Kisaha

After deciding going full Canon this summer, now this! I have already investing in RF (3 lenses, 3 adapters and an R7) and I am now split if I have to sell everything and move to Pana.. R6mkII is still 3.200€ here, so is a no go for me for a middling hybrid, pricing of the Pana cameras seem just right and I am really impressed of what I have seen already. If the EF adapter works well, I seriously don't see why not most choose these cameras and slowly built their L lenses collection. That X camera seems like an amazing deal whatsoever.. Well done Panny.. GH6 and everything else seems a bit overpriced now.. don't they? Can anyone point me at any advantages the R6mkII have at this point? The camera is not out yet and we see just some marginal differences in IBIS and AF, I am positive they will be fixed in no time.. The active cooling is incredible at this price point. It will damage Fuji sales as well I believe. I do love the color science so far. I haven't pixel peep or anything, really, but I just like what I am seeing.. ..just..WOW Panny!

No! Never on auto! If you are not sure, better go lower, you can easily add some db in post.. Maybe you have to format them ON the digital console, or have them Mac ready (Mackie works with everything usually, but they favour Apple stuff), a simple fat32 stick could be useful also.. For so big projects, usually they hire a van, which is a control room as well and have a different approach with an included sound man inside the van.

I still believe Tentacles are the way to go for "cheap", they have a slightly better version for 2022 anyway, and they seem like the cheap golden standard! I am no fun of any Deity produced as of now. As of your other question, I usually was given to the sound man a portable stereo recorder (Tascam DR100mkII or III are excellent for small tasks and with good preamplifiers - if you can't afford MixPre) and started recording 5-10 minutes before the start of the show (usually performances of some kind). Nowdays, almost 10 times out of 10, I have pre- schedule with the producer, or even the sound man directly, and after he copies the performance to a USB drive and that's all (later on, I am mixing the recording with on camera shotgun mics or stereo mics and it works even better, than having just one or the other). Whatever wireless method you use to transfer sound, have a shotgun to your main camera because you never know what's going to happen to your wireless signal. After 24 years to the job, I will never trust more a wireless connection to a wired one!

If they add competitive AF to Pocket that would be very close near to perfect. Everything else are shorted already somehow, except IBIS, but that is almost secondary, they have the gyro thingy going on and plenty of lenses's I.S. Canon RF with everything would be very highly priced, literally.

Try some Sony kit if you can and report back! I am not familiar with those frequencies as I am not consider them professional equipment. My equipment is around 500MHz

I wish I could find an C100mkII bargain..they hold price surprisingly well considering all the facts and truths.. It could be my workhorse for so many occasions..

You should have arranged for a real music mixer to do the heavy job on sound. I understand you didn't have much to play with, but too much of the little girl! Did the 2 cameras mixed well on post? Did you have AF on the R7? Great job overall!

I believe at the 0:38 second I saw the Video Sound Police violently interrupting the shooting!

Check at 10:20, 4K standard seems alright, fine..not so..

I have seen many focus pullers lately using Hollyland equipment. At playback focus seems to be alright.

Here in Greece, anyone that could buy and/or hold a camera, was doing weddings video at some point..many still do.

Same here..the shutter sound is a bit silly and very tin like, but the images are good.

As I said before, it is a "fast turn around" camera, with a weak codec, but that's the beauty of it, the simplicity. Stick an 18-135 or an 24-105 and shoot all day..it was a workhorse camera of the "plain" professional. Ready on its bag, ready to shoot in 7 seconds and for a full working day If you take care of the basics, the camera does the rest of the magic mixing and produces an image that punches much above its weight. I am still waiting for a similar workhorse camera. Just put some modern internals on the same body Canon, that's so easy.. I wish they C70 was that camera, but unfortunately it doesn't feel the same.

..and for exactly those reasons (form factor, weight, operation) a C100mkII is a better option than a C300 these days! The C100mkII is absolutely my favorite camera for run and gun video work. I have done literally hundreds of travel and music doc episodes good enough for Greek TV and corporate and others. My previous favorite was, sadly(!yes, it was a Sony, do not judge me!), an EX1, another workhorse of that previous era. If you want a super easy system to shoot most of your "basic" stuff with super fast turn around times and you do not mind the "weak" codec, even now is an excellent option..For extremely fast run and gun the 18-135 was ace, if you had more time one could use the whole EF selection. My ultra fast and portable kit was the 18-135, an 70-200mm 4f and a nifty-fifty used for some interviews. My most enjoyable set up of all time..great times! ..I didn't like the C300 (and C200) ergonomics, but they were also standard on most of my business back then. oh my.. I want one now..

Sorry @Rhood haven't try them on a job yet, just received them! I have serious problems doing sound with all these various Nanlights. Good output, for sure, but very noisy cooling systems..

I was using 3 cameras when I was doing weddings photography, 2 NX1 and an NX500 with a speciality (oddball lens) on it. All these cameras were on me at all times, but never both video AND photo. Still can't comprehend how you do it. I always have a partner/assistant with me, even for the easiest of jobs.. Sometimes we were 3-4 people for video and 2-3 for photography.. An 24-70 as a workhorse was the most used lens usually, 24mm is good for small group photos, and 70mm is an alright focal length for portraits. The oddball lens on the NX500 could be the amazing NX fisheye or the pancake 16mm..the workhorse lens was the 16-50mm (24-75mm equiv) and 2-2.8f. unique lens and always negated the need for the Sigma 18-35, as at those mm (at 32-33mm to be precise) the NX is 2f, with an incredible I.S, both wider and longer. With the other NX I was usually using the amazingly small 45mm 1.8f for more "artistic" portraits. This lens has a ton of character, especially for the silly price.. Just a different way of doing similar things, I guess!

With RF I can use EF lenses with the vND adapter which is a much better solution than the filter in front of a lens one..at least for me. One of the deciding factors going RF.

Sound is the single most important technical aspect of film making (taught in film school, and known by experience). Maybe doing ADR would be much better and consistent. Also, the office sequences have a strange axis rule tweaking going on..or is just weird shot selection. These are the 2 things that put me off a bit.

pre-order from the official photo-shops in Greece 3.120euros. I hope it will be stabilized lower in time..

I just received today the CL60R. So far I was impressed by the build quality, the output, the very friendly buttons placement (and existance!), the app, the size, the weight, the price, the original design and also the silly box/case that came with. Seems like a company that's serious about their stuff. I also read that they have an EU office and check "locally" warranty claims.. Unfortunately it didn't work with a power bank I have. It turns on, but switches after half a second with a 65w. Maybe it needs an 80w.. First impressions positive. Still have to pass the test of time. I got it as a hair light and for the effects, in case I need them, so I wanted it extra portable.

These recent releases seem more mature to me. It is the 3rd wave of RF. Although the R7 and R6mkII sensors are not that hi end, Canon squeezes every drop of performance out of them and achieves great things without too much fanfare.

https://thenextweb.com/news/the-eus-8k-tv-ban-will-be-a-nightmare-for-startups

@DjangoI was searching for prices in EU. We used to shop from there, they have an EU warehouse. It is not priced in Greece yet, so I checked to see what's what. I would buy locally anyway, for tax initiatives and the such, but I was surprised of the such high prices, even for CVP. Yes, Sony has a similar approach, the S is the video centric one and the R the specialized high megapixel one. I am just expressing personal opinions here, what would make it a perfect fit for my needs (and being a keeper for 4-5 years)? 28megapixels, full HDMI, punch-in while filming to check focus, histogram always on display. From reviews online seems like IBIS and AF tracking needs some refinement also. I am not 100% sure about the decision of having SD cards only - still haven't properly process that on my mind! I know, anyone can ask for anything, and it is a vicious circle on camera sites and forums! But R6 released some 26-28 months ago.. that wasn't a great investment for some. This release is more an R6 AND a half to me, which still is good enough. The original R6 was something like an R6 minus half, if that makes any sense at all!

It seems their "hybrid" releases are more focused in photography, or else buy a more video centric camera ("we sell some of those") like the C70 or the R5C, and whatever is coming in the lower end (R7C probably?! C50? whatever..). CVP pre-order has a price of €3,202.58 inc VAT at the moment! that is very expensive for the middle segment, and that should get closer to 2.600 soon, or they will loose a ton of customers going Sony/Fuji, even GH6 (for video orientated ones) and I do not see a lot of R6 users upgrade soon! 4.600 with the 24-105 f4 3.600 with the 25-105 f4-7.1 R6 with the 24-105 f4 is 3.145euros (not in stock though, but can be ordered) X-T5 is 1960euros..

...ok, that too!