EphraimP

Whether or not the glass is the same IS a question. I also think the build quality of the whole unit is part of it. Beyond the glass and shroud, there the mount for the tablet/screen, rod system and mounting system for the camera. The Ali one looks less flexible/adjustable than say the unit I bought, which uses a more convention 15mm rods like any other camera rig. Actually, I was thinking about buying longer rails for a rig, so it's nice that I can just use the ones from my prompter if necessary. Not that the rods alone justify the cost difference. I can see glass and build quality, plus the addition of a remote, differentiating a ~$300 and a ~$700 system. What's the selling point/justification for a ~$2,000 teleprompter rig? I have no idea.

I was just about to chime in with another ikan teleprompter recommendation. I recently picked up the Elite V2 Universal, which you can get with a remote that works with both iPad and Android-based teleprompters and probably some other tablet operating system. It is about $700, so way les than the $2K version but still out of your price range. If you could squeeze some more cash out of the budget, the Elite V2 does seem to be a nicely built unit. You do have to pay a couple bucks more for an prompter app for your tablet of choice that is compatible with remote. I think it's worth it. I used this on a shoot recently with talent that had never presented to camera before. Once she got the hang of using the remote, it was super helpful for her to control the speed of the prompter and rewind the script to the proper mark when redoing a take. I could stay behind the camera, so the shoot went pretty smooth. I like the image quality I got from the ikan. It matched up very well with my b-cam that wasn't using a prompter, so I don't think the glass degrades the image quality in any appreciable way. I only wish I'd gotten this thing sooner. I don't do a lot of stuff with direct-to-camera shots, but I can think of some I've recently done what would have turned out miles better with this thing. Whichever way you go with your prompter decision, good luck.

I'm going with something like this:

Thought of that, don't have time. I am putting slight color burn transitions over them, and punching in or panning, so I've definitely modified them. I will probably put a text-on-screen crediting each publication and date, much as Anaconda recommended.

I'm editing a doc-style video for a local academic institution. They have provided me with a lot less b-roll and pics to use over talking head and VO segments than I expected, so I'm searching for content to fill the gap. I came across an old Vice article with a headline and topline photo that are just perfect for what I need. If I grabbed a screenshot of it and ran it for 3-5 seconds, would that count as fair use? The piece is definitely reporting/editorializing on the topic at hand, so it definitely can be considered newsworthy. I'm hoping someone who's had some experience with this can chime in. We in the US, so state-side legality is what I'm concerned with.

Here's a deep dive into getting long cable runs with HDMI devices like ATEMs. He does go over to types of ethernet cables and sdi conversion. In addition to getting your cable situation down, you'll want to figure out your networking. It's not a great idea to rely on wireless signal for the switcher, although you can do it if you are connecting the ATEM to a laptop with a USB-C cable. Getting an ethernet connection is key, so you'll need an little ethernet switch so you can plug your laptop and ATEM into the network wherever you'll be livestreaming. I use a little 5-port Netgear switch that was relatively cheap and works great.

Are you editing in Premiere or Resolve? Speaking of the FF look, are you using the Canon EF to R speedbooster, R lenses, or one of the other EF to R adapters? I picked up the Speedbooster and a 24-70 F4L to go with my 17-40 F4L and 70-200 F2.8L. I'm too busy editing projects to do more than point the C70 at my dog when he wonders into the office and jumps up on my futon and record a couple seconds of b-roll. I shot some 60p slow-mo in low light, 6,400 ISO I think, that looks fairly good in Clog 2. Haven't played with color grading it yet.

Glad I didn't wait around for it and got the C70. Not sure the X-H2 would/will meet my personal wants for a cine/video camera anyway (xlr/mini xlr, internal ND, etc) but that was the pipe dream. The T3/T4 pretty great cameras. Biggest improvement I think Fuji needs if they keep with a mirrorless hybrid approach instead of a mini-cine direction is improved IBIS. Second biggest would be improved autofocus/autofocus consistency, and a lot of that has to do with lenses.

Having a market thread is not a bad idea. I was more interested in moving my gear on quickly with as little hassle as possible, rather than maximizing the return I could get and increasing the risk of getting ripped off. The fact that it helps a fellow legit shooter is definitely a bonus. If that's the vibe people approach things with on the board, it could add value to the community.

Helping others with their gear addiction helps me with mine. It's what they call a win-win situation 😏

Sure you should. I can make it relatively painless for ya 😏

You make a good point here. Getting a recording monitor is more than about whether you want 422 instead of 420 10-bit. The recording limit is another advantage, though you haven't run up against it yet. You may in the future, if you ever need to shoot a live event or performance. The recording media is another advantage, as I mentioned further up. The codec is another big one for some folks; H.265 is a PITA to edit for a lot of folks. And, depending on your camera buying future, having a versatile unit that gives raw recording capabilities to many different cameras could be a bonus.

This showed up Friday. Of course, it was supposed to show up Wed and I had a job Friday I wanted to use it on. Oh well. Probably best to get some more time than that to get familiar with it before using it as an A cam on a job. Maybe I'll use it as a b-cam on a shoot this coming week that's lower stakes than what I was shooting Friday.

Man, these stories are an eye opener. I was just thinking of listing my ATEM Mini Pro on eBay so I can move to an Mini Pro ISO. Not really feeling like doing that now. I could always try Craigslist, but I'm in a relatively small market for such a specialized product. Anybody want to by a lightly-used ATEM for reasonable price?

Not a very good way to test the waters, IMO. If they wanted to do that, they could have shipped a bunch to YT creators as Beta models and gauged response to those videos, something like that. Testing the waters by introducing a product into a market that doesn't fit really makes no sense to me. But whatever. I'm no marketing genius, just another one-man-band video production company doing the occasional paid livestream, so it really doesn't matter what I think.

The Ninja V+ might be interesting to someone with the right camera, but the Ninja stream is a kind of a joke. Rental only? For the fees they are expecting, you'd be much better off just buying an ATEM and 15-inch monitor, even for a single camera livestream workflow. I'm just not seeing a benefit this thing offers over livestream workflows/products already out there.

I run Ninja Vs on my T3 and 4, as I've commented frequently. Haven't played with the new BMD 12G, but I have used the older BMD unit on one occasion. I definitely liked the feel and interface of the Ninja even though it's plastic. And unless you have a ton of high capacity SD cards sitting around, the Ninja's use of SSDs is a huge win. Why would you want to include ANOTHER cable to your monitoring situation and have to mount a usb-c drive somewhere on your camera. Also, if the 12G doesn't have focus peaking and zebras, it's hugely crippled for a monitor. As for recording/working with ProRes, as long as you can deal with the large file sizes, it's way nicer to work with than H.265. There is a slight audio delay issue if you record audio direct to the ninja. It makes more sense to run audio into the camera and monitor from the Ninja. If you need to record two different audio sources and aren't using an externa recorder or pre-amp, having a second input on the monitor comes in handy, but you will need to re-sync in post to fix the delay issue. It's a small price to pay for the benefit of multiple audio sources if you need it. Again, a win for the Ninja. One of my units did have it's screen go black on a job, which totally sucked. Luckily it was just inside the warranty period and Atomos took care of it with relatively little hassle. Maybe worth buying an extended warranty. Because there are not a lot of people complaining about over all Ninja QC, as opposed to BMD's Pocket 4K and 6K, I wouldn't worry about it to much. If I got one with a weird color cast, I'd definitely warrantee it.

Sure, that would work for post. But if it were just post I was worried about I'd shoot everything in Log. I'm talking about a livestream. Unfortunately, while I could tweak BM cameras in the ATEM control software, can't do so for other cameras. It's not the end of the world if I don't get the cameras matched perfectly, but I'd like to get them as close as I can.

I'm doing a livestream Sunday using two XT cameras (3&4) and my cam opp is bringing an S3. I've graded S-log from the camera to match F-log, but I've not messed with SOOC profiles on the Sony vs Fuji profiles. I'd like to get the closest match possible. Anyone played with both cameras and have any idea? My opp hasn't been able to update his camera to the latest firmware yet, so he doesn't have S-cinetone on it.

Without autofocus reliable enough for a talking head interview, internal NDs and XLR ports, Panny cameras aren't in the ballpark for me. I already have an X-T3 and an X-T4, so I don't have any need for another hybrid mirrorless system. I'll be checking out the C70 in about a week or two. We shall see.

Yeah, I've thought about the C300 Mkiii. It's a bit of a stretch for where my business is at. I can comfortably budget ~$6,500 for a camera/cage and minor accessories and I already have 2 Ninja Vs, so the monitoring solution is taken care of. Though I'd love a full-size cine rig, I think the best bet for me is to go the C70 and step up to a C300 or 500 as I grow the business. The C70 will slot right in into B cam mode at that point and I can sell on of my Fujis or use it as a fulltime stills body, not that I shot much still photography these days.

My LLC is less than two years old (I registered it last winter, actually) so I don't qualify for Canon's 0% APR deal yet, but B&H has got me covered on that. I agree that is seems like a fair deal. I was thinking I'd like the C200 form factor better, but I've been shooting a lot with my X-T4 in a similar way to how I'd set up the C70 and have been liking the result better than my X-T3 set up mini-cine style with a pre-amp and V-mount battery. The IBIS has been part of why I like it better, though I do have to deal with IBIS induced wobble/jello on some parts of some shots. I'm thinking that the C70's digital IS should be as helpful for getting usable handheld footage. I plan on using a IS lens for my main doc lens, probably the 24- 70 F4L with the .71x adapter. My only question there is if the 24-70 autofocus motor is as loud other L-series USM motors and if it tends to pulse when autofocusing. I do have a Ronin-S and I know you can balance the C70 on it. I tend to like the hand held look for doc videos over a hyper smooth gimbal look.

Sorry. Nah, what I'll probably do is buy the C70 on a 0%, 1 year payoff plan (thank you B&H!) and write the camera off against the taxes for my LLC. Nothing wrong with leveraging other people's capital to grow the business. If I decide to sell it in a year or two, doesn't look like used prices are dropping fast.

Well, that's embarrassing. I AM the king of typos. That post title should be C200 Mark II - Is it coming. Derp.

Late last December, rumors started popping up about a new C200 from Canon with the sensor from the C300 Mark III and the C70. It was supposed to have a smaller body than the C300 without the modular form factor shared with the C500. So, a smaller uni-body cine cam with the latest dual gain sensor, raw capability and... a 10 bit codec. Sounds more like an FX6 than a C70, albeit in S35 and not full frame. I am definitely interested in a camera like that so I held off on pulling the trigger on a C70. April's fixin' to be in the rearview mirror any second now, and I've got projects to shoot, lots of them. The trigger finger's gettin' itchy. Anyone heard of new rumors about the camera or a release date? Maybe the success of the C70 has made Canon re-think the timing and wait until the buying frenzy for that hybrid/DSLR shaped beast dies down? I hope the C200 Mark II doesn't become Canon's phantom camera to match the long-lusted after A7SIII. I don't want to wait half a decade to see if it's all I hope it could be or just a Meh offering from the big bad wolf of camera companies.