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Hi, I'd like to share this quick test video from Olympus OMD EM5 Mark II with 50mm f1.8 Nikon lens - I've done quick colour grading and please bare in mind that first 20 seconds were filmed without correct stabilisation settings. https://www.youtube.com/watch?v=sJyxUNdk028

http://eddavid.tumblr.com/post/113334610539/the-response-i-was-wanting-for-the-quiet-escape After a week I finally got the response I really wanted for my short film, "the Quiet Escape" that you can only get from posting something online and having the anonymous bathroom wall writing comment on it: "I don't mean to be rude because a lot of the shots were decent but hearing you call NYC a shithole made me disinterested .... just felt like a lot of whining. And its not magic most 20 something living in Williamsburg can afford rent they have there parents paying the bills so don't cry for them to hard. I mean why is this even a on here? What did we learn? sorry but Phillip Bloom teaches more in a simple instagram post. We can do better..... Good luck in the country buddy I was born and raised in Manhattan and it usually spits out most transplants eventually so don't feel bad" This is a good thing. Comments that are positive are nice, but you need the bad - to feed off of. That’s probably one of the greatest strengths of NYC. This comment is the underlying air that exists in New York City that you have confront after living in NYC for a certain period of time. This feeling that you are never legit, you are never part of it, that you are always an outsider and that people want you to leave. That you never really fit in, that you're not a true New Yorker and you'll never be one because person X has lived there longer than you. I dealt with this a lot on a website called Diehipster.com - it was a anti-gentrification website that featured fantasy scenarios where the blogger, Diehipster, would post videos of people who looked like hipsters getting beaten and stomped on, and also a sectio n where he would write a fantasy story of beating or maiming a hipster in a variety of cartoony ways. He was big when the hipster thing started becoming a thing around 2003-2005, or at least his hit counter clocked in at a million views. He kept the blog going for years, but I think now it's over - maybe he moved on. The undercurrent in NYC is grumpy and negative, like your grandpa when he's off his meds. Maybe it comes from the rents raising and the food prices raising and the amount of people living there increasing - a feeling of loss, of being hurt by forces around you. It makes people grumpy and have that "New York TUDE" that is celebrated in many of films about NYC. And it’s there and it’s something to celebrate. So much art comes out of “difficult” situations. No one made much of anything during the PAX Romana. Right? I don’t remember. I was sleeping in class that day. Is the "Quiet Escape" really taking a "dump" on NYC? No it's not, well yes kind of - but it's not that simple. It's a study of the city - yes - and it's showing the flaws of the city - but that doesn't mean I don't still love it and love everyone in it, even the grumpy diehipsters. I love them especially because like me, they are trying to figure it all out.

Well actually... got this in last week: Straight from China. The cheapest price I could find online at some handler. They offered me an even better deal if I directly purchased from them and not an intermediate site. 225 EUR below the lowest price I could find through Geizhals.eu (happened to be at Amazon.de). Fantastic experience to be honest. Even flew below customs radar. And look, it's an actual physical and brand new lens. 'Bout third party batteries... Yeah, I know the 'so you've spent all this money on an expensive camera and then take the cheapskate route on the stuff that can ruin that very camera?'-philosophy. What can I say? I like being a bit of a 'rebel' and living 'dangerously'. But seriously though, they're friggin' batteries. That's not rocket science (it's potato science). You can pick up A-brand batteries all shapes and sizes for close to nothing. But wait. Let's make each individual camera take its proprietary battery and charge the sh- out of 'em (pardon my language). Wait... what now? Where did the money go? It didn't go into making the battery, that's for sure. So in all fairness, I respectfully decline buying original batteries. Just do some research. No brand = no go. Don't buy any brandless stuff, yeah, I actually have to agree, that's pretty silly. Don't just go for the cheapest option either. But you can just look up reviews. Check if the manufacturer has a site. Does it looks serious at all? What are their claims? What is there warranty policy? Are there a lot of places selling these batteries? Does Amazon trust 'em enough to sell 'em themselves? I myself have now landed at Patona. Their batteries have been treating me nicely. Actually yesterday bought some of their NP-F970 Premium batteries with charger. Already have some other camera batteries from them, but the F970 is a nice accessory powering battery, that kinda gets rid of the problem of needing tons of AA batteries to power one thing. I don't know. Maybe I'm just good at assessing stuff, having a fair dose of good judgement and making the right calls, but so far I've been very fortunate and happy with the products, logistics and customer service I've encountered whilst buying stuff from abroad (and I do need to mention that I buy silly amounts of stuff from China btw, not just that Nikon lens, they have some terrific bang-for-buck going on, like personal audio, smartphones, tablets, all that good stuff... although you do need to know your stuff and put in the research, and that's just 'what' you're getting, not per se 'how' you are getting it). But anyways. Your problem isn't even with the product itself, you are just unfortunate enough to be stuck in the world of logistic mishaps and lousy bureaucracy. Could be partly because shipping batteries usually form a bit of trouble, dangerous goods and all that, documentation, clearance... then there's unprofessional handling of the actual logistic services and customs... and perhaps subpar customer service and if such a valuable parcel just vanishes, it better be insured properly. I had cinema lenses from the States coming my way a week before I received the Nikon lens. Had to be insured and handled properly. And kinda knowing about bureaucracy and procedures it was pretty obvious that paying for it to have that kind of treatment to be done right would also result in it being treated so professional as to tax me for the whole thing (could've bought that Nikon and then some for that). No flying below radars there. But yeah, that was kind of the calculated risk of not taking risks. So... personally, I don't mind getting things from abroad. Also don't mind cheaper items in general, so I don't share the 'cheaper is more expensive' and 'don't ever buy from overseas'. In meanwhile I kinda know the ins, the outs, the risks and have to say that I've been fortunate enough not to have made any losses along the way *knocks on wood*. But yeah, I get that sucky situations suck, so I do hope you get this sorted out somehow.

Same thing as Zak, I'll be pairing mine with a Kowa B&H, and Canon 5D3. Samples coming as soon as the lens arrives.

I have a black 3FF-W coming in a month or so. Will post some sample clips then.

Someone should message Samsung and ask them to implement a 2:35:0 crop mode where it only records the image in that ratio. allowing the Camera to have better and more controlled rolling shutter results. Its the same with how the full 4k mode has less rolling shutter over UHD because its not scanning as much of the sensor do to a slight 1:85 crop to the top and bottom. Now image now much better it would be in 2:35? Plus that aspect ratio works perfectly for a lot of filmmakers who'd be cropping their videos anyway. I don't know how to submit suggestions to Samsung on future firmware features but I definitely think this would be a welcomed idea.

This is probably the most revealing interview I can remember with a Canon exec. Barney Britton and Rishi Sanyal at DPR have asked not just tough questions, but the right questions! Canon imply a small GH4-like 4K camera is "under consideration" and they want to satisfy demand from the news media industry. Read the full article - http://www.eoshd.com/2015/03/canon-exploring-4k-gh4-competitor/

I figured they did it on the pans and really bright/dark transitions. It required a lot more work: http://blogs.indiewire.com/thompsononhollywood/how-they-did-it-technicolors-secret-recipe-for-best-picture-winner-birdman-20150223

I don't give 2 shits about Canon now. When is the GH4 firmware update!?

There are many components to what makes a good film, and I would argue that resolution is the least important of them all. Sure, when looking at frame grabs or if you're wanting to have print quality stills from your video then resolution is a major consideration, but for the majority of people using these cameras I think resolution makes a smaller difference to the quality of their end product, their film, than other factors. In the end, what we are all really trying to achieve with these large sensor cameras is to make a film that has more 'cinematic' qualities than a small sensor video camera. What I think makes a big difference for parents filming their kids, documenting their lives etc is how stable the image is and if they can add any stable camera motion to their shot. Furthermore, these type of users don't have time to set-up gimbals etc (my wife would, shall we say, not be impressed if I brought a gimbal to my sons birthday party) as even pro's find the hassle of using these of stabilising devices can be limiting depending on the style/nature of your work. This is where IBIS shines, while it isn't as stable as a gimbal for walking shots, you can add very nice dolly and even small-jib like movement by carefully shifting your body position without any rigging. I think as far as the audience goes they notice the production value of this stability and camera motion far more than resolution.

I have been following the Nebula 4000 thread over at DVXUser. It gets good results when it works, but a lot of people have been having trouble with theirs (and then trouble getting a refund, in some cases getting to the point where the retailer was getting verbally abusive). I would definitely take a look at that thread before buying one: http://www.dvxuser.com/V6/showthread.php?330675-Micro-Gimbal-for-GH4-BMPCC-A7s-699-USD

Pilotfly with A7II and Canon 50mm F1.8 and EF-NEX adapter

If we rename the Internet the Argunet all will be good. Then we can start the Rantnet and Snipenet. We should probably take down Catnet, Gossipnet, and Adnet. After that we'll all be busy running from SkyNet.

​I'm not going to deny this assertion at all. It's true! But, I will counter that having aggressive sharpness isn't always desirable. At least for me. Then again, I'm a guy that often shoots vintage lenses to purposefully degrade the IQ of my Gx7. Depends on what one is going for I guess. That said, I do need to run around with my Oly 12-40 2.8, run some tests with that glass, and see what shakes out. I think I'll try the natural setting at default.

I'd say that if someone wants online interaction to be part of their creative process, it really does't make any sense for someone else to chastise that artistic decision or be snarky about it. But, of course, this is the internet. I'm not sure, but I believe the 21st century inter webs is energized by the snarky fusion of a thousand suns. Or maybe the hormonal angst of 15 year old boys --which is much more powerful, I think.

The NX1 has great color, and I'd argue that for weddings, it's miles ahead of Canon. Have you tried AF video on a Canon lately? i can put my NX1 on my gimbal, set it to face track AF and forget about it. It's downright creepy, but it actually tracks faces and keeps them in focus, fairly reliably. It's light weight, and on a carbon fiber gimbal, I can run around all day getting shots of a wedding that look like crane shots or dolly shots... In 4K. Or in slow motion. All this kit cost less than a camera from the C line of Canon, let alone Canon lenses. theyre going to HAVE to canibalize at some point, all companies do. Why they have such a problem with that is another matter.

​Samsung can do it because they just entered the DSLR business. You're a wedding photographer, does Samsung have the color science and lenses to deliver you the results you can get with your 5D? (let alone FF DOF). You're an architectural photographer, where are Samsung's tilt-shifts? You're a documentary filmmaker, where's the Samsung camera with XRL inputs? In Canon's labs I'm SURE they can do 4K with the 70D, for example, just like I can get 720p RAW out of the EOSM using Magic Lantern. But it's one thing to tweak the camera in a lab to get 4K and another to put it in the real-world where it must co-exist with your working technologies which are important to your market, which is broad for Canon. Or put another way, Canon can't do 4K without creating a lot of risk that they'll screw up something with their mainstream business. I'm sure it's the same in Berlin, as it is in London, as it is here in Cambridge, MA. Walk the street. You'll count Canon after Canon in DSLRs, and some Nikons. No matter how nice the NX1 might be, people want to buy the camera that fits their lenses, with menus they're familiar with, that their friends use, etc., etc. If Samsung screws up a feature it's no real big deal for them, they sold a few thousand cameras. Canon has a LOT more to loose so is more risk-averse about new features. Canon probably sells more cameras in a day than Samsung in a year. When Canon releases 4K, it has to be right. Look at the problems Nikon had with its mirror assembly as it tried to improve frame-per-second shooting. Large stakes. BTW, I'd rather have 1080 RAW from a Canon, than 8-bit 4K

Here we have a superimposed 2D cartoon/xray section of the inside of Rectilux 3FF-W, Rectilux 3FF-S is similar. The point of showing this, is that 3FF series come with quick change coupling rings that when fixed to the scopes allow easy screw in at the mating thread 1 and also further supported at the rear 2 by three bolts which pass through the casing , through the rear coupling ring and onto the scope. This guarantees <0.1mm centricity with the optical axis, every time you swap over scopes for different looks. A simple yet nevertheless elegant engineering solution...

​Those portrait shots are the best case scenario and they just about pass muster for YouTube. You will notice a massive distance on wider shots with a focal point that isn't bang in front of the lens.

​That's pretty optimistic. I don't see the 7D II and 5D III leading the sales charts at the moment. The 7D Mark II body in the US market is only 17th on the Amazon rank for DSLRs, placed 249 in the overall Camera and Photo sales rank, well outside the top 100. The 5D Mark III is number 5 in the DSLR ranks but there are 3 cheap Nikons ahead of it. The D750 isn't far behind at 7. This chart excludes all the mirrorless stuff. Look at that rank and you will see Sony in places 1 to 7. Stuff like the A6000 and A7 Mk II is selling very well. Even better in Europe and Asia where mirrorless has caught on. Canon USA won't even release a new mirrorless camera in the states. They are too scared or cannibalising their DSLR sales.

Footage is looking decent. Not as nice as a Blackmagic Pocket but not terrible. Looks as good as good as a hacked GH2 to me.

I for once thought it was a terrific and honest piece, well done! Good post as well. People are getting desensitized and desocialized because of this digital realm we've created. They try to look for the points to apply pressure, where it might hurt, pointing out flaws in others and reflecting on their own lives to reinforce how much better theirs is. And to them you're just an internet entity, you're not a real person you'd have to say this stuff face to face to, so no harm done, right? Or then there's the one that actually gets a little kick out of it when you take the bite, take a stand and respond (usually suddenly back peddling 'I didn't mean it quite like that' or just having nothing to respond with at all). Because most of the time all they want is attention, as apparently they do not get enough of this in reallife. And for some reason people aren't allowed to be different. Imagine a world now, in which everybody had the same vision, the same preference and opinions. We'd all be chasing the same women, living in the same place, doing the same job, making the same content. We can't all do the same thing. It wouldn't be much fun at all and it would collapse on itself. So why not embrace different visions, opinions, different lifestyles, different choices... not to bring that up, but religion as well. Why always keep defending your way is the one true way? Why does it hurt you when others don't take the same path as you did? Does it make you feel insecure about the choices you've made yourself? But seriously, what's it to you when someone leaves the big city because it's just not for him? You do not like to hear bad things about your city, well, hey, it's just an opinion, you do not have to agree with it, but guess what, you can respect it. If you didn't know by now, life's not a sugar coated candy land and not everything is perfect, not even your city. Not everything is black and white. You could acknowledge there's some truth to something someone else has to say, or atleast respect the different opinion. The same way you should show a little respect for someones hard work. You lose interest the soon someone has something to say that's not in line with your way of thinking? Have you ever considered there's more to a film than agreeing on every aspect of its content? Always looking for the bad, instead of valuing the good. That's just a downwards spiral of negativity. I mean, if you get legit critique and feedback, do respect that as well, you can even turn it into something positive by taking away something from it. But purely these sad under the belt cheap shots... don't even bother with 'em. It's poison without an antidote. Not worth wasting your time and energy on.

I completely disagree with MattH & Ebrahim Saadawi. If you have to read less lines of the sensor to produce a frame, the rolling shutter will be better. Period. As for the feature, it would be a welcome one. The setting should be in industry standard DCI scope format: 4096×1716 EDIT: I am extremely mistaken in this assumption, apologies to MattH.

​I agree it's not worth the savings, but V batteries shouldn't blow up. It is possible, but unlikely since even Chinese brands have over-charge and power cut off failsafe circuitry. Keep in mind that many reputable brands from all fields in electronics manufacture in China. It's more about choosing the right Chinese knock-off -always a bit risky, though-. Li-Po batteries are the dangerous ones. Even brand-name batteries can explode or go up in flames because they are volatile and have no safety circuitry. Its just a power cell (or several) with two cables, and all sorts of things could go wrong. That's what I don't like about drones and gimbals: no matter what brand you buy, if you store your gear in your studio you are at risk of having one of those batteries catching fire. I believe the only exception is the Letus Helix Jr, which has a conventional Li-Ion battery.

I just bought a camera (Nikon D5300) from the cheapest legitimate shop I could find - no problems, but it's also a UK based shops which means the camera has already gone through customs. And still, it was almost half price compared to the high street retailers. Like Cinegain said, if you do your research, you'll probably be fine. If you're not sure about a shop and can't find any reviews on it, perhaps it's best to leave it. Some shops from Hong Kong also offer to pay back any tax in case your item gets held at customs. I've definitely had the "going cheap is expensive" experience but that was more to do with buying things like camera bags from no name brands - turns out, buying from the trusted brand, even if it's expensive, is just easier sometimes.

If the E-M5ii has improved from the E-M1 (which it seems to me that it has apart from a few negative reports that are possibly due to settings or maybe a bad batch???) then I will be a happy camper. Having 24/25/30/50/60p and audio meters/head phone jack is a great step up from the E-M1. While it may not match the Gh3/Gh4 or even Gh2 resolution wise, those camera don't have IBIS which I think is worth the trade-off (obviously would be great if no trade-off needed, here's hoping to firmware updates...). Its crazy how you can be out with just with a small shoulder bag, the 12-40 and 40-150 PRO and ND's, and be able to shoot tripod steady static shots and some shots with nice smooth camera movement all handheld with no fuss or set-up time. Anyway still waiting for mine to arrive, hope it gets to me before a wedding job coming it as it will be great for this.

It's looking extremely likely that at NAB this April Panasonic will be releasing a successor to the AF100, with 4K and 18MP still capability, as well as other great features. If Canon doesn't release their own take on this video/still hybrid device at NAB 2015, they will be generations behind the competition. Reading Andrew's selected grabs from the man from Canon, it reminds one that even chief executives can be either significantly out-of-touch, or simply lacking insight. The senior Olympus designer recently featured on EOSHD, seemed to make similarly misguided comments - about there being no real need for 4K now in Olympus cameras, since it was only Panasonic and Samsung seeking to generate content and therefore business for their 4K screens. That's like saying, "We'll build fast cars when all the motorways are completed." I've already let my local dealer know that I want to be first in line when the new Panasonic's become available... And, with the new firmware for the GH4 imminent, it's looking good for m43 right now. I couldn't care less (yes, I said it the right way) what Canon comes up with.

Here is another E-M5ii sample that somebody uploaded on Vimeo. Somebody uploaded another example from the E-M5ii:

Congrats on the feature in NoFilmSchool

​I saved the article as a PDF. You can read it here: boydhobbs.com-Legend of CE Woolman for Delta.pdf

The impact of the sensor working at higher temperatures is that you get more noise and other sensor faults like FPN and dead pixels are more likely to show up. These are the symptoms of sensor heating. We talk about overheating and it's not really because the components will somehow fry, it's just that more heat can change the performance of the sensor. If you were looking for symptoms of overheating (or operating outside of normal temperature range) that's what they would be... Some cameras have black balance features that enable you to set the black levels (and thus the noise floor) and to also re-map dead pixels. Most recommend you do this at the "operating" temperature of the camera. I have been shooting a lot with the Sony F55 a lot. We're shooting day nights at the moment and on the very first setup about 20 mins into our day I spotted a dead pixel. The camera had been on for a while and I hadn't seen it on the two rehearsals we did. After an APR the dead pixel went away. The F55 has a black balance / dead pixel re-map feature they call "APR" and I normally have my assistants have the camera on for 30 mins and then do the APR function once it's at operational temperature. RED have similar issues because their cooling generally isn't as good. On very long takes when their cooling fans wind down for sound, they can often have the sensor temp go above the range specified during their black balance. They have a specific warning for this and their suggestion is to pre-heat your sensor to your normal operating condition before doing a black shading / black balance. The idea is that you're calibrating the sensor for that operating temperature, even if it's higher than normal. Alexa (and Blackmagic) approach it differently. Neither camera has a black balance / dead pixel facility available to the user. Instead they use solid state cooling to maintain the sensor temperature to their ideal operating temperature. It's like a refrigerator with a thermostat on the back of the sensor. They maintain a constant thermal performance and that, along with dual gain architecture sensors is why they both have such large DR (the 2.5K and pocket). JB

​around US$1000

What did you guys pay for those, ballpark? I'm looking to step up my anamorphic game, but there's not much solid review on these units yet. Looking forward to some real customer opinions on these :)

Awesome! What anamorphic(s) are you planning to use it with?

Is there any test footage of these units out there yet?

I live 20 minutes from Möller Wedel (that is nearby Hamburg). Maybe I take my racingbike for a spin and ask them about it... I know a camera guy who is specializiad on old Olympus and I recall he knew the doughter from Möller. Will you send me a Rectilux if I send you the patent? It is kinda funny Möller as well as Isco/Schneider really dont't care about their older products. Isco have trashed all their Iscorama bits and parts and adapter rings. I had a call and asked for something some time ago. Luckily Heliopan helped me out. Great little company! I absolutely agree: Butchering old beautiful things like lenses, cars, bikes... is bad and upsetting!

Why the hate for people who shoot weddings? As if you can't be an artist and also make money (a lot, in fact) with a not-necessarily-as-artistic job that just so happens to sharpen your skills as a shooter. Shooting weddings has allowed me to quit my shitty, irrelevant part-time day jobs and focus way more on my art since I can make the same amount of money in 1/5 of the time. So yeah, shooting a wedding might not stimulate my creative side quite as much as, say, an abstract non-narrative documentary, but at least I'm getting some damn good shoulder rig and glidecam practice during those 8-10 hours. Does that strip me of the title of cinematographer or artist? Or do those terms only apply when I'm actually working on an 'actual' film? mtheory - you mentioned working on a commercial as an accepted use of the word 'cinematographer.' Where's the cinema in that? Sure, I'll admit that there's definitely more creative leeway, but you're still just selling something. A wedding and a commercial can both be infused with some strong creativity. They can just as easily be flat and boring, like the days when 'wedding video' meant shooting to VHS with lots of slow zooms and awful dissolves on every cut. By the way, if you can figure out a way to think creatively during a boring wedding, then you're probably going to fare well when you actually have some interesting content on your plate. Ok, so maybe you don't actually have a disdain for those who film weddings (though I know plenty of people who do), maybe it's just the term 'wedding cinematographer.' But is it really so offensive for someone to use such words to market themselves to brides who probably don't know the first thing about video? They don't care that a wedding video is not technically 'cinema.' They want to know that you understand how important their wedding is and that you can capture it in an immensely beautiful and artistic way (at least to them). If someone calling themself a wedding cinematogropher helps them get hired, then so be it. If they happen to also be a crappy videographer, then so be it. I'm more worried about the over-saturation of the market than the degradation of the word 'cinema.' And honestly, the word has already been degraded in my mind by douchey film school kids who can't frame a shot but love to spew pseudo-philosophical garbage about 'pure cinema.' Nothing against film school, but man, I can't stand some of the people who come out with no experience, thinking they've already 'made it.' So there's my rant. I hope I'm not missing the point.

​Film, music video or commercial dont automatically equal cinematic. There are plenty of those that look more video than filmic. And on the other side there are plenty of corporate films, weddings etc that look cinematic. There are no rules and no need to even have titles. Cinematographer sounds sounds wanky and videographer doesnt quite cut it. Its easier just not to bother with titles.

i'm a wedding photographer/videographer! Simon's "entry level" comment has a lot of truth in it. All you need to do to start weddings is borrow your friend's handicam. Or borrow a DSLR and call yourself a "cinematographer". But I think it's worth noting -- at the high end, ie guys who are charging $20k+ a wedding, they're often still using 5DMk3s, though they might own C100s, C300s and Red cameras. In terms of DSLR vs proper video camera, well, there's a number of advantages DSLRs give you -- low-light, discreet, full frame and shallow depth, requires easier gear (lower end steadicams, lighter tripods) and gives you the ability to buy nine of them if you have to for multicam coverage on a ceremony (though, usually, people won't use more than 3-5). In terms of which DSLR, Canon vs the rest, well some companies actually do use one or more 1DC cameras... For the rest of us, a7s is probably the best DSLR, but one huge advantage of a Mk3 is that the ML hack lets you record past 30 minutes, which is a surprisingly big deal. Otherwise, if you have a lot of cameras to mind, you find yourself running around pressing record over and over, instead of shooting.

Value for money wise and besides the small size of this camera why will someone spend $7999 on this camera instead of the $7999 on a Sony Fs7 if video is primarily what you shoot?

​Wow Ebrahim, that sounds pretty radical! Isnt it a good idea to wait and see whats coming in the next days/weeks?? For me no matter how good the image is and how low the price is lack of flipscreen/touchscreen, peaking, live histogram and IBIS would make me think twice, not that I need all of them but for the high price I think the 1DC still leaves quite a lot of boxes unticked.

Any thoughts on doing a shoot out... 1DC (Log) v NX1 (DR Gamma)?

So far this is what you guys have said are the benefits of the 1DC that warrant $8,000 18MP stills Low light (Nope) Super compact Long battery Uses EF lenses (So does A7s) Extremely light (Nope) Canons colour science (Nope) Internal 4K vs Shogun/O7Q Metal body (A7s is more than strong enough) So After ruling out the features that the A7s matches or excels at your left with these 18MP stills (Meh nice but not worth an additional $6,000 also I have a D800 with 36MP stills which has better dynamic range than a 1DC yet I prefer the stills from the A7s because its dynamic range more than makes up for pixels) Long battery (Meh nice but not worth an additional $6,000) Internal 4K vs Shogun/O7Q (granted but a shogun isnt a burden, its a fantastic monitor with excellent exposure tools) P.s. Just my opinion but I crossed out Canon colour science because its a myth and I dont know where that saying started. I dont call redish skin tones good colour science. C100, C300 and C500 are fine but their DSLRs like 5d's have contrasty unrealistic colour.

​I'm not so sure about that. Just about every time I see someone ask 'what should I get as my first video camera,' there is often an overwhelming amount of T3i suggestions. That doesn't happen so much on this site, but elsewhere it seems to be the norm.