Django

Depends what type of shooter you are. Personally I like shooting FF for stills, but prefer S35 for video. So this type of hybrid config works.. for me. I guess what I'm trying to say is there always seems to be some kind of compromise when shooting both stills & video on a body. I'm with you on the MJPEG codec, number one thing holding me back on the 5D4. Really hope Sony will hurry up with the A7R/S III now that Canikon/Panasonic/Fuji have laid out their refreshes.

Personally I'd still favour a 5D IV over the D850 because of: full readout 4K, Dual Pixel AF, Canon Log, 422 codec, skin tones, EF mount. Yeah MJPEG is inefficient & there is a 1.7x crop. No camera is perfect I guess. In the end D850 won't be a game changer. Nikon users will upgrade to it.. and Canon/Sony/Panasonic users will stick to their guns..

damn that kind of sucks.. maybe you'll have to switch to DX mode to get sharpest 4K (like on A7R2)? but biggest con to me is there seems to be no video AF improvement..

These past 8 months I've used the XT2 for pro video use more then any other camera in my arsenal ( A7S2, C100, 5D3 ). In fact I have sold ALL my other cameras and currently only use the XT2. The booster grip is of course essential. With a cheap Nikon adapter I'm using all my Nikon FF glass again and am actually getting better results in my opinion then with Fuji glass (albeit manual focus control). Now I am still in the market for a second cam, which may very well be the D850 as I'm missing the full frame look..

Thanks for your input. Yeah it's quite a shame about the horrible rolling shutter on A6500. totally ruins it for me. Color science and white balance is definitely tricky with all these Sony's. On the A7S I had, found myself always having to adjust RGB values in post to get normal colours back from footage, really annoying process compared to my Canons & XT2 that nail it SOOC. Now about motion cadence, so you feel the FS5 isn't very cinematic? does it offer 23.976 / 24p? very odd that there is no shutter angle option either.. that's just plain goofy on a pro video cam of that level.. I'm still interested in the FS5 though as a few are starting to pop up on second hand market and I'm starting to get cold feet about the C200 (lack of midrange codec is super disappointing at that price point and super slow mo seems super soft) Important question I never hear about, how is the FS5's AF with native Sony lenses?

would you care to expand on this. I'm a bit shocked by this. is the FS5 4k really that inferior?! and so in your opinion the 4K raw to Prores via inferno isn't worth the hassle versus the internal XAVC codec? also how would you compare the 4K image to the A7SII?

New: the D850 LCD will have twice the resolution of the D810 New: slo-mo full HD 120fps video New: the SD slot will support UHS-II New: improved LiveView split-screen display New: improved silent shooting mode New: improved battery life New: lighter than the D810 Read more: https://nikonrumors.com/2017/08/01/additional-nikon-d850-specifications.aspx/#ixzz4oXaQLgFn

I have no horse in the race either as I'm currently on Fuji XT2 and sold both my Canon bodies ( 5D3 & C100 ) and am not sure what I will replace them with yet.. For what it's worth 5D4's 1080 is much sharper then 5D3's mushy 1080. DSLR's OLPF will always render softer then mirrorless though obviously..

looks like I struck a nerve with GH5 users.. I was only recommending 5D4 vs 1DX2. ..but FYI 5D4 shoots stills and 1080p at full frame which is a giant plus imo. It's 4K crop is close enough to Super35 that using a Sigma 18-35mm 1.8 made for APS-C works fine but of course it's still far off from FF look. That being said I think GH5 & 5D4 are targeted at very different users. no clear "winner" they're just different.

Yeah I find an EVF or better yet hybrid viewfinder is a very interesting asset for still photography.. but for video I find it over rated. Tilt/swivel/touchscreen LCD, external monitor or even remote phone/tablet viewing are where it's at for me these days..

There are dozens of videos online showcasing GH5's low light / high iso performances. .. wether it's good/poor depends on what you are comparing it to I guess. compared to GH3/GH4 it's fantastic. Compared to FF Sony/Canon.. not so good.

Actually maxed out 13 MBP's use 7th gen dual core i7's.. far from quad core but still I've been pretty surprised at what it can handle.. except MJPG. I use Resolve beta 14 for transcoding & grading. I usually hire a video editor for paid jobs so mostly I just want to review footage.. try some graded looks etc.. Sadly MJPG is a no go for me on my $2900 2017 notebook setup.. to be honest with you unless you're primarily a still action / sport photographer.. I kinda fail to see the point in investing in a 1DX2. At that price point there are so many better video cam options out there. Even the 5D4, now with log support & HDR video at half the price.. and of course Sony, BlackMagic... GH5.. meh 2.2x crop is just too severe for my taste.. poor lowlight.. AF.. and sucky at stills. I do get it's a godsend to some types of shooters thanks to 10-bit 422 in DSLR form factor but yeah it's on the other side of the spectrum of the 1DX2 that's for sure!

Got a maxed out 13" MBP.. but zero problem reading 4K codecs from Fuji, Sony, BMD etc. Only MJPG causes severe drop outs. Less so when editing, I'm talking just playback using preview or quicktime.

"Grading, I did not grade the Canon footage. I think the Canon footage is best colored in camera using a picture profile. I did however grade the bejesus out of the GH5 footage... and it did not break." "Here is my intermediate conclusion/not conclusion: The GH5 is going to surpass my 1DXMk2 for video. It captures sharper, more detailed and more gradable footage." Curious, how do you reach to that conclusion, when you haven't tried grading the Canon footage? From my experience, the 500mbps 422 MJPEG files are pretty damn gradable. GH5 may be 10-bit (vs 8) but the extra file bitrate should narrow that gap. As for the "sharper more detailed" well that's the optical low pass filter on the 1DX2 making 4K a tad softer, but I don't find that too problematic (gives less video feel) Now of course GH5 has VLog and 1DXII doesn't, but there are a bunch of downloadable Canon log profiles out there. Personally I'm warming up to the 5DIV now that's it got official C-log support. With the 18-35 Sigma the crop factor shouldn't be a problem either. Biggest downside to the MJPEG codec is the file size. My maxed out 2017 MBP Touchbar struggles to even read the files. Meaning everything will need transcoding..

Poor Nikon.. specs aren't even out & people are already burying them! Videographers seem to have moved on to mirrorless, but most of the pro still shooters I know are still firmly rooted in DSLR systems. From lens choice to battery, ergonomics, weather sealing, AF, OVF, Flash.. etc all reasons why DSLR might still have bright days ahead of them.. Also Nikon may be dependant on Sony for sensors but the result is usually better DR then Canon. If they can just manage full read out 4K with minimum to zero crop factor.. and perhaps a workable live View AF, they'll have easily beat Canon's best offering in that segment. Although my guess is the video centric body will be the D750 follow-up..

DSLRs/Mirrorless are usually multi purpose cameras such as for: shooting stills for a wedding, run & gun shoulder mount, interview monopod, product commercial on slider, music video on gimbal, narrative work fully rigged up on sticks etc.. a DSLR/mirrorless can be great to cover all these scenarios while remaining affordable/portable. Now smartphones as pro tools I'm not yet convinced. Gondry did it as a challenge and of course for the cash since Apple paid for it. The resulting film is quite mediocre on several levels imo. Personally, the only reason I'd use a phone instead of anything else would be because it's the only device I have on me or is allowed. The good old best camera is the one you've got on you adage.. I do see potential for wireless monitoring, remote triggering, possibly uncompressed recording etc

..and when you rig up a DSLR/mirrorless with cage, handle, rods, matt box, monitor/recorder etc.. why not just use a "real" video cam? same argument..

Isn't that the whole point? Rig an Osmo & an app like Filmic Pro and these latest-gen 4K phones can be used in a pro environment.. and open up new creative possibilities like the DSLR revolution did a decade ago..

Interesting. Apple France is currently promoting here a film done by academy award winning director Michel Gondry, shot entirely on a iPhone 7 Plus.. https://www.apple.com/fr/detour/

I've sold all my gear to purchase a C200.. except for my XT2. This camera is something special, I just love it. Grip is indispensable imo. Camera is really inconspicuous too, great for shooting video in sensitive locations or putting at ease subjects for interviews. Of course camera isn't perfect. Biggest gripe for me is absence of internal log. But overall the 4K image is just formidable and requires little to no post thanks to excellent white balance and colour science.. the kit lens with OIS is also great and on it 80% time for video. I've also started using my Nikon glass on XT2 using a cheap adapter..

Well the absence of mid/high range codecs does seem a little odd on the C200 even though better codecs seem planned for next year.. It is great news to me though that Canon have included internal RAW recording. That along 4K, Touch screen, DPAF and improved ergonomics make this camera almost a no brainer. I do think that it's competitors aren't so much mirrorless/DSLRs but Ursa Mini Pro, EVA1 & FS5/7 etc Now about the RAW debate, it's true it's not for everyone or every project. The size & workflow are definitely hard to manage. I'll admit I seldom use ML Raw on my 5D3 even though it's footage & resolving power beats by far any of my other cams.. but that also has to do with ML Raw workflow which has added perks.. Even a show like Netflix's 13 reasons Why which was shot on Varicam35 that supports RAW was recorded in AVC-Intra 444 (12-bit) to handle decent file sizes, fast workflow yet deep grading capabilities.. YMMV

^ DPAF is a game changer, especially for gimbal work etc.. First short shot on C200 in Canon RAW:

None of my clients ( corporate, wedding, docu ) have specifically requested 4K, however they certainly noticed whenever I shoot with it (wether A7S2, FS5 or XT2) Furthermore, it's getting kind of hard for me to go back to shooting 1080p, once you get used to 4K resolution and it's benefits. Most everything still gets rendered out 1080p but yeah 4k shooting is where it's at in 2017 as far as I'm concerned. That being said broadcast standard 10-bit 422 may be more important to some and it is a shame C200 doesn't offer that at it's price, but Raw even if "light" and 12-bit is still huge. Again it looks like I'll be selling most of my equipment to get hold of this camera..

Selling my ML 5D3, C100 DPAF & A7S for a C200B + LCD (keeping my XT2)

I used a D750 before switching to Canon. It's a great camera, especially on the stills side. The 1080p is definitely soft but it didn't stop me from making great videos. I did pick up a second hand A7S (original) few weeks ago, mostly for it's low light abilities but also to use all my Nikon glass I kept. 1080p on that is definitely sharper then D750 and grading S-Log is pretty easy I find. Ergonomics are poor but having an EVF is a bonus. I'll be getting a BM Video Assist soon so 4K will be available on it too. I feel no particular attachment to the Sony like I have with my Fuji or DSLRs though FWIW.