Django

The S5II is certainly a very disruptive camera at its price point. Panny has solved its Achilles heel and is now a serious contender in the FF hybrid market. It remains to be seen how reliable this first-gen PDAF is but the tests so far seem promising. 6K open-gate is super dope. On the downside 4K60p is in S35 crop mode and 120p FHD. Rolling shutter is also average at 21ms. A7IV has a very similar slow sensor with the same 4K60p crop and even worst RS. No 6K but higher 33MP stills. Has cool things like breathing comp and clear image zoom. R6II should also definitely get a mention, especially in the US since it is priced the same as A7IV. It is still the only camera in its class that can shoot 4K60p no crop. 6K ProRes RAW external. 16ms RS. Best AF imo. Very easy to grade Clog3. In my opinion R6II destroys A7IV due to the above advantages and should be the direct competitor to S5II. Finally OP did mention "image feel" and SOOC color science. This is were things get subjective. My personal preference is by far for Canon. Sony second with their latest gen CS. Panasonic third, its not bad or anything but I just find every single SOOC Panny footage kinda dull and vanilla. Same thing with the Panny lenses. They're very sharp & accurate but lack any type of mojo. Clinical is what I'd call the Panny look. Now this is just my subjective biased opinion, and some people actually like sharp & accurate colours/lenses. In the end I always look at lens options and again this is somewhat subjective but for first-party options it is Canon/Sony for me. Sony for their Zeiss range and Canon because of all the affordable EF legacy lenses but RF is also solid and the non-L series RF are quite affordable. I'd probably go Sigma if I were on Panasonic.

@gt3rs incredible footage, just wow! I've sold my R6 so I'm in the market for a new camera. S5II is on my radar but lens choice and system familiarity will probably keep me locked to Canon. Logical step was R6II but it is selling for 2900€ which is crazy considering I can get a brand new (grey import) R5 for 3200€ or an R5C for 3500€. Very little price difference in between these two currently. I can't make up my mind though. R5 has got IBIS which is quite important to me and good battery life. And since the latest firmware there are no longer major overheat issues. Still some time limits though and I remember @herein2020 saying he had all kinds of quirks with his copy including major EVF lag. Everything else I prefer on R5C, namely LUT support which is a game changer in quick-turnaround workflow for me and the separate stills/cine menus. I'm just concerned with absence of IBIS and the dreadful battery life. I think you have both R5 & R5C but prefer R5C I assume mainly for 8K60p? I have very little use for that but I guess its still an added bonus. Any other reasons why R5C is superior to R5 (aside from the cine OS extras)? PS: R3 has also gone down on grey market (4600€) and really sounds like a good pro option. Stacked sensor. 6K60p RAW is plenty enough. IBIS. Extensive battery life. Vertical grip might even come in handy for vertical video shooting which I'm doing more & more. Plus who knows I could maybe develop sports/action career !

Just catching up with the S5II announcement. This is actually the first Panny mirrorless I'd consider as I'm slaved to DPAF since C100 almost a decade ago. A big kudos to Panasonic for finally getting proper video AF. The specs and price of the S5ii are also very impressive. FF 6K30p with 3:2 open-gate is simply terrific for the asking price. Neither Canon or Sony offer these specs at such an entry price point. This alone is very aggressive and makes switching tempting. I've actually sold my R6 so I'm actively in the market for a new mirrorless right now. And this new entry makes my decision making even tougher. I was hesitating in between simply upgrading to the R6 II or getting FX30. Or investing in higher up R5/A7S3. Or even R3. So yeah Canon vs Sony. But the S5II (and upcoming S5IIx) is definitely on my radar now as well. It would be my number one choice as far as bang for buck but actually the last because of these unknown factors: - Lenses. I'm not at all equipped in them and the offering seems a little stale & pricy. - Color Science & VLOG. I know nothing about them and kinda afraid the results and learning curve won't be to my satisfaction. This is really important. - Size/Weight. I've always found the S series the most heavy/bulky system. Well built though.

Can you magnify while recording?

cool how about some feedback on how the camera operates? is shooting anamorphic a challenge? did you use a monitor to desqueeze? any overall pro/cons?

Not atm but I have in the past so I'm familiar with their AF performance regarding lenses. I've also tested XH2S. Good idea to start a new thread since this is getting very off-topic.

@Emanuel I don't know what's going on in that video. Could be the lens, AF or user error. Fuji AF is very lens dependent because their older lenses were simply not built for video AF (Fuji only got into video with XT2). So again yes you can get pretty good AF with the newer linear motor lenses. You might still get the occasional pulse or hunt and their is no tap to track which is why I'm saying it isn't on par with Canon/Sony AF.

The AF on Fuji is actually pretty good, just not Canon/Sony level good.

GH6 & XH2/XH2S shoot ProRes which is a very nice plus codec wise. They also do 6K/8K & XH2S even does open-gate. Those are the main new features that trump the FX30. The Sony has... better AF. XH2S excites me a lot more. Stacked sensor, true hybrid, 6.2K open gate, Xtrans sensor & Fuji film emulations. But FX30 makes more business sense for me as an FS7 user. Plus I do value strong AF.

Some strong reactions here. First off, I'm not imposing anything. I even concluded with "keep doing what you feel". I was merely just trying to explain to you why 60p footage is bothersome to some people. It is not just an "old film aesthetic" lol. 24p/25p/30p is standard. It's what 99% of the videos you see on Youtube are uploaded in. 60p & 120p are high frame rates generally used in cine cams to over crank and be slowed down. I use them all the time..for slow-motion. As for TVs adding frames to "smooth" motion it is absolutely relevant as what is does is double the frame rate, meaning 24p/25p/30p footage becomes 48p/50p/60p (and 60p -> 120p). Finally FYI I absolutely embrace imaging technology. I'm a working professional filmmaker/videographer. I only deliver 4K content to every platform you can think of. I shoot mainly in 10-bit Slog/Clog. I have a latest gen mirrorless that shoots 4K60p/120p. A Sony FS7 cine cam. A 6K iMac Pro. 60" 4K OLED TV etc. I'm not some old geezer with a film projector shooting black & white rambling about the good old days while smoking a pipe lol. Anyways, hope we can get off the wrong foot. You sound a little upset by my comments but they were not meant to harm your preferred "aesthetic". Keep doing you my man it's all good! 😉

I haven't heard of any overheating issues from users plus it has the fan accessory.

@markr041 Never said anything about adding grain, blur or teal & orange. Just that a clinical lens at 60p gives a very un cinematic cheap video look. Like I said I'm allergic to it but it is subjective and perhaps even generational although I think people under 30 watch films and footage aside from sports in 60p. Your smartphone usually defaults at 30p which is a lot closer to 24p. 60p and above are usually slow-motion frame rates. High frame rate viewing content is what is commonly referred to as the "soap opera effect" and is a feature some TVs now have on default by using interpolation and adding frames. Most people I know hate the effect and turn it off immediately. It's ok for news or sports but ruins any true 24p footage be it narrative work or not. The irony though is that the motion that you perceive as close to "real life" is exactly what is so bothersome. In the video I linked the dancer actually expresses her feel about how dissatisfied she usually is about motion in her filmed performances. Surely the global shutter of that particular camera helps a lot but it only shoots 24p & 30p in 2K/FHD as its emulating Super16/film. Anyways, keep doing as you feel, you seem to be more into the news/sports aesthetic and that's a choice. I just find it a bit odd to buy a "cinema" camera for the "TV" "ENG" look. I don't think you'll find many FX series users shooting like that but again to each their own! If I may make a suggestion I'd advocate 30p as a good middle ground for yourself..and your audience.

I don't know of a Sony 20mm F2. are you sure you don't mean the 20mm F1.8? I'm not really a fan of Sony lenses. Too clinical. Much prefer the Sony Zeiss in E-mount, but that's personal. I meant FF with a Speedbooster using cine or vintage lenses. Center sharpness isn't everything, most of the FF lens mojo comes from vignetting, diffraction, aberrations etc. Again totally personal. As for 60p capturing motion well. Ughhh. No. It gives it the dreaded soap opera look. Use 30p if your panning a lot but never ever export on a 60p timeline. Just no. Since you like dancing, here is a great example of a filmed dance sequence as far as motion with a global shutter S16 sensor in 24p: hopefully it will make you change your mind 😉

Sorry I'm allergic to 60p uploaded footage. It shouldn't even be an option lol. Noticeable IQ drop in 4K120p. Alongside the window crop that's going to be a tough mode to shoot in. As for the low-light it seems kind of average. 2500 ISO high base isn't a lot but its always nice its dual base. Speedbooster would help the cam. Would like to see some FX30 footage paired with nice FF glass.

Getting back to your original question, as I'm not even sure its been answered since we got side tracked on camera size, here is my opinion. On a pure codec level in between the C300 50mbps 422 internal codec and the C100 mk2 35mbps 420 codec there is going to be an obvious difference, now if you record to your Atomos in 422 well the playing field is a lot more even between those two cams. Especially if you record in ProRes that's a lot chunkier of a codec then the small bitrate internal 35/50mbps mp4 codecs. This all tilts in the favour of the C100 mk2 as its also cheaper, smaller & has DPAF (remember its an option on C300). But now the greater question is how does it hold up to a Z6 in 10-bit Nlog? You have to look at resolution (4K vs 4K downsampled FHD), DR, color science before even comparing the 8-bit vs 10-bit codecs. And to answer that one, how heavy do you grade? Because 8-bit is 8-bit even in 422. You won't be achieving miracles in post..

Calm down, no I'm not the police. It's called forum netiquette. Even the OP is confused about the direction his own thread has taken. What does a GH5 have to do with C100/C300 question? Why continually argue against a point I clearly detailed with pics and everything concerning cameras I've actually owned and worked with? It seems like you enjoy making these threads about you and your camera. It's just not necessary. All the armchair arguments, the passive aggressive comments. It's not a discussion anymore, it becomes a monologue. Even right now, we're wasting bandwidth talking about you it seems, your hurt feelings and playing the victim as if I were the bully. It's quite tiring frankly. Nobody cares, it's just cluttering the thread. Just put all that aside, no need to argue further. Try and stay on topic. I'm done with this back & forth.

@kye ..why don't you compare it to a GoPro again? 🤣 I repeat for the millionth time: I don't see how I could be any clearer but you conveniently leave out my clarifications every time only to keep arguing about unrelated camera specs. The images and dimension/weight info you found are indeed not telling the truth since you'd have to rig up those DSLRs substantially to get equivalent cine cam specs. I've even posted pics of rigged up R5C & Z6 to further prove my point.. but I'm the one that has trouble "comparing objects in photographs"? you sure about that lol. I'm not trying to get under your skin but again you present just a bunch of unrelated armchair data that miss the point entirely. FYI I've owned the C100 and the 5D3 together, shot with them for years so I really do know what I'm talking about. Bringing up your GH5 in every topic doesn't make you any more of an expert on gear you've never used before. Nothing personal, relax. Just stating the obvious, no need for further arguments on said topic. Welcome to EOSHD, where all topics lead back to Lumix cameras..

Eye-AF should work ok, it does on my R6 with adapted EF lenses. The new Canon 709 is a modified version of the popular WideDR profile with better highlight curve and added contrast. Perfect for fast turnaround projects imo. ALL-I is nice when you want ultimate compressed quality, difference is noticeable in water scenes and motion. Bigger files for sure but easier to edit. I think its just nice to see updates with added new features. Not something Canon is known for. I'm assuming the FX30 and its aggressive price point is probably prompting Canon to do so. Competition is good for us customers. C70 keeps getting better! They should put out a C50 in a R6/R7 body with full C70 video features under $3K.

New firmware update bringing more ALL-I options, Eye-AF & new Canon 709 profile: @herein2020 Sadly still no (vertical) aspect ratio markers, I'm sure that would have been easy and very handy to have

I'm not saying C100 is the most compact or discrete camera out there. I'm just saying compared to a rigged up mirrorless offering similar run & gun options its quite comparable, more balanced, all-in-one alternative. And yeah C100 SOOC look using Wide DR has a special mojo. Canon had some kind of special sauce back then, the internal processing was 444. Speaking of it kinda makes me miss it to be honest !

OK so once again armchair expertise. You tend to make a lot of strong assumptions and present opinions as facts on subjects you really have zero experience with. Googling photos, watching a video on YT.. then arguing online against people with actual hands-on experience on the subject matter. Its a recurring theme I've noticed.. Again you lumped the C100 & C300 in the same category. Anybody that has used those two cams knows they are day & night in form factor, weight, operation despite them looking similar on internet pictures. As for context, OP uses a Z6 plus an Atomos. Fully rigged that's already bulkier and heavier than a stripped down C100. To use your analogy its more like a sedan.. with a camping trailer attached to its rear! ..and again the C100 has built-in NDs, fan, all day battery life, WFM assist tools etc. even when stripped down. Rigging the equivalent on a large sensor mirrorless will not be smaller or lighter, hence my point withstands.

Just out of curiosity and please answer honestly: have you ever actually shot with a C100 & C300 camera? Because you lumped them both in the same "large" category.

Hey whatever works best for you. R5C vs C100 is an uneven comp on so many levels. That said I maintain that to get all day battery life, NDs and XLRs on R5C, you're looking at a rig and investment far away from what the C100 gives you from the get go.. and no I'm not going back there either but for under $800 if you're ok shooting FHD, still a fantastic option imo..

Sure you can rig up any cam, but you've also got to factor in the added cost. An R5C + ND adapter + Tascam is already a whopping 6K€. As a strictly all-in one cine body C100 is a pretty compact (and affordable) considering its a decade old! The R5C, FX3, FX30 are really a new kind of compact hybrid mirrorless camera though. I like FX3/FX30 fairly better concerning form factor as they are more compact, have mounting options, a native top handle and XLR as well as IBIS equipped and decent battery life: VS For all day battery life though you are also going to need a big source of external power for R5C (imo its biggest con) adding on to weight and bulk. And pretty quickly you're in a situation that makes 1DX3 feel light and tiny..

I haven't proven any point other than it is all relative to what camera you are comparing with. You choose to call it "huge" compared to your GH5 or a Gopro. I am indeed saying it is small compared to most cinema cameras but also action sport mirrorless or a rigged up Z6/R6/A7 with external monitor. I'll stay it again, the C100 is small considering it has: built-in NDs, an EVF, large display, fan system, all-day battery, XLRs. It's like the Pocket 6K Pro. The term "pocket" is really relative but makes sense if you compare it to an ARRI.