budget, in most instances, I use Canon though.

Come on people, these are crap, I want my future camera to shoot A and B footage when I am NOT THERE AT ALL, with adequate sound of course. That is innovation, and it will improve my workflow and my life in general, I even will be able to start shooting video as a hobby then!

@ade towell I agree, I haven't shoot any significant 4K either, but with 3-4 thousands you are not getting the latest, or the greatest, it is just too low. JVC LS300 just currently fall under 3000$, and that is only in US, everywhere else in the world is significantly more expensive (even here that is around 3500$, I consider it an excellent option). I hope we will find out soon, but this is not going to cost south of 4500$, and it won't have dual pixel AF! Since I did a lengthy and low budgeted run and gun travel series, I appreciated dual pixel AF vastly, I haven't incorporated it in my general workflow, but I believe with a newer camera I will be more willing to try. E-IS is of very limited use, I wonder if anyone will ever put a real IBIS in there, maybe FS5mark II?

Don't reveal your sources Dave!

Indeed, but Canon can offer Canon-magic (silly bitrate files that are nicer to look than others 4 times their size)/best AF in business that I would like to use more/excellent 18-80 and 70-200 CN-E lenses, things work with Canon (even though I have the outmost respect for Panasonic) etc Pana won't offer their Varicam sensor for a fraction of their highest Varicam cameras, not for 4K$ at least. I would hope something like the variable sensor of the JVC LS300 (in reality, I would like to see something similar to the GH5 too).

Dave is blessed by the Sage that is visiting this forum lately!

GH5 is a video orientated mirrorless m43 camera that costs 2000$. What it has to do with a -supposedly- S35 entry level Cinema camera that will cost at least 2 or 3 or 4 times those money? I am really excited about this, but if a C100markIII has most of those and the usual Canon AF, then I am going Canon! Very excited with Panasonic nevertheless.