Django

Funny.. I just bought a 5DIII (there are crazy good deals on it right now) although mainly for stills and as B-cam to my recently acquired C100 DPAF. I just love the L glass.. and Canon skin tones. Ergonomics, doesn't get much better then EOS Cxx. A7S2 is seriously good but for it's price i've got a problem with the consumer-y body, horrible menu/ergonomics and battery life. and yeah S-log3 at 8-bit doesn't really cut it in post.. I'd wait a month or two until 5D4 gets announced if you wanna remain DSLR.. especially if you're invested in Canon glass..

i just bought one few weeks ago ( c100 mk1 + DPAF) and i think it's a great value camera, definitely step above DSLR/mirrorless. DPAF especially a game changer for me. now VS the MK2, do you get a ton more no, but better ergonomics with c300 evf, full swivel screen, better codec options, 60fps, higher ISO range.. small improvements but that make it pretty much perfect.. with the previous pricing, C100 with DPAF was a better deal but now with less then a grand price difference, i'd maybe go with the mk2.. YMMV

I always heard people moaning over EOS C line prices.. and when Canon do a massive price cut... people complain again lol.. but really it's no shocker.. C300 mkII being quite overpriced and C100 mkII due with an update soon that will surely include 4K (just like the rest of the rumoured 2016/17 pro DSLR range specs) . It's just Canon reacting to the market.. if 4K isn't a priority though i'd jump on the C100 mk2 deal, it's a pretty awesome camera..

I played with one last week... man that rolling shutter has got to be the worst case ever.. i was getting all kinds of jello on slow movements! and i'm not even one to complain about rolling shutter in general.. along with the overheating this camera is imo borderline defective / unusable for most applications it seems geared towards. yeah it's got 4k, good AF & s-log but kinda worthless considering the other issues. i mean what's the point of such a portable camera if it only handles static shots on sticks?! should have at least included IBIS to perhaps reduce the jello or something. i'm dumbfounded by this unit. @Grégory LEROY : oublie l'A6300 pour ce que tu fais.. d'ailleurs c'est quoi au juste?! rassure moi, ce sont de vrais militaires??! pas l'air très safe ton truc..

^ doubt it's a regional thing.. for example the Full Sail University (FL) tech package consists of an FS5. if you're producing 4K (which most TV productions aren't) then FS5/FS7 really is the only place to go within the under $8K run&gun/doc/ENG cameras. they're definitely out in the wild, NYC homie shot this on a FS7 couple weeks ago:

Amen to that although i don't think anyone in this thread has been bashing Sony. I think it's just interesting/pleasing for C100 owners to see such an under-rated camera which is often claimed obsolete (Andrew even called it rubbish in his recent blog about C500) used at such high-profile event. Sony's are definitely selling like hot cakes and for good reason, especially in the mirrorless vs DSLR segment. Yet in certain pro segments, Canon still dominates.. like the 5D3 in wedding/event photography despite the 2012 body being largely surpassed in color depth, DR & megapixels by both Sony/Nikon. It's true though it's mostly has to do with longevity due to Canon's slow upgrade strategy. My local vid equipment rental store (the largest in the region) obviously has way more C100/300 cams in stock then FS5/7s probably due to them being available for so much longer then the Sonys. What's interesting is they are harder to get a hold of and rent for same if not more then FS5/7 despite being cheaper retail (rental prices being set on offer/demand ratio). Sony's fast upgrade cycle, which is what allows them to be so competitive tech wise is also it's achilles foot, sometimes releasing unfinished products with issues which can give potential buyers (especially pros) cold feet.

There is no doubt FS7 is a superior camera and this is coming from a new C100 owner.. aside for 3 things: color science, ergonomics & autofocus. i suspect the later is why it's being used in above situation. I just shot a run&gun event this week-end with a busy crowd and had to hold the camera above eye level similarly to the screen capture above, well dual pixel AF made the shooting effortless where i suspect i'd be struggling with just about any other cam/DSLR..

I've shot with all the BM's, my favorites being the original BMCC with speedbooster + Nikkor glass and the latest UM 4.6K. BMPC4K/UM4K sit somewhere in between, they're capable of great imagery sure but only 10-11 stops and 400 ISO native really limits their use imo. I'm on Day 2 with the C100, honeymoon phase so probably not too objective but what's for sure is it's so sweet ergonomically. After years of DSLR film making, which has always felt awkward, its so good to have such a form factor and dedicated buttons for peaking, zebras, waveform, picture profiles etc.. can't wait to stick some sick cine glass and see what this sucker is capable of.. let's not forget glass and grade is half the equation, here is some filmic footage of the "cheap" "rubbish" C100:

well i guess i'm fucked cuz i just bought that c100 today! seriously though i can tell you none of my clients have yet required 4K and i've got some pretty damn big clients on the corporate side (i'm not in the US though). and i doubt i'm the only one left delivering 1080p in 2016. in 6 months or a year things could be different. my mate has an A7S2 and has only yet delivered 1080p with it. if i need 4k tomorrow i can borrow or rent whatever 4K camera the budget allows. as for Ursa Mini 4.6K, did you read my previous post? cuz i state quite clearly it's the best IQ for the money. but a rigged up UM 4.6K will run you $7-8K minimum, has a native iso of 800, no ND's etc... and that's without counting the magenta issue plaguing 99% of the units out there. weight wise, i'm sorry but with the EVF, handle and V-mount battery it weighs a ton and would be super impractical for a wedding type event.. i got the C100 for run & gun. stripped down it's friggin tiny yet offers NDs, waveform assist etc.. got it for dirt cheap too so i couldn't pass on the deal (basically the price of a nice lens) at some random camera store that had no clue about video stuff.. they didn't even realise it had dual pix upgrade. i'm not oblivious to the fact i'll probably outgrow it sooner then later, just didn't wanna drop loads at this point on gear i'm not 100% feeling (i.e current Sony / BM products). that's just my opinion though, to each their own...

Recommendations are a little all over the place with just about everybody's favorite cam being suggested.. they're all valid choices as it's really a question of budget and type of use needed. Cine cams (BM, Kine etc) obviously have the best IQ with high DR, resolution and Raw/Prores codecs. But they need accessories, end up being bulky and require heavy workflow. Then you got the Canons & Sonys with various models at according price points. If you're going that route just get the best money can afford. FWIW i was leaning towards Sony (A7SII/FS5) for the 4K & slo-mo but just might pick-up a C100 (mk1 + DPAF) after testing one yesterday (thanks to this thread!). The dual pixel and ergonomics do make this cam an effortless experience which can never be too underestimated. C-log is really something special although I'm also a big fan of S-Log2/3 (it's kind of like film stock preference at this point). Lack of 4K and the 8-bit recording is the obvious elephant in the room but in actual use the C100 footage is actually quite impressive despite the specs. I've been playing around with it's footage on a iMac 5K and not only does it grade fairly nicely (for AVCHD) but it surprisingly holds up ok in full screen (whereas 5D3/D750 become a soft mushy mess on 5K display). Pretty sure this all has to do with the C100's image being 1080 downscaled from 4K sensor, as talked about in another thread this effectively may mean a much higher quality image as far as sharpness and color info then you're regular HD DSLR. Now of course true 4K cams have their clear advantage so if you're looking to invest for the next few years, C100 (I/II) is probably not a great idea, actually many would argue it's already obsolete but if you can live with 1080, it's definitely a step up from DSLR and when you factor in ergonomics & workflow, it's actually a very good choice/deal..

I'm also looking to upgrade from the D750, which indeed has nice colors & DR but is soft (a la 5D III) and can't be pushed much in post. i tried the ursa mini 4.6k (which btw is useable up until 1600, it's the regular 4K that has base iso 400) and has by far the best image for the asking price. 4K 10-bit internal Raw/Prores recording with 15 DR stops gives you a crazy good image that's super flexible in post. BUT the camera weighs a ton once it's rigged up with just handle, v-mount battery, evf. no ND filters and those CF2 cards cost a leg. It's really a RED/ARRI type cine camera, not meant for small crew run&gun.. The C100II is i find way overpriced for essentially a 2012 cam with added dual pixel AF. the image it spits out is nice and sharp but that 24meg AVCHD codec is weak and of course no 4K. The best investment today for run&gun video imo is the A7S2 / FS5 & 1DX2. But in september it could be different since Canon should be announcing the 5D4 and hopefully C100 III (with 4K). Sony is also rumored to come out with the A9 and perhaps A7R3. These new Sony's would have equivalent or better dual pixel AF (which i feel is the current/next big thing to have in video). So if you can wait it out, there should be some interesting products coming out by the end of this year..

It's funny I've had the opposite reaction towards this camera. Thought it was interesting on paper (4K, 422, decent codec & canon log under $2K had me sold) but in actual use it was a huge let down. Number one issue the lens and specifically the unusable focus ring. I see MF listed in the cons of the review but it can't be stressed enough how shitty it is. It seems Andrew may overcome this issue because he considers the AF to be ace but it isn't DPAF good either imo, and goofy MF is a deal breaker for me. I was also far from blown away by the IQ, but this type of lens just isn't my cup of tea I'm afraid..

UM has a faster processor allowing higher FPS, more codecs and the new OS which will be a game changer for BM cams.. hence i'd strongly suggest UM over BMPC4K.

FWIW i did get a chance to try the LS300 and sadly it was a rather immediate no-go due to build quality / ergonomics. this thing is extremely plasticky, the buttons, display monitor etc feel insanely toy cheap, like they would break if you applied force. the "palmcorder" handling was also very awkward and strenuous after even only few minutes. IMO JVC really dropped the ball on that aspect. every thing else may be great about it but that was a huge deal breaker for me. i tried a FS5 right after it and it was night & day difference as far as build/handling. i would seriously not pull trigger on the JVC before trying it unless rock solid return policy! imo FS5 is definitely worth the extra cash especially with the latest update.

Image wise FS700 is definitely up to 2016 standard.. especially with external 4K / Raw upgrade. along with S&Q it's still very relevant and in use in many commercial projects. Now obviously FS5/7 replace it and as others mention the new compact form factor of these makes the FS700 feel/appear like a dinosaur. Like most here i come from DSLR and even though i want to now jump to a proper pro a-cam for my growing needs, i'm reluctant to even go the Ursa mini route (even though i love the IQ/codec to price ratio) or any other V-mount cam. C100/FS5 form factor is what i'm looking for but the codecs on those i what is making me wait. I feel/hope that within a year either a DSLR will give us internal 10-bit / strong codec / raw or that the next sony/canon/BM cam will be the one.. right now too many compromises (although FS5 with latest update gets very close to ticking all boxes)

lol @ MF vs AF.. FWIW here is what Philip Bloom had to say about Canon's DPAF: http://www.youtube.com/v/98fwWKXDGqc

don't forget sony is planning to buzzkill 5D4/GH5 at launch with their new professional A9 series which will sport DSLR form factor: http://petapixel.com/2016/04/07/sony-a9-dslr-like-camera-unlimited-raw-burst-report/ http://www.sonyalpharumors.com/sr5-bomb-rumor-first-a9-specs-dual-xqd-card-slot-unlimited-raw-burst/ on the stills side latest rumours say 72MP, unlimited raw burst, dual XQDs.. now if on the video side they manage 10-bit 422, strong codec, raw output that would be a killer cam!

these specs have been rumoured for months and come to no surprise. actually as soon as the 1DX II specs were confirmed we had a pretty good idea what the mk4 would be like. i'm sure it'll have DPAF, Canon don't renew often and the 5D is in dire need of a refresh, besides even the amateur 70/80D got it. C-log not a chance, C line only. ML raw, even more unlikely, Canon killed the hack install on latest 5d3 batches. I'd be happy if they at least put in peaking or zebras but i highly doubt that (even if Nikon added it to latest DSLRS) Canon seem less interested in competing with others then they are at not competing against themselves (and the pricey C line) almost the opposite strategy of Sony (which consumer A7 line sometimes trump FS series)

Most 16mm and film Bolexes had built-in viewfinders.. i think it would have been cool and coherent to have a built-in EVF instead of the poor display but hey it is what it is (and better then nothing indeed!).. maybe on their next camera (hopefully S35). FWIW i think they're a great company with a think different approach. I really miss high-end CCD, triple sensors etc.. although I know why the market ran with CMOS. Sadly i think DB are the only ones looking back (towards golden age) when everyone else is trying to leapfrog each other and often failing at the most basic of requirements..

^ right.. but if you add a zacuto (or atomos) you already got false color etc.. so i don't really get the point of having it on-board if not for the benefit of use on the internal (crappy) display?

Beautiful footage out of this cam (Kodak CCD for the win) and it's great to see such good on-going support/development but there is one gripe I had with the DB16 when I tried it was it's LCD, one of the poorest in terms of resolution/IQ, short of useless for any type of serious feedback. So I'm a bit surprised by the new inclusions although I assume they're mainly for external monitoring (which feels a little lame on this type of camera for some reason)?

^ agreed. yea 10-bit prores 4K would be fine for me too.. but in that case wouldn't an atomos assassin suffice? or will only the shogun/inferno tunnel that upgraded 4K output?

Auto-ND seems cool... need to see more creative examples of it. any word on the RAW output bitrate (8/10/12?)

the codec definitely is an important variable.. and the FS5 & AS7II differ on that as well... interesting you guys mention C100.. i love the ergonomics of that cam and the mk1 is real affordable right now.. the only thing keeping me away is that 24mb/s codec.. yet i've seen some stunning footage out of it. i wonder if it's the fact that it's a 4K sensor downsampling to 1080p, meaning perhaps it's actually got more info then you're standard 8-bit 420 DSLR vid... but out of camera image is one thing, how about gradability on that "shitty AVCHD"? if the image falls apart quickly then that's a deal breaker for me..

^ FS5 shoots 4K at 8-bit 420 (same as A7SII) but I agree it would have been cool and very easy to compare both cameras 4K downsampled to 1080p.. but that wasn't the main goal I guess, just to show that 4K 8-bit downsampled bids well against 10-bit 422 1080p.. and in that I think he succeeds proving something I wasn't aware of. The whole 10-bit 422 1080p advantage of such cameras as FS5 seems more like a sales pitch to me now. I'm still interested in the FS5 for other reasons but it's twice as expensive price tag doesn't seem that justified, especially as far as IQ imo..