Kisaha

Dude, the cameras you are mentioning are not even 4K cameras, so a 4K monitor isn't even a possibility, what are you talking about? These monitors aren't truly 4K monitors, they just "accept" 4K signal, a 4K 7" monitor would cost more than your cameras, have you checked how much the good 1080p monitors cost out there? Also, have you read at all about the 4K controversy, and how big (and far) a monitor has to be for 4K be really necessary? Do you know that 4K mobile phones, are 4K only for the spec war, and for VR glasses? I am bored of listening people "complaining" about things that half a year ago weren't even possible, and right now they expect everything, instantly, to become a common ground. Sony cameras do not even have touch screens yet (except that joke of the a6500) while others have for 5 years now, no one has Canon's dual pixel AF, no one can reach Olympus IBIS (while Panasonic does interesting things right now with their dual thing), NX has a 28megapixels sensor since 2014, A7Sii records millions of ISO. No one is perfect, still everything is huge steps ahead of 2010, or 2000, just take a chill pill, and all goodness will knock your door sooni-sh, until then, just learn to focus, no one can nail focus on full frame 1.4f, obviously, but who is that silly to try to in the first time? How many movies do you know shot on full frame and 1.4f? Take a Super 35 camera, put your aperture at 5.6, and most cameras these days have focus peaking anyway, you can also get a view finder that goes to your screen, you press your face (eye) on that, and you see a magnification of your image, and that costs 20$ from ebay. You are free to use whatever you want, if you are unable to work with what reality offers you, then freeze yourself, and wake up in 73 years that cameras will be full auto, controlled by your brain waves.

How exactly "they fucked it up", when all the indications and numbers shownthat they are still #1 both in photography and video cameras sales? While they sell more lenses than all the rest together? When the least demanding amateur, and most demanding professionals have a Canon in their top 3 buying list? I do not own any digital Canon cameras right now (I have AE-1 and a couple of 90's SLRs) but I have influenced people buying C100 and C300s before, and I do understand why people mostly buying Canon, because they DO work as advertised, do not -usually- have asterisks, and they are right for the target groups they are optimized for. Most of the world right now do not even have 1080p TV (I mean, that most of the world do not have full HD programms); so 4K, 10 bit and other "necessities", ain't every bodies truth, and the markets ain't only Berlin and New York, and London, and Los Angeles, there are 4-5 billions of people (a slight exaggeration of course!) that are perfectly fine with a M6 or 80D, I am not, so I bought NX, but I do totally understand and respect their choice, and looking forward to a C100 mark III, because the MKII is my favorite camera, after 19 years in the business. Since last year that they realized the M cameras can really sell, and that the markets are moving to the mirrorless side, they have a nice M addition after the other. I am sure they will be very careful not to cannibalize their C market, but eventually we can see their top APS-C camera being an M, and maybe that will be the time that I will abandon my beloved NX cameras!

Also, it clearly states that "monitors shipped from China", so they are just middle men of the same monitors.

5D3 and D750 are not even 4K cameras. Monitors are good, I am not saying that, but I do not own one and most of the people I know do not use one, and monitors accepting 4K signal is something that happened last year. Got my point?

I just said that from your words it seems like the camera you currently have is the most appropriate for you. The only auto focus system I have ever used professionally is the one in Canon C100 mark II. I have used the A7ii, A7Sii, a6300, a6500, mainly with EF lenses. The a6500+18-105 combo was the most pleasant (and closer to my style for a hybrid camera). I don't dislike equipment, it just tools, and those kind of Sony cameras are missing a lot of the things that are important for me; I am not on the target group of these cameras as it seem, not even close.. Blockbusters have audio departments of hundreds of people, amateurs use small external mics, usually on the shoe mount, you asked about internal mics, so I guessed that you care about audio a bit, and this is a very specialized forum, so one expects a more advanced approach. You should check the Canon M series as well, if you are willing to check Canon cameras they are interesting alternatives (especially the M6, similar experience to your 5100 with the full touch screen controls, but with the gravity of Canon), and you can add a Rode video micro for some extra audio quality (the difference is huge in my opinion). Plus it has an interesting 5 axis stabilization - which is software based 100%!, but it is there, and as I said, the best AF system in industry.

What do you mean "stabilization could be an issue with the Canon", how the a5100 is better for Canon in that (or any) matter? Onboard mics are easily affected by even the placement of your hands, AF noise, zoom noise, record terrible sound, those Sonys do not even have a mic input (even a few dozen $ mic would be sound better than the onboard) and the a5100 doesn't even have a shoe mount. Just stay with the A5100, from your posts it seems like it is the best camera for you, and you do not have to spend more money for buys.

The VGs problem wasn't the codec, they were poorly designed cameras for the most amateurish appeal possible. I had the "luck" to use (back then when they seemed like an excellent idea) those cameras on a few projects, and for second or third cameras, and I was shocked at how bad implemented were. Every week someone here is reminding me another great Sony failure, and the reason I am skeptical with their cameras! Funny thing, working with a director and insisted using only the VGs sound, because Sony advertised it as the best sound possible! and this person is making documentary series since the 90s... Ursa doesn't need to make a dSLR style camera, they have proper smaller ones, and there are at least 5-7 brands (Pentax makes cameras too!) to compete in that market, how many more manufacturers you want to make photographic cameras that shoot video? I personally need better video dedicated cameras that they can help me to do my job better and when I need a hybrid camera, I have one (or 3). The Ursa mini pro is one, I believe they are spot on with these decisions, they have to round some rough areas, but they are very close to a real productive, multi headed - beast of a camera. I do will consider this camera for a feature purchase. What do you people believe are the cons and pros between this and the FS5?

..like people couldn't focus for more than 100 years.. all these generalizations "we need 25600 ISO to shoot/only AF/only 4K 60frames 10bit is acceptable", and whatnot make me wonder, if I am too old for video, or people have just a six months memory. Like a couple of years ago, all humanity was focusing on 4K 7" monitors that costed 150$..just gimme a break.

@wolf33d so your sweet spot is everything (whatever), as 98%-99% of the camera systems out there are FF, or m43, or APSC! My sweet spot is APS-C, plain and simple. Thin slice depth of filed with 1.8f lenses (which I really don't) - up to 28megapixels for crop purposes, close to cinema S35 for video. If I can get an ok video performance out of medium format, that would be really interesting. Of, course people can have different "sweet spots", I know people having a sweet spot for both blonds and red hair girls. Everything is possible in this world!

Canon's dual pixel AF is considered as the best in industry, and I believe it is so. Sony 5100/6000 are old cameras, surpassed by many cameras from most manufacturers the last couple of years. Canon's aren't especially techy, but a lot of people found them sufficient for amateur/v-logging/hobbyist use, and they are said to have the best color science, at least they produce pleasant images. The Sonys you are mentioning are mirrorless cameras, and the Canon's dSLRs, different things. The Canon mirrorless series is called M, M5 and M6 must be ok for your use, maybe you should do some more homework, and clear some things out.

@markr041 that is why I said "it will have HEVC as well", and I expect it to be fine for us to reach year 2020.

My proposal is the Sennheiser 440, stereo, but directional, brilliant idea. The Rode is good for general ambience, or music, if you want to have any dialogue in your film, is completely unsuitable, except if you are shooting with a 12mm and the camera is in front of the face of your subject, more than a few dozens of cm you are listening equally your subject and the construction workers half a kilometer away, or if a bus passes 15meters away, you are not hearing any words at all, or a motorbike passes in the highway just down the hill, etc etc etc The rest, is a yes in general, completely off topic to discuss what sound men offer to any production, but their mistakes, are less than you can imagine, is like a cameraman NOT bring any image at all, both (no image - no sound) are possible (we are humans after all!), but not usually acceptable, I just have a very serious sound work tmrow and you stressed me a bit now, I have to be super careful!! The Azden SMX 30 is good for the price, and it has both, I am really intrigued by this, but maybe my next buy is the 440.

The only thing I am missing from the NX1 is the focus magnification while recording video. Just that, but it is a quite serious omission. The ergonomics and menus of this camera is out of this world, in my whole life (and career) I haven't ever used anything so consumer friendly, ever. People haven't used one, do not know what I mean. Yes, it is starting to show its age, but the 28megapixels BSI sensor, the H265 codec, the unicorn 16-50 2-2.8f workhorse, and the hack/modding happening in this forum, is keeping it near the top almost 2 and a half years after its first release, truly the first prototypical hybrid camera of the 21st century, equal photos and video.

Neway CT500HO/IKAN DH5e, but 419$ is too much for an Ikan. 289$ for the Neway much better, but you have to add some additional costs, goes north of 300$, which still is good, but reaching Video assist territory, and then...

In my country the most rented cameras are the C100, rental houses have dozens of them, while a few C300 (per shop) and less of the rest. It isn't about cost, it is about demand I guess, most people will skip Ursa's for a Canon or Sony, 9 times out of 10, so why to stock Ursa cameras?

"Neway's are usually known as rebranded Ikan's. There is a touch screen 5" one that interests me most, it is the same as the 5" Ikan, a bit cheaper, and accepts 4K", just wrote that on the other "Cheap 7" monitors" thread, maybe it is exactly the same as you ask. I do find the 7" too much for my needs.

Neway's are usually known as rebranded Ikan's. There is a touch screen 5" one that interests me most, it is the same as the 5" Ikan, a bit cheaper, and accepts 4K

for this mic to work you have to be 20-30 centimeters from your target audio, or just recording the ambience, there is no directionality whatsoever, so if you want to pick voices or dialogue (not professionally of course, that is why Sound men exist) it is almost impossible. Second, the build quality is just silly (you can get similar Sony and Tascam mics much smaller), all plastic, and the rubber bands are always messing in my bags. Just my experience. I have abandoned this mic lately, and I am considering buy the Sennheiser. The NX1 has obviously sound meters, and you can adjust sound on the fly, it was a users mistake, not the cameras! That is why productions have discreet roles and various people working in various projects, because a sound man, will do the best for the best sound, in one man bands, there are million ways to make mistakes, and ruin something. My philosophy is, you are getting 500euros? spend half for a person, or two, just get a little money, you get less, but job is 100% better for sure. Next time, a happy customer will give 1000euros, again you pay your 2 partners more, and you do a better job, and so on, and so forth. Video is NOT photography, all this dSLR video paranoia, and ALL the photographers "doing" video caused all these problems, these photographers ("loners" as I called them) believe that video is the same thing, just me and my camera and a zoom lens. Video is team work, it is a team sport, it is like basketball, not like athletics, you need the play maker (director), your coach (scriptwriter), your cameraman (shooting guard) your sound man (small forward), your grip (power forward) and your center (this can be a lot of different things!).

Another interesting fact for people not very familiar with the sound jibberish, is that the Sennheiser MKE 440 is a MKE 400 multiplied by 2! What this means is that you have a much narrower stereo image, almost what you see on a 35mm lens (while the usual stereo microphones out there, are equivalent to something like a fisheye, or an extreme ultra wide lens). Plus, always happy with German engineering for sound (not so much for cars!). In my opinion, this is more useful for a video maker, than the wide stereo patterns of other solutions. Another option, cheap, that I haven't test though, so I can't be sure about sound and engineering quality, is the Azden SMX 30, both a shotgun, and a stereo mic.

I am going to start that next, just do not have the time right now. "TV" is the new cinema, it seems like everybody does episodes for something. It is a great medium to tell stories that can exceed the 90-120 minutes of an average movie, while the budget (in the good ones) are still there (Westworld, The man in the high castle, The expanse - which season 2 plays right now, etc etc) and through the new technologies, the audience is the whole world, mostly instantly. Taboo was the last good one I watched recently, didn't deliver 100%, but technically was awesome and I liked the rhythm and the acting, scipt-wise there were a few black holes, but overall it was a very good experience.

18-105 is very steady with the a6300 as well, seriously impressive lens stabilization from that lens. Oly stuff is impressive, best in business, haven't seen the new Panasonic stuff though. All in all, an external stabilizer that stabilizes the whole camera system, is a better experience than IBIS I guess.

I wouldn't buy a FS700 even for 1600$, the two I was using the last few years are -literally- fallen apart, the build quality is terrible, there is NO handling whatsoever, ergonomics are Sony's best (worst) job. I do still use it from time to time for slow mo, ok, but I would never buy this camera with my money. The one we use most was given to us (to the production company, not me) when we started a motor show a few years ago (together with some lenses, much obliged!), but they never stick. One of the reasons (and some other terrible Sony experiences I had through the years) I am so disrespectful to Sony, and not sold 100% yet to FS5. You do not have to have an easy ride, you should have a constructive and productive career; our job is enough complicated and "difficult" as it is, without added burdens.

Of,course, like everything in life, competition is a good evolution exercise. I said on that thread, that I am expecting a little bit more from them to invest in their crane series, after that post, they released the mobile phone stabilizer to compete with DJI and the likes, good move from a marketing - and profit - view, but I couldn't care less for that product, now that they have that out of the way I hope they will reply with a better and more advanced one. If no one had respond to the Crane, then why to hurry to have a better one sooner, than later? Of, course we have to wait and see the reviews, Mattias you should re-consider, sometimes free stuff are not that bad, and we care for your opinion more than most people on the net! @Davey I still have the Hague classic but I am not using it at all the last few year, but I haven't a digital either, a few weeks ago we used a Crane with a a6500, and we got some really great footage out of this combo, with this said, in 3 different occasions the stabilizer went nuts on us and my other friend one of these times hit the camera quite hard, yes, they are not plug and play yet, that is why we need some competition!

I hope this will up the game a little bit

I am intrigued by this as well! I am going to post it on the main forum!