mrtreve

Doesn't the HDMI clamp stop the HDMI port on your cam from bending? It's possible that the mini to full adapter cable could go bad eventually if it's moving around in your bag, but just pack a spare. The only thing I'd worry about is the HDMI out of the NINJA V that protrudes out the side. I personally use a Smallrig Hawk-Lock quick release on my Shinobi and leave the HDMI cable clamped into the camera, so I just click the monitor on and insert the cable when I take it out of my bag.

I reckon this will be priced a fair amount higher than the Mini LF if it's the full version of this camera (i.e. it replaces the Alexa SXT, not just the Mini) and there demand will outstrip supply by quite a lot. Arri can only build so many cameras plus there's the chip shortage to contend with still. Rental companies will be looking to replace their fleets of Minis (and SXTs) and they have deeper pockets than your typical owner operator, so I'm guessing the strategy would be to price-out most of this market to manage the demand somewhat. As usual, it'll probably be hard to even rent one when they come out as they'll all go to high end features/tv/commercials. At least the LUT salesmen have a new colour science to try and match the Pocket 4K to! Boomtime for the LUTboys.

This is a nice example of the camera used in a doc setting. It looks like 100% tripod / Ronin-S so they avoid the IBIS limitation there. I think the oversampled image looks great even on Youtube.

Eh this camera is pretty amazing if you compare it to the things we used to get. A 5D MKIV from 2016 was £3599 vs £4499 for this... and that camera essentially didn't work for video. The lack of IBIS genuinely stings a bit, but it's really tiny for an 8K 60P FF camera. I probably won't get one because my C70 does a similar job and for stills I'd prefer something even more compact like my Fuji, but I will probably recommend it to a companies I work with who want some kit to keep in-house.

Yes, basically the sensor is showing its age a bit. Initially they implemented some temporal NR to clean up the shadows in C-log2 (I believe it was the first camera with that gamma curve) but this lead to some artifacting, so they added firmware to disable this (you set NR to a value of -1) at which point you could see the noise levels that existed there. I usually shot at 400 ISO to clean things up a bit. Fair play to Canon though, as they did fix this on the C300 III with the DGO sensor. The fact that this sensor trickled down to the cheaper C70 is quite a nice thing. It makes it harder to justify the older C series cameras even if you can get a used deal. The build quality of the C70 is not quite as good as others have mentioned. I haven't had a problem with my monitor but I only use the camera rarely. The rest of it is solid enough. The RF mount is nice and secure. However the tradeoff is worth it probably, as the C300 II is quite large and top-heavy with the clamshell monitor. The cold shoe always goes as well, so its common for the monitor to sag to the side (not be level). I would personally forget about the prestige of a C300 line camera vs a C70 if that's influencing your choice, as a £5000 camera in 2021 is better than a £15,000 camera from 2015.

I had a C300 II for a while and I think it made a good image in 2k 10 bit. It was always a frustrating limitation that 4k and 2k 4444 are limited to 30 fps. The raw output is over SDI and limited to 4k 30p. You can now do prores raw to a Ninja V Pro (SDI module) but this is pretty bulky solution and still no slow motion recording. I would go for a C200 over either of those cameras though if you're interested in 60p. You get the 4k 60p 10bit Canon Raw Lite which I found had less artifacts than the X-AVC of the C300 II. A quick transcode to prores and you have a really capable camera system. One downside of both the C300 II and 200 was noise in the shadows especially with C-log2. Canon fixed that with the DGO sensor, so it may ultimately be worth just getting a C70. You also get the flexibility of the RF mount which is a huge bonus. I didn't ever use the 1DX II so can't compare. I think the images look decent if you're happy with shooting on a DSLR.

But you recorded something boring twice!

Do people aside from wedding shooters use dual recording in reality? It seems to be a non-issue with cinema cameras but a life-or-death thing for mirrorless. I know it's possible to hypothesise more situations where you might need it, but I'm asking if people actually do it for their work. My question is how much of this is spec hunting rather than actual need. I have always bought good cards though, so perhaps a lot of it is people who have bought cheap cards in the past and had them fail. I do think you're right though that the XLR module for the R3 onwards is a good sign that Canon are accepting to the fact some people want a proper hybrid camera. If the R5C with a fan turns out to be real then I think that's a cool package for a compact full frame camera with and EVF and IBIS. I've got a C70 but I would probably never take it with me for non-work occasions.

Panasonic should shrink it down, go L Mount, give it prores and good on-board monitoring and it'd be worth a look. If you hark back to the Mini DV days, the DVX100 was fun and neat. It had a sexier image and was smaller than the competition, so I think they should try replicate that again. The S1H is nice on many fronts but they need a video camera with NDs and I/O with little to no rolling shutter.

Get the best camera you can possibly afford (C70/FX6) and ditch your employer as soon as possible. Having an industry standard cinema camera puts you in a good place to pick up jobs. Your lenses will work fine on the C70. I have the C70 and even the cheap EF > RF adapter from Meike works perfectly well. The X-AVC is easier to edit than the HEVC, but you can always transcode.

I say if you like Nikon, dump the money into Z lenses and wait for the camera to come along. They lenses will last your whole career and it can't be that long until all the major brands do great 8K cameras. I think it's better to think long term like that, rather than switching systems multiple times for the current best camera and taking a loss every time you do it. I saw your Promised Land Retreat video and I have to say that the video quality would not put me off buying a place like that if I had the means - the video was very effective. So I would say continue doing what you're doing, but update for the future.

The Canadians probably all do in-studio gear reviews because outside is frozen tundra for half the year. They are simply trying to stay warm.

If they work to teach you the architecture of the program then I say go for it. They won't teach you to art of being a colourist however... and I'll say that many paid, in person training falls well short of this too. I think once you learn the basics of how the program works, the best thing you can do is practice and find a community that shares knowledge. If you can, find someone better than you and sit next to them while they grade. I personally think whatever certification they offer is worth diddly-squat. They're teaching product features not experience and skill. However, it's incredible that the program is free and these tutorials are probably a great way to get going.

Haha fair point. The upside is things tend to sail through postproduction because they look so nice. It's no fun being in editing jail, that's for sure.

The DR of the Mini LF is definitely worthwhile. Because of the small size, these are used all the time on shoots with small-to-moderate crews. I used mine yesterday with nothing but 2 camera assistants. One occasionally jumped in with a poly board for fill, but mostly leaning on the DR to let me expose for the subject and letting the clouds etc roll of to where they may. It's a real get out of jail free card if you are thrown into challenging settings where you still need to work quickly and come out with nice results. The new smaller cameras are getting close though which is also great.