Django

This whole “alliance” thing sounds shakier than a EU council about the UK.. rather confusing to say the least. That said S1 sensor really seems top-notch. Low light clean as a bell. Is it a new towerjazz design? How is the RS?

I’m with webrunner5, every Z footage I’ve seen has this grim crushed black oversharp look. I thought it was because of lack of internal Log or maybe even lack of exposure meters but that ProRes RAW footage looks the same. Surely the camera is capable of a nice organic IQ in the right hands but I still haven’t seen it..

+1 on tips above. EOS R actually has a much more robust codec than the dated one in C100 and therefore grades Clog much better. I advise recording externally on C100 if shooting CLog. Also important to set CLog on EOS R to “classic EOS cinema” color matrix setting for best match up with your C100mk2. As for Clog vs WideDR it depends on your level of CG. If you’re not sure what you’re doing maybe best to avoid Clog! Especially in controlled environments. This goes for all cams, log can often create more post headaches than necessary..

Should also be noted the S1 footage uses the new $2500 50mm 1.4 Lumix while the A73 is rocking a cheap F2.8 Tamron zoom.. not really an even playing field.

Yeah correct RAW has never been so relevant with the various light options not taking more space than prores & with native drag n drop support from NLEs

I shot RAW ages ago on 5D3 and BM Cinema Camera.. which the work from those cameras coincidentally ended up on big screen & major art installations. Shooting RAW & developing it takes more time but doesn't necessarily require more staff (unlike manual focus which may require an AC). I've been doing a lot of corporate / digital content stuff with fast turnover lately but I'm definitely hoping to get back into the more indie/artistic projects where RAW will be put to good use again (part of the reason for upgrading my personal equipment). For that to work into my workflow it's better if it's internal and supported by my favourite NLE. That kinda rules out ProRes RAW options for me. So imho, RAW isn't overrated at all -even for low budget shoots- for certain projects that might involve heavy grading or require ultimate IQ / DR.

ALL-I is an Intra Frame codec just like ProRes. It’s the top choice for minimizing compression artifacts & editing ( unlike XAVC-S for example which is Long GOP) so I’m not sure what your point is..

That shootout is pretty obsolete though as the C200 now bridges that gap in between the C100 & C300mk2.. As for the middle codec on C200, you're right an atomos will be required for direct 10-bit 2K recording but a workaround is obviously to shoot in raw and export to 10-bit/12-bit DCI 4K (at the cost of hefty CFast cards..) Maybe if I was starting out but the plan is to upgrade from my C100 within the Canon ecosystem. Besides I need DPAF for multicam shoots & internal RAW is only offered by C200 within the current Japanese cams (i place UMP in another category due to Size & V-Mount). If Panasonic/Sony were to develop a reliable AF for their cine cams, have internal RAW and maybe add IBIS or another killer feature I could be tempted to switch in the long run but for now Canon got my $$$. It's as if the other companies were stuck in the classic cine "crew" paradigm with follow-focus / sticks / external recorders when the game is changing with more & more solo operators and small businesses mixing MILCs & Cine cams who try to avoid hefty/costly rig add-ons. Again i'll say it loud & clear: F ATOMOS. Jeromy really lost me with his antics & bravado. Instead of declaring holy wars over codecs he's trying to push, his company should focus more on hardware people actually want i.e 4K Ninja Star..

a C100 mk3 will not cannibalise C300 mk2 or C200, we're talking about Canon here.. they are masters at product segmentation. anyways, thinking more of RAW.. i'm kinda leaning back towards C200. It's cheaper, smaller and does RAW internally, screw Atomos. Besides i use Resolve and it has native support for Canon RAW light files. No way I'm dropping $10K hoping Resolve gets ProRes Raw support in the future. as for big boy video not being cheap.. yes & no. you are getting very close to Arri IQ for under $10K.. much less if you buy used. and indeed you gain reliable AF!

It's only supported by high-end Sony/Canon/Panasonic cine cams & Nikon Z mirrorless.. so not even a complete ecosystem.. and again only FCPX which is the biggest caveat. Not every Apple user edits in FCPX.. but yeah one can only hope other camera models & NLEs will support it in the near future (although I don't see Resolve/BMD rushing to the table after basically being compared to the axis of evil by aforementioned CEO douchebag #1 ? )

EOS R already offers internal ALL-I codecs ranging from 90-180Mbps for FHD & 480Mbps in 4K which basically equates to a middle ProRes codec as far as motion.. 10-bit 422 however is worth going external imo.

If anything, Jeromy at Atomos seemed to indicate to me in that NAB interview that he needs to lay off the blow and quit thinking he's the CEO of Stark Industries FFS!

I'm still a little sceptical about ProRes Raw as a standard.. Apple & Atomos have been hyping it but in reality it hasn't really caught on as far as NLE's which is what matters most. A year in and it is still only usable inside FCPX. Canon Raw on the other hand can be natively read by Resolve, Premiere & FCPX via a Plug-in. It seems there a strong politics at play with the whole Raw "light" format, especially since BMD announced BM Raw and sort of declared war on RED/Atomos/Apple etc..

Yeah was really hoping Canon would give the C200 the middle codec but no dice.. 4K60p is not at all mandatory to me, so I think I'd much rather have internal 10-bit 4K / 12-bit FHD. And if I need to go RAW record external to the shogun. I found these very thorough C200 /C300II comparison reviews and I'm even more inclined to go with C300II after reading them: Canon C200 Review Canon C300 Mark II with LM-V1 Touchscreen Monitor C300 mk II with the LM-V1 Touchscreen & Canon MA-400 Microphone Adapter vs. old skyscraper clamshell design: C300II ProRes RAW recovery example: Wonder how that compares to C200 Canon RAW Light?

So you have 24p & 60p.. what other frame rates where you looking for, 30p? The real issue imo is that FHD external is 8-bit only so I don’t really see a point in recording FHD externally unless you really need ProRes.

Reviving this topic as I'm currently hesitating in between both cams as much needed upgrade to my C100. There is a new C300mkII kit that replaces the cumbersome monitor+XLR clamshell design with the C200's touchscreen, separate XLR module + a shogun inferno (allowing ProRes Raw) for $10K. : https://www.newsshooter.com/2019/01/07/canon-c300-mark-ii-now-available-with-the-c200-touch-screen/ This really makes the C300mkII design more appealing imo. Doing a lot of green screen work with fast turnovers and the manageable 10-bit 422 internal 4K (and 12-bit 444 2K !) will be welcome over the limited C200 internal choices. Thoughts?

FWIW.. Nikon's answer is the even bigger, even more expensive, manual-only 58mm f0.95

..it would be great.. except none of those cams have been announced either and so what you are looking at currently in Panasonic ecosystem is 3 camera lines with 3 different sensor sizes and 3 different mounts... over an alliance of 3 different lens manufacturers. that is such a convoluted mess imo, and a nightmare as far as lens pairing.. panasonic make great cameras, but their ecosystem is by far the worst!

Total snoozefest at NAB this year with no exciting announcements from anyone.. Atomos CEO did hint at ProRes Raw support from over 20 cameras across various companies by next year although hard to know if that's just wishful thinking at this point.

..hard to follow interview as dude appeared more nervous than usual (not exactly a good sign) but does he confirm at around 3:40 that 20 cameras across various companies will support ProRes raw by next year...?!

some interesting clues in that interview.. i knew sony was going back to the drawing boards for A7S3 but it sounds like they are really trying to re-imagine the whole concept to gear it towards videographers. even more surprising, the VP giving praise to the BM P4K. it seems plausible Sony might go that direction with a bigger body/LCD. i think Sony took their current alpha form factor to its limits, especially as far as heat management and going forward with video specs means a new body paradigm.. hopefully some more clues during NAB..

@Andrew Reid it does work in 4K if you have C3 set up with log activated. (nevermind i see you edited your post) Cool. No doubt the NX cams were very forward thinking when it came to video but still I personally wouldn't pick one up even if they were still available. I need FF for stills with native support for my EF glass. EOS R gets me closest to that in a mirrorless form. Can't wait to get the Vari-ND for even better versatility. Also doubt the NX (or even any other current MILC) could give me such reliable & effortless object tracking like i needed yesterday to perform slider shots on small watch parts.

On the topic of 4K, while perhaps not best in class it is certainly usable, even commercially. Case in point, I was on a paid shoot yesterday with C100 & EOS R. EOS R was mainly used for product stills shots but it also served as a 4K B-cam for close-ups ( the 1.8x crop giving extra reach to my 35mm 1.4L): Cropping in even further in-cam via "crop mode" gave almost macro ability to my otherwise normal lens: I've become quite a fan of this cropping technique allowing just one quality prime lens to double or triple its focal range (another reason why i'm seriously considering picking up Leica Q2). Makes the lens/camera bag lighter too which is always a good thing when you're flying solo with already 4 LEDs, stands, tripods etc.. I already know some of you will say I'm a Canon apologist, touting a limitation as a "feature" or call this being "lazy" but whatever for me its "creative use" haha ..sometimes less is more ( i swear folks i am not being paid by Canon or getting a free trip to Hawaii for saying this! )

Ok... i'm going to go on a PS4 forum now to talk about how the Sega Dreamcast was the best gaming system ever made! Have a good day

It's kind of ironic you state that about me when you yourself have been hyping to death on every post occasion... a dead camera system! I could just as well say to you: Be happy using it, but there are better solutions out there for almost everyone. I mean when is the last time i saw a NX shooter in the wild? Oh yeah: Never. But see, just like you with NX1, for my personal use Canon is the better system. Of course a Sony / Panasonic / Nikon user will tell you the same thing about their systems. Its the way the world works, we have different preferences. What I find annoying/sad is when people feel the need to put down others for their preferred choices. You don't see me in Sony threads posting memes, bashing users or saying how far behind their non weather-sealed, 100mb Long-GOP codec, 8-bit out, zombie color MILC's are. That would be considered trolling. Yet when that happens in a Canon thread, it's accepted as normal behaviour... go figure.