Matt James Smith ?

No I own two cinema cameras and three hybrids. As I say it’s irrelevant. I use the tool that works best for the job. For interviews it needs to be something that doesn’t crash after 30 min. Did I make that point already? 🙈

I think perhaps we’re missing the point. Just like their previous “hybrids” it’s a stills camera first and foremost. The difference now is that instead of video being an afterthought thrown on in case photographers *must* shoot a few clips, it is now “video for photographers.” What I mean by that is the 8K video mode is basically a 30fps burst mode to pull stills from. It’s the first stills camera in what is probably going to be the near future of photography - no distinction between stills and video. 8K RAW is the first video mode that can really claim the image quality of a frame is equal to high-end photography (especially in combination with Canon’s AF making every frame perfect). I’m surprised they’re not offering an open gate mode to be honest.

I’m currently very much enjoying using an Instax Wide 300. It’s not great for interviews but probably on par with an R5.

My experience is that bitrate impacts motion artefacts in IPB footage (higher=better, obvs). 170mbps in h265 is pretty high. Almost up there with the C300mkII 10bit ALL-I 4K (about 400mbps in h264 I believe). I’d be quite hopeful it’s going to be decent IPB, and I’d choose IPB a lot anyway, if I had the choice, simply to keep file size down. A Ninja V can be used if Intra frame is really needed. Hell, the C200 can’t even do 10bit external 4K. It’s not a disaster for me. Rolling shutter and overhearing remain the big question marks.

How is this a response to what I said? You're trying to talk yourself out of a nonsense position. I don't see any value in continuing this conversation for either of us.

You literally have no idea what you're talking about! I've already answered all your questions but you keep flogging a dead horse. You must have very little experience of shooting interviews. I have used all sorts of cameras for all sorts of different jobs - from tiny client work to feature films to short docs for VICE - from crappy DSLR's to cinema cameras. Whatever the job calls for. That's why I know what is needed for interviews. If you are focussing on "what camera I use" and think that's what makes a filmmaker, that confirms your naivety. It's a problem with a lot of talk on this forum - confusing technical camera knowledge for filmmaking.

I always shoot interviews with 2 cameras. The exact issue remains. If you stop with one camera then you're reduced to one angle, which is no good. If you stop and start recording it makes it even more difficult, because when you're synching Multicam clips you have broken files to match up. Yes there are workarounds for hobbyists, but when you're turning over interviews day in, day out, these "little" workflow things are the difference between professionalism, happy clients, comfortable interviewees and stressful edits. I'd rather shoot a 1080p interview on a proper video camera than have to ditch a 4K camera after 30 min. What if the interviewee finally gets comfortable at around 25min (not uncommon in my experience), drops their guard and starts revealing some really compelling emotional story? Do you say "oh can you wait 10 min while my camera recovers"? Or do you accept that you'll just use the second angle - guaranteed to be the one that doesn't let the viewer see the emotion in their eyes, or the tension in their gestures? It's not about it not being right for me, it's about it being unsuitable for 4K capture of interviews.

That’s why I want a clamp. Keep the wire from moving around in the port.

This is nonsense. Shooting interviews is the backbone of my job and they regularly last longer than an hour. Especially the good ones. More importantly, you want the contributor to forget about the camera and you want to focus on the interviewing, not think about the gear. Stopping the interviewee mid-flow and asking them to start that question/sentence again can derail a well conducted interview. I assume recording time limit will be negated by an Atomos, so sorting a rock solid clamp for that shitty micro HDMI port will be priority #1 for me.

Have to say I see the high data rate of the 4K 120fps as a positive. It's 4X the bitrate of 24p, which is exactly what it should be if it's going to look as good. I'd be complaining if it was less! When looking at the table, the data for 4 minutes of recording time looks huge but then that's actually 16+ minutes of footage. Personally I only shoot short clips in 120p anyway. Though the fact DPAF works in 120p means it'll be an absolute killer gimbal camera and that'll mean people wanting to do long takes.

Anyone know if IBIS will support adapted manual lenses?

Where are you hearing about R5 rolling shutter?

Micro HDMI is a big disappointment. Especially due to the 30min record time requiring an external recorder for interviews etc. Even more so if that's the only way to get intra frame files. Lack of ALL-I in 4K 24p was surely possible if it can shoot IPB in 60p. That's annoying. Though 170mbps h265 is a fairly beefy bitrate, even for 10bit, isn't it? Will have to wait and see what motion looks like on clips. As has been said the big test is going to be rolling shutter. In some situations the IBIS will help with this in comparison the the 1DXIII but it'll still look like shit if it's that bad. Oh and not recording video simultaneously to both cards defeats the purpose of dual slots for filmmakers! Hopefully SmallRig or someone will come out with a discreet little clamp that solves the Micro HDMI issue.

It's still just an XC10 with an XLR plug - i.e. a 1st gen attempt at something completely new that needs a lot of usability improvements.You can get perfectly good audio via 3.5mm these days anyway. A rode wireless go and/or Videomic NTG easily takes the audio to the same level as the image from that camera. If you need better audio than that, you probably also need a better camera. I'd far rather an EVF, a stronger ND, a shorter constant-aperture lens or an improved UI (ability to change ISO, aperture, audio levels, etc. easily) than the XLR jack of the XC15. It's a fantastic concept of a camera, I hope they continue the line.

Decided to part with my beloved XC10 🥺 if anyone is interested, let me know. UK buyer preferred. Will put a post with photos and price in the Gear for sale thread later.

Sounds a lot like Canon playing their crippling non-cinema cameras games again. I realise mine is a specific use case - so this is not a defence of Canon at all - but if the R5 turns out to be the same and rolling shutter is decent in crop mode (assuming it has a decent 1.5/1.6 crop mode) I would actually consider it in place of a C200. Most of my glass is S35 EF mount (Sigma Art zooms, 17-55mm 2.8, etc). So with the ND filter EF adapter, the EOS R in crop mode will *potentially* be a simple move for me. Weird I know, but for me it may work.

So ... rolling shutter is defo just as bad in crop mode on the 1DX3?

I guess V-log may well be worth a try if your'e using it with the HD intra codec, or via HDMI. Beefy bitrate doesn't get enough credit IMO. It can make a massive difference. The GH2 was vastly improved with the hack. The EOS M video is great in h264 if you use the ML bitrate hack.The C100 is much nicer with prores external recording, even though it remains 8 bit. Even the XC10 image is noticeably superior at 305mbps vs the lighter 205mbps option. The reduction of motion artefacts and finer noise always makes for way more organic image. I'd be interested to see some FZ2000 HD intra footage - imagine I may prefer it to the 4K.

Not to belittle the FZ2000 but the thing that sets the XC10 image apart is a 305mbps 4:2:2 ALL-I 4K codec with C-log. C-log is the best 8bit log there is. V-log just never really worked in 8bit - esp at 100mbps 4:2:0 inter frame. Banding is pretty horrendous and colours mushy in my experience (I had V-log on my GH4). But of course I’m biased! Just saying there’s a reason the XC10 image is special.

Here's another shot entirely on the XC10. It doesn't show the camera at its best image quality wise, but it's the perfect use-case for it's strengths. Last year I shot the Miner's Gala with a C100ii and the difference in lugging that around all day in huge crowds, with less focal length versatility, is night-and-day. Keep your eye out for Ken Loach sticking it to the man, and Jeremy Corbyn trying to do the YMCA!

I'm sure you once said you shot a load of XC10 stuff in Italy ages ago. I was looking forward to a video of that stuff!

It’s just an XC10 with a plug for the C300mkii’s XLR unit. Otherwise it’s basically the same camera.

Agree with most of that Andrew (see my post above covering some of what you said). It’s not up to 2020 standards. Matthias Burling pointed out the internal ND is only really to compensate for the fact the aperture only drops down to f11. I always use a vari ND too. Disagree about 1080 though - it gets really mushy if you push it at all. There may still be a sequel though - Canon has some interesting patents out there. I’m not technical enough to explain it but the XC10 image reminds me a lot of the Fuji’s. Compared to other Canon’s it has quite a filmic look, but not as much colour separation. It’s a flawed camera but very unique and the image can be lovely.

This is all XC10. Most of it on a Ronin S. Just a home movie but it gives an idea of image quality.

Might sell it soon, along with my C100MkII (another under-appreciated camera that still holds up today IMO). Waiting for R5 reviews before I decide between switching to an R5 or a C200. Hard choice.