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So I decided to pull out the GH5S to see how it works with the Ronin S. This is a single take, shot anamorphically. I still like the look of this camera and feel it's very underrated. It felt light on the Ronin S... but then again I'm used to flying the Canon C200 ? What are your thoughts?

I try not to guess what Canon will or won’t do anymore, but it seems, from Rumor sites mind you, that Canon is planning on taking video seriously in their upcoming releases and are using a new sensor in their upcoming FF mirrorless. They also have patents for IBIS and a next generation of DPAF... so if they could manage a small to no crop image, plus IBIS and updated DPAF, hopefully with an EF Mount, then that alone will make me interested. If not, I’ll get a C100 or maybe this Nikon if it lives up to its hopes. In the end, the only certainty for me is that I am continuing with my 5D3 and ML Raw. Anything else, is just gravy. Ugh, I need to go out and shoot something. I just realized I mentioned about 5 cameras I want and that was just today... the dog days of summer GAS is starting to set in.

I would actually give Nikon a greater chance of having a better FF Mirrorless than Canon to be honest. Canon can sort of gimp around, I don't think Nikon has that option. And Nikon color science is pretty damn good to be honest. I like it better than Canon for a lot of stuff. Maybe not wedding photography but.. Plus, who doesn't like the underdog here.

Like virtually all cameras released these days, I believe it will generate pretty pictures and ugly arguments. So, yes, absolutely not revolutionary.

I am not aware from what culture you are coming from but calling names to people you do not know, is not a good start to make friends on a new environment, and as you are new to this forum, we have debated and argue about the lack of any ergononics (whatsoever) on a6xxx and A7 cameras for hundrends of pages. Just do a little research and you will also find my opinions there. The only Canon I own is the AE-1 and a set of FD lenses, so I have no horse in this race, but for professional reasons I have to use Sony cameras all the time, and they are seriously lacking in so many respects, that I do not have the time to state here but are very well documented here, and in other forum and special press articles. The market seems to favor these Canon cameras, and I do agree, as these are perfectly placed (cost wise as well) for entry level and slightly more advanced users, together with the ultra cheap and quite good 11-22, 22mm pancake and maybe the 55-200, and the kit 15-45 is sufficient for such a use. Small, light and cheap. You obviously disagree, but you can state your disagreement with a milder and more civilized manner, and be ready to face different point of views.

Personally, i don't believe Nikon risks cannibalizing D850 sales by adding video features to their new MILC. We're talking a new year, new mount, new lenses, new mirrorless body type, new type of customer. No reason for them to hold back imo. The pro photogs i know that shoot D5/D850 aren't about to dump their gear to shoot their pricey lens collection with adapters, unproven weather sealing resistance, slower on sensor AF performance etc etc.. The high-end DSLR isn't going anywhere just yet in the pro sport/event photography scene, which is what Nikon caters to primarily. Also pricing wise the D850 is roughly $3,200. The rumored price for the 45MP MILC model is $4K (including kit lens). So we're not talking "budget MilCs" and no Nikon won't be giving away stuff for "half the price of a d850". All that being said, it is true however that Nikon have always been rather conservative when it comes to video features. Heck even the video I posted is advertising the D850 as a home video tool for the off-duty filmmaker! The press release does give me hope as it does mention video, but i'm not expecting Blackmagic or even GH5 type advanced video specs.. It's going to be a long 2 week wait!

Dell Optiplex is a popular choice for offlease starter PC to use as your base, you can see lots of people have done basically this. Purchased an Optiplex then stuck a better GPU in it, plus maybe some extra RAM. Some people might recommend upgrading the PSU as well (but then again he is putting a 1070 in there, even the YT Host himself says he'd recommend putting a 1050 Ti in there instead): OzTalksHW is a channel I quite like, I've watched a lot of his videos as he has quite a few of these low budget builds:

Hello. I recently purchased a pre-36 from a user on here, and used it for a project; a promo for an arts fair, held on the kubrick estate every year. Hope you like it !

Yeah but What makes Sony Sony is all the extra stuff in them that DSLR's don't have. Face, Eye lock, Clear Zoom, pretty damn good IBIS, full frame 4K sensor scanning, no FF crops, on and on. There is a reason the menus are so damn big, is that they have a ton of stuff in their products. Is Canon, Nikon going to get all of that right on their first try? I really doubt it. And that is what sets the Sony stuff apart. It is all the bells and whistles that make your life easier to shoot with. Are people going to give all that up to have a gimped ass Canon, and you know the hell it will be so. Is Nikon Video going to be ass kicking, you know it won't. I think you are giving Canon, Nikon Way too much credit for 2 company's that have dragged their feet for years. They are WAY behind Sony, crazy behind. And you think the new Sony A7s mk III is going to be a Canon M50? I would bet this new BM PK4 is going to be nearly a better camera than both of them other than AF, low light, and the low light will be good enough with a Speedbooster on it for the video part of it which we give a crap about. You really think this new Canon will have full pixel readout, no crop and DPAF 4K 60p in 10bit? Yeah, that will happen. It Ain't going to be a Canon C300 mk II for 4 grand. And it damn near will need to be one.?

So I am noticing some jerkiness in the footage. I believe this is due to forgetting to recalibrate the Ronin S for the lighter weight GH5S. None the less here is some additional footage. Oh, I also forgot to bring ND filters on this shoot. I guess I have been spoiled by having built in NDs on the Canon C200. Oh, one last thing, these clips are edited in FCPX. The free version of Resolve does not support the 10 Bit ALL-I files of the GH5/S.

Not to state the obvious, but C100 and 80D are just such completely different leagues. I wouldn’t use 80D footage personally, C100 on the other hand is gorgeous. It’s also about a million times more enjoyable to use, plus SO much more practical. Save for the C100, you will be so grateful you did. Wait it out, they’ve gotten so affordable. I sold mine for $1600 AUD, which is less than $1300 USD. I’ve seen others for similar price. I’m halfway tempted to buy another one, but with DPAF. But then I can get a MkII for not ‘that’ much more. C100 is worth every penny.

IMHO, the adapter thing will be nice if you have lot 's of long lenses, but for anything under 80mm people will go for z mount lenses and dump their old stuff on ebay, great news for poor photographers

Since we are in prediction land, my two cents: - The more expensive one will be exactly a D850 mirrorless, with on-sensor PDAF, IBIS and maybe some more video helps (zebras, peaking, etc), but same video quality / specs. Will not exactly canibalize the D850 because of a higher price tag, better performance with F-mount lens and photographers that prefer OFV's. - The cheaper one will be a A7 III contender, specs by spec. And probably this will be enough for a lot of people. Their first priority is keeping the current Nikon users on board, still photogs first. Stills photographers still buys much more units than the video crowd. Don't expect 10-bit or 60 fps 4k in this first iteration, maybe 10-bit in HDMI out. They will start with the land that they know. At the same time, don't think that they will restrain themselves to not canibalize DSLR - jut will try to keep the prices reasonable at the start to get traction (A7 III put a lot of pressure in prices). For me the clearly see the Z mount as their future - that HUGE size, for me, is to have the possibility to go to medium format at the future with the same mount (and use FF lenses with crop), not to make a better IBIS.

It’s simply revolutionary because it will exist. Like it or not, Nikon and Canon are the professional photographer’s cameras of choice due to their lenses. Once both Nikon and Canon get into the FF mirrorless business, Sony will no longer be the only FF mirrorless game in town. This is why it is imperative that Nikon gets their adapter so perfect that it literally is an extension of the camera... mount it once and forget it’s even there. Hopefully their new lens line up is great but if they do not make backwards compatibility seamless, it will be the biggest mistake in camera history. I’m not anything near a professional but I loved my Nikon D5500. If I didn’t start shooting Raw video, I would have happily continued using that camera. And while I owned the D5500, I started collecting some Nikkor ai-s lenses and I really appreciated being able to natively mount these manual focus gems onto a modern digital camera. I don’t have a lot, so it isn’t the end of the world, but I must say that the thought of having to adapt a Nikon lens onto a Nikon camera, feels a little backwards to me. So for potential customers like me that have no brand loyalty between Canon or Nikon, lens usability is the number one criteria. After lens compatibility, then I will move to other features... ibis, focus peaking, exposure aids, lcd screen, etc...

This! It is in Nikon's best interest to cannibalize their own sales now to ensure the maximum amount of Nikon shooters remain loyal to the brand for years to come. There's no telling what the next generations of Sony or even Canon cameras could bring.

From the rumors which have been very accurate, there are two camera released with a 45 ff at about 4k with the 24-70 f4 kit lens and Another one in the 24-25 megapixel at 3k with the kit lens. Considering Nikon pricing, that lens would easily cost about $ 800, so putting it at the same as the D850 and the 24 megapixel one near the 2k price of the A73. I think they are going to do a parrallel line and releasing the FF line and at this cost is clearly a statement that they are going for the pro/enthusiast high end market. I think at this stage they don't care about cannibalizing their DSLR line of camera becaue in the end, in the next 10 years they could get so much more money out of these users transitioning to the new mount.

But then it's not fun!!!

And a G Master unicorn to pull the focus with its horn and swing the tail to help dissipate the heat. And a little pink bow tie ? Sorry, I didn't mean to be rude or harsh. I like reading your posts. But to repeat myself, the biggest thing Nikon is achieving now is putting out a new infrastructure. Something they can build different form factors and functions around, something to set a new ecosystem that even future DSLRs will be based around. And people are lazy, especially photographers. They won't leave Sony equipment because Nikon puts IBIS and PDAF. Just like people didn't sell their current equipment because Sony is smaller and lighter. It's funny to read forums where every other post is a testimony of someone about to jump the ship or the system bought a couple of years earlier is dying so they are about to angrily replace it with something different and new... Let's just say that people won't let facts get in the way of a good story when they want to make a point. Colleagues who have 'jumped the ship' did it because they were offered equipment from distributors and brands. Sometimes we get cameras for testing and you do it because there's a deal between the agency and the brand, some money comes in. But it mostly stops there. You know what works good enough, what's familiar to handle, you take it and go work. The current war of brands has been helped by the need of the media following the 'industry' to create something people will be worked up about. Half of the editorial decisions on DPReview are done with that in mind. About nine tenths of the youtube reviewers are doing that (when they should really work a bit more on their photography). The fact is, trends go one way and another, while armchair 'strategizing' is just a fun thing to do in the meantime. Again @jonapais - didn't mean to be rude, it was just that tone at end of your post that made me giggle and I had to award the fever of optimism.

Goes to the broader discussion about what a full frame nikon camera means for the market, and what smaller sensors might need to compete. My thinking was that they might be best served for run and gun scenarios given the ibis and potential for upgraded af. In run and gun circumstances, no one wants to carry around a gimbal if it is not necessary. The implications for documentary work would be immense given the compact and discreet nature of these cameras. Which is why paired with a a decent autofocus system they would be an attractive proposition to many. Even more broadly, maybe some here would like to see what olympus has to offer before they decide to purchase a nikon. Just speculation prior to release.

I am not sure the concept of crippling the video of a 'MILC' to protect your high end video gear actually makes any economic sense in the current market. It seems to me that MILCs are something of a sweet spot for video because they are video cameras largely paid for by still photographers in large numbers. And if you consider say a Sony A9 can shoot 20fps, FF, 24mp in 12 bit 'real' raw for US$4k - you can imagine what the possibilities are for video going forward. Seems to me that crippling a MILC to protect your cinema cameras is rather akin to crippling a mobile phone camera to protect your compact cameras.

Possibly is old news to many here, but this was news to me, an entire magazine edition devoted to anamorphic lenses: http://www.fdtimes.com/pdfs/articles/anamorphic/FDTimes-Anamorphic-Special-May2015.pdf This was also a good watch:

@srgkonev - thanks for sharing, that is a really cool finished video! Cameras really are like musical instruments: they create nothing while sitting on a shelf, good instruments don't improve bad players, and they only fully bloom in post production!

That video is just wonderful.. Normally I remove videos when I quote posts, but it deserves a bump!! One of the things that struck me was the DR. I'm no expert, but the highlights looked soft (ie, not harsh) and the shadows looked nice too, with nice mid-tones. People keep talking about skin tones when 'colour science' gets mentioned, but more and more I think (for my eyes at least) it's the DR and highlights that really matter. As an example, the video above is in direct contrast to the below video that was shot on Canon, where the highlights look clipped / harsh / videoish. To be fair, Matti could have shot this on his 1DXII or his 6DII, and I'm pretty sure he doesn't shoot log, so it won't be using the full DR from the sensor, and it's also some pretty difficult lighting conditions, and he might have also rushed the grade (considering he's travelling with friends and family and trying to vlog at the same time), but yeah, it's not nice. However, to also be fair to the Nikon D850 video as well, there are lots of shots in there with quite challenging lighting conditions too. I was saying that my shortlist was the A7III, Pocket 4K, Canon FF ML and Nikon FF ML, but I think Nikon has just gone from an academic inclusion to an option I will take seriously! You missed out the people waiting for the Canon FF mirrorless. The consensus is that it's unlikely Canon will do anything revolutionary, but there's still a chance, and I think there will be quite a few people waiting to see what that looks like before ordering anything. Also, those on the fence about the Pocket 2 might wait to see sample footage and reviews start trickling in, considering the initial issues / bugs that BM had with the Pocket 1.

Just got a phone call about a self funded short film I'll be doing sound for a few days next month, this is a clue on the budget I gleaned: NZ$100/day for each person (that is only around US$67/day, so in other words... nearly nothing) in the cast and crew. (which is the same for me, but getting another $200/day for my gear rental) However they're getting a set of Cooke anamorphic primes for free from a production house and an Arri Alexa Mini for free from another different rental house. For many on forums who live outside this industry this might seem surprising, however to me this doesn't seem strange at all to get calls like this. (although the whole we're "paying everyone the same X amount" does annoy me, as I don't feel that say a 1st AC / Gaffer / SFX MUA / Sound Mixer / etc should get the same amount per day as perhaps a LX Assist / Runner / 3rd AC / PA / etc might get. Not even on "no budget" shoots. *Especially* if someone such as the Gaffer or Sound Mixer is bringing along tens of thousands of dollars worth of their own gear, or like the SFX MUA HoD are using up hundreds of dollars worth of products as expendables per day. And very often I've been on such shoots which "everyone is paid the same", yet you discover that is not the case and it just is the spin the director or producer uses) But I'm sure these people did back in the day at film school do many "no budget" shoot with a Canon T3i or whatever, it can take a few years or working up and building your network to get people you can call upon to borrow their Cooke anamorphics or Arri from people who you know. (and who'd be ok with that, because they know you have and/or will be giving them a lot of work in the future from full rate commercial productions)

If Nikon is smart enough to realize that mirrorless is the future (which I'm sure they realize, they and us probably just disagree on the timing of it) then they will surely try to make their mirrorless as good as they can because they will not mind if a person buys their "mirrorless D850" or an actual D850, as a sale is a sale! In fact they might even prefer a buyer gets their "mirrorless D850" as that will help lock the buyer into the future Nikon ecosystem, while someone who stays with their DSLRs still has a risk that when s/he makes the leap to mirrorless from their D850 that they might not get a Nikon mirrorless but instead will leak to some other competing system.

I botched my first shoot with the C200. You have to pretty much calibrate the camera for every shot. Canon calls it "Black Balance" and it fixes FPN in the lowest IREs. Still need to crush the last 1/2 ish stop of blacks to kill the bad noise. The chroma dies usually when it's uploaded thankfully.

That's the thing... A joke is not a statement. It's not even real. It's not an actionable intent. It's an act. Said it time again. Learn to tell the difference between fiction and reality. Or you'll be stoning comedians on stage at this rate.

Thanks, I'm always for 2.39 or so... except when I'm not I mean, it depends of message and atmosphere, for this a la Lynch atmosphere I choose 4:3, maybe even full square... Here I made test shots also with new Panasonic L Monochrome D profile, I think to maybe save color just for specific trails, dreams, rare moments out of claustrophobia etc. L Monochrome D is very subtle. About camera... At the moment, I do not think about them anymore... GH5 is so well rounded instrument, as also A7III or Canon 5D III with their specific advances, I believe and Fuji, maybe Olympus EM1 II also (eventually I'll try it). But I have to admit that I'm exclusively interested for task of conveying some ideas in realm of moving images, i. e. out of my primary domain of literature - not in comparison per se between these cameras mostly very capable to achieve enough professional level of usability. So, problem for me is not anymore camera or lenses, or, even less, ideas - but to find non-professional actors, people willing to "act" articulations of their own personal shadows, which especially interested me. But I have to point out from core-"naive" experience of my sort of "guerilla production" that 10bit or raw (as also good ibis) do mean a lot in situations when I have to save imperfect shots to become at least usable. So, about @jonpais observation about hard-to-look back from FF to m43 - it seems to me that for my specific usage at least 10bit image and capable ibis (because of so often not fully controlled situations) are minimum when I have the opportunity to choose... so, obviously, from these practical reasons, for the moment I'm best settled with GH5.

@MdB haha! That s a good one! Seriously, have you ever use a Sony camera??!! There are millions of pages on the net about the worst ergonomics, button placement, menu system and touch interface (not!) in business. Unfortunatelly, from time to time I have to work with an A7 camera, and the difference between those and my NX1s are night and day. A few weeks ago we were shooting with some A7s cameras, and I asked the owner of the camera to change something and it took him several minutes to find the menu and change it. In any segment Sony has issues with their ergonomics and menus, that applies to C100 vs FS5 and C300 vs FS7, in my humble opinion of course.

You missed out C) The official announcement on DPReview becoming a shitshow

I am so hyped for this camera. Even just D850 video specs with IBIS would probably be enough to win me over. I don't need all the picture customization of sony's. Dare i say i wouldn't even need log profile. Nikon color science (and flat profile) is that nice: I guess i'm already sold, but of course if Nikon nail video AF and get it close to dual pixel goodness, it might even be game over for Canon.

Disney empowering fascists.

The cheapest solution could be something like the Benro S6/7/8, next option could be a Sachtler Ace and that's that. You can do some moves with the Benros if you weight them right, Ace is great for dSLR/mirrorless.

The original shoot: Emotive Color V1 (Tungsten Main) Emotive Color V2.2 (Tungsten Main) Varicam 35

I do, you can get it for free here I don't know how different the G85 CineD is, but granted the overall similarity of VLogs, I would imagine it to be close

You are going to have to explain that a lot more to me to even begin to guess what you are talking about?? ?

Me too. Missed out on one twice and nearly missed this one. Got it as basically new condition for less than an equivalent 1DX - Pretty stoked. Honestly the C100 is still a very very viable camera. WAY more practical than a 1DC in my experience of both. I thought I would have a C100 and a 1DC for those times that I really needed the special look and that's probably what I'll end up with. I sold my MkI with the plan to buy a MkII just for the better viewfinder and the DPAF upgrade plus the 50/60p. But it hasn't happened yet. I still miss it, a lot. The 1DC in my opinion does not have as a nice output in the S35 mode, it's nice but not C100 nice. The 1080p out of the HDMI using the 4K mode IS better. BUT then you either need monsterous CF cards or you miss out on dual record you get on the C100. The 4K is very nice, I haven't given it that much of a workout. But man that output going to my new BM Video Assist 5" (which is a perfect match for this camera IMO) is nice and has a lot of flexibility in post. Pretty bad rolling shutter in that mode though, unlike the S35 and C100. C100 just looks SO good with such natural motion with great rolling shutter. Add XLRs, NDs, EVF, mounting points, full sized HDMI, amazing grip, top handle, perfect size and controls AND DPAF. C100 (I or II) is a better tool. 1DC is a great stills camera with some really lovely video output when absolutely needed.