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Filmed with my X-T3 and anamorphic with Bolex 16/32/1.5x. Taking lens Contax G 45/2 rehoused to Leica M. Used Ninja V for recording.

Long interview with Sigma coming up from me with Sam Smith, one of the UK guys who really knew his stuff on the video side. Stay tuned. Also this guy was there:

Guys (Tony Stark mainly), look, I truly appreciate all the replies and wanting to be helpful, but I'm not looking for advice on (or to talk about) framing, lighting, the history of cinematography, sound editing, pulling focus, video shooting 101, or whatever else you may assume I may or may not need to know before getting a decent cinema camera. I've discussed my background briefly and some other things early on in this thread as they pertain to the question I posted originally. I also discussed what I will be filming and plan/want to. I went over the fact that shooting with my DSLRs is a headache and described why. So no real need to keep at it, as it's not complicated really. Some of the analogies made don't quite work, but I don't need to go into details because it's pointless and time consuming. Yes, I'm "obsessing" a bit about the details, because as I've said, I like to do my research before investing in something. And I've learned a lot in the past few weeks since starting this thread. There are a lot of questions I don't need to ask, because I know the answer to them. The Canon 1080p threw me off, because although I've come to somewhat understand it, it should have been more clear. As you move on up the line, things should improve (which they do for the most part), and basic things should not get worse! Like I said in a prior post, I still use the single, AF point in SERVO mode for my sports photography (heck for ALL my photography), even with all the fancy AF modes the 1DXMKII has. For me it's the simplest way to work, and I'm glad Canon didn't remove it if you get my analogy. For what it's worth, I finally rented a C100MKII and a C200 yesterday morning and did a lot of testing. I shot in low light, in harsh and bright light, played around with all the settings, internal vs. external to a Ninja V, imported and played around in Premiere, etc. I spent about 10-12 hours doing all of this. Basically dedicated my entire day and night to it. I went to a track meet to see how the DPAF would work, and to have real things to film instead of brick walls, cats, and trees, etc. I wanted to see which camera would also feel best in my hands for a long period of time in terms of weight, ergonomics, etc. For the latter, I prefer the C100MKII. For 1080p, which was my big question, I was surprised that the C100MKII is pretty much up there with the C200 in terms of acuity and detail if not better in some cases. This is from external Ninja V ProRes 422 HQ. Internal to SD @ 24Mpbs is pretty damn good, but not as good in post as external to the Ninja - no surprise there I suppose. I wish the C100MKII would have more ND stops than 6, like the C200 does with the 8 & 10, but it's OK. For the C200 I compared internal UHD 420 8bit downconverted to 1080p in Premiere and also external 1080p 422 10bit to Ninja V. To be honest, it was hard to see a difference between the two methods - with the C100MKII it was more clear that external is the better way to go for IQ. I was also surprised that the 4K is kind of soft on the C200. In terms of the sensor, yeah, the C200 has more latitude for exposing, less high ISO noise, and a different color to the files (though I can't say it's better - just different). I did also shoot RAW for a bit out of curiosity, and yes, indeed that looks exceptional. For the other things, I don't think it's worth it over the C100MKII. So yeah, I confirmed a lot of what was said or what I thought - the C200 is great, but if you don't plan to shoot mostly in RAW, for me it's not worth 2x+ the cost over the C100MKII for the 1-1.5 stop more DR, less ISO noise, etc. And I suppose this should be obvious - it's meant for people that want to shoot RAW. I was just wanting to see if the C100MKII could do as good in 1080p. I didn't rent the C300MKII, but that's what I would use if someone wants to pay me extra for 4K shoot/delivery. Otherwise it's overkill for me now, and the C100MKII is the cheaper/safer bet until I wear it out. I was honestly surprised at just how good it really is, so many years later. EDIT: Oh yeah, I forgot to talk about the DPAF. Yes, on the C200 it's a lot better, but not worth it in the end for me. The screen is also nicer on the C200, as are the audio inputs on the body, etc. But since I'll be using the Ninja V most of the time (and not just for recording, but for having a larger screen to monitor, to see framing, focus, outdoors in bright light, etc.), the Canon screen is not critical. I actually like that I can move the C100's screen off to the side or even close it when shooting. Simpler and more compact.

I'd suggest anyone stacking filters try different orders and see which order gives the least reflections. Setup the camera on a tripod and shine a light source into the lens to really accentuate the effect and then compare images and see which has the least undesirable side-effects.

Think you've missed my point as well, that what is "the best" (such as DXOmark scores) is not as important as he is making it out to be. Especially if you're just subjectively splitting hairs over which image or another is "best". Remember the OP had "not even thought about video" until a month ago. So a "soft 1080 image" or "cropped 4K" is the least of his worries! He should instead be focused on just making as much content as possible, to fail and learn from, to improve on his big weaknesses first rather than relatively minor technical details. And if is to buy anything, have it be anything *but* a new camera body in the next couple of years. Let it be some quality wireless, or a few lights, or a slider, or a fluid head, or.... well, as we all know, the possibilities are endless! I'd encourage you to slow down and think about what you're doing, but if for whatever reason you're doing madcap fast paced shooting and you really really want to ditch the DSLR, then perhaps get any one of a C100/XC10/XC15?

Not sure if this is the best place to post... But, here are some frames from a shoot I did today with the GH5 as my b-cam (A-cam was a C200- not pictured here). Love this little camera. Open to critics as well if you guys have any.

Quick update. I ended up buying the Audix SCX1-HC and it sounds very good after a few tests indoor and in tight spaces. Need more testing but it looks good so far. As for the build quality, this mic seems very solid.

Looks like there are lots of considerations and it also looks like this conversation isn't clear because we don't understand what your requirements are. Questions: Why do you care about the aperture? Is it because you want a shallower DoF for separation? or is it because of exposure? If it's because of exposure, then you must also factor in ISO performance - for example the A7iii might have better low-light with an F4 than a GH5 with an F2.8 Also, an F2.8 on MFT has a DoF equivalent to F5.6 on FF, so a FF camera with F4 would have more separation than the MFT/2.8 combo What about AF? If you're on a gimbal, are you going to have a follow-focus? If so, what cameras support that function? If you need AF then you have to match the DoF to the cameras AF ability.. an A7iii will be better at f2.8 than a GH5 might be at F4 (I'm just guessing here) but an OOF shot is probably a wasted shot How many shots do you HAVE to get (eg, you have to include certain specific moments) vs is it a quantity thing where you just need enough good shots for a 4 minute highlight reel If there are certain key moments you have to get (eg, at a wedding you have to get the kiss, but you can afford to miss part of the first dance due to AF issues) then how are you going to make sure you nail them? If it's follow-focus or AF or deep DoF then you need to think about these. If you have to get key moments then having a longer zoom will mean you have framing flexibility and don't have to swap lenses and re-balance gimbals etc. Reliability and speed to get the key shots might be more important to you than having a lovely lens that misses the key moments. What shots do you get? You should be able to tell us that you need a super-wide, a mid, and you need close-ups but at a different time when there's time to change lenses. If you don't have clarity about what shots you need, when you need them, and how much time you have to setup for them then you don't know enough to buy a camera/lens combo for this work yet. What format and resolution are you delivering in? If you're delivering 4K then you'll need a 4K camera. If 4K, how many shots can you get away with including of 1080? maybe if there's a few quick inserts in 1080 scaled up you can get away with it? Do you need slow-motion? What frame rate? 4K60? Do you need 120p? If you need vertical video then you need a portrait camera rig, or you need to shoot 4K landscape to crop out a 1080 vertical slice If you're shooting 4K for 1080 delivery, then this impacts your lens choice as you can engage a crop mode on a 4K camera to get extra range. A GH5 can give a >2x digital zoom in 1080 ETC mode, which means a 12-35mm can deliver 1080 in a FF equivalent from 24mm to around 200mm. If you need to deliver 4K and can't include any 1080 shots then you're limited to FF 70mm equiv with that lens More likely is you can afford the odd 1080 shot (just extra sharpening in post) so could get shots in the FF 70-200mm range in 1080, but are the shots you need the extra zoom on the ones you can afford to deliver in 1080? Maybe not. Tell us what you're trying to achieve, what final video you need to deliver, how you shoot it, and what your style is and we'll tell you what equipment you need.

I am using the Sanken CS-M1 for a few days now and my first impression is..WOW! Just..WOW! Low self noise, hot output, very controled handling noise, great tonal characterestics. I am using Bubblebee Spacer kit for indoors and very light stuff and Cinela Cosi for outside. For non professional sound men, this can be the only mic they need. Just 103mm long, so it can be excellent for on camera placement as well. I need some more time with it as I am using a lot of other microphones at the moment, but it definitely is a heavy weight production tool of 55grams!

I've heard the peelers you need for those are just generic ones from Lidl wrapped in Waitrose packaging.

Put a Canon on every bracket and you will hit 4/5 for sure!

At IBC the Organic Sensor technology Panasonic is developing turned up in the camera above (with a rather nice choice of Cooke cinema lens). Along with the prototype camera, Panasonic had a wealth of information about what makes it such a big step for filmmaking and video. Read the full article

It’s the future of the Cmos sensor but it seems that it takes a long time to set up. Beauviala (Aaton camera creator) had written an interesting text three years ago already. https://www.afcinema.com/The-end-of-the-Neutral-Density-Filter.html

Guy starts thread about gear, ends up being told to slow down and learn from mistakes?? Iron and Kisaha I really appreciate all your contributions but I don't think he's looking for this. Shooting anything other than staged narratives is reason enough for cameras that are built first and foremost to be video cameras, or at least have built in zebras and ND, etc. And even in slow situations, I'd pick practically any camera over a Canon DSLR. I'd say it's always a worry when switching between stills and video - it makes every lens different and increases the number of lenses that have to be taken on location and the time to switch back and forth. Anyway - I'm a vote for a C200 unless it's just way out of your budget.

I don't want my face enhanced in any way. I fail to see how this is any better that super quick HDR with more merged shots as the processing power increases (with "beautification" applied at the end? That Apple presentation photo is a very good example at how they can blow up any little feature to seem like a whole new world. Someone please tell me who decides what the hell is "the best part of a photo"?

I personally have a Hoya Variable ND which has been fantastic is is very affordable. There is IR pollution when using ND filters on the P4k, not nearly as bad as the Ursa but it is definitely there. I put the IR cut first based on some recommendations i received on filter stacking - I figure since most IR cut filters are over the sensor, it makes sense to have it first? I use a promist 1/8 and just leave it on all the time. I feel it is a nice balance, sometimes it isn't enough, but it is never too much - and I like being able to leave it on all the time to take the edge off any harshness.

Is that ^ Canon's latest offering? The Canon EOS Desirée. The 'jack of all trades, master of none' (hybrid potato/camera).

I dunno, one single potato is VERY CHEAP! Which helps improve its value ratio of cost to quality.

No it should not, just set your recorder to the same FPS Sure, you could do that as well. But the main point of using the MixPre3 would be for its synced TC which is record triggered by the Z6 over HDMI.

Agreed. Until he's told us a bit more, we can't even rule out an early RX100!! Give me one of those and no specific shots to nail and I'd create an awesome highlights reel. That would be heaps of fun actually

I liked it.

Good points.

Fixed nds often have color cast too. The killer thing is variable nds do weird things to skin

Just looked at the Cinela Cosi after seeing it mentioned in the thread several times. Wow. Can someone tell me why you'd put down over $500 on a deadcat? On another note, I can feedback on using the Deity S-Mic 2 indoors. Definitely not a good first choice; it does struggle with reflected sound. I used it as a main mic in a short doc I just shot for my nonprofit and have not enjoyed dealing with it in post. Used outdoors, however, it does have a good sound. Wouldn't mind if it had hi and low cut filters, but you get what you pay for.

cant afford those red ones

Please, please, please; Sony better not have some bullshit archaic licensing scheme for this. Im going to scour the net tonight to see if anyone interviewed Grant or some rep confirmed any future cameras getting added to the supported list. The new 7” VA is the only thing I seriously want to buy this year. I’d still keep my 7Q for slomo, but BRAW is just some much easier to handle than CDNG.

Unless its a RED One.

https://***URL removed***/news/9532625734/apple-iphone-multiple-camera-recording-will-be-available-on-2018-flagship-devices Read it and weep, fanboy. Looks like Apple is also omitting crucial information (although, the new generation should be less limited). Edit: Apparently, you can record front and rear cameras at the same time on Android for 3 years now: https://smartfilming.blog/2018/04/17/12-recording-video-with-both-front-and-rear-cameras-simultaneously-on-android/

i maintain that potato is the least bang for your cinematic buck

Just shot this on the XT30, tighter shots are the XT30. Mix of 1080 and 4k footage. Overall I was happy with the performance in lowish light. 18-55 lens at f4

Downloaded the original ProRes files available on this Vimeo link - wow the colour straight out of camera, detail from downsampling 6k to 4k, and amazingly clean lowlight at 12800 iso - this camera looks much closer to Venice than it does FS7. Really beautiful footage, unless you need raw this camera is going to be hard to beat

Just a few stills from my first proper anamorphic video and first video shot with X-T3. A friend of mine asked me to document a graffiti jam that he organised. Managed to get some nice shots, but getting a correct exposure during a sunny day was a huge PITA. Need to work on it. X-T3 (cropped 16:9 video, shot with HLG), Zhongyi Lens Turbo II, Minolta 58/1.4 (used at f/2.8), Isco Ultra Star, myFM, Tiffen Vari ND.

On the XT3, 2K DCI is not as good as 4KDCI because they are not done the same way. (Skipping/binning vs downscale full read out sensor) Consequently on 2K there is often moiré on hairs and sometimes a severe moiré on certain tissues. For important work I shoot in 4K and I do postproduction (edit, colorgrading and output) on a 2K timeline.

Unfortunately, they’re a crap shoot. The first 28mm 1.8 I had was in beautiful, new condition and the focus ring felt horrible. I eventually sold it and the next one I bought, was a little beat up but the focus ring was smooth as silk. That’s one of my favorite lenses of all time. The 50mm 1.4 I had was pretty good.

Braw won't be available at launch, but will come within a few weeks. So far it will only support the EVA-1 and C300ii Both models support 4k60p (UHD) and DCI up to 25p. So for an extra 200, you get: 2 inches 2 x mini XLR 2 SD slots