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Colour is subjective (I actually prefer Panasonic colour science since EVA, S1 etc), the rest of these you're just guessing, IBIS and DR of the S1, SH1 are going to be hard to beat. Hope you're right as progress benefits all of us but your Canon love in and trashing of the BM Pocket is a little OTT

I have no idea even though I'm shooting on an em10iii now. John Brawley is a cinematographer that is familiar with Olympus cams. You can ask him directly as he might know.

The Tokina is the lens I always seem to go back to. I think this is my 3rd copy, I'll probably never let it go again. I paid much less than £200 each time. I sold the Sigma zooms because I rarely used them after my most recent copy. Mechanically it's a dream at its price point. The lens doesn't extend and the focus ring has hard stops. It would make a great cine-mod lens. It also has a short throw, good for handheld pulling. The zoom ring is quite stiff, you won't be zooming mid shot. It feels well built, it'll survive a few knocks. The AF system seems to be broken on every one of these I've used, but that usually means they sell at a cheaper price. Optically, it's not the sharpest lens in the world but also not noticeably soft even wide open on a SB. This is where I sort of miss the sigma zooms. It also doesn't focus very close (0.7m) 28mm on the lens really sings when filming people, really wish I could get a bit closer. The lens also isn't par focal, but its not far off, it only needs minor adjustments. Breathing is very well controlled. On the wide end, the lens distorts a touch more than a modern lens, but I quite how it falls off. The lens flares really change through the focal length, I always experiment with the zoom when there's flares. Around 35mm if one of my favourites, you get some cool thin red rings. The lens flares very easily, I like it for narrative stuff but always have some black wrap or gaff tape on hand for corporate shoots. It's such an all rounder zoom lens to have in the bag, just enough character for narrative work but can also clean up when it needs to.

Totaly agree S1H Dr crushes even 1dx miii and for some reasons i prefear colours of S1H .

I haven't bought or used any video gear for over a year, but yesterday I accidentally picked up an OG Canon C100 for GBP500. Oh well.

It was a simple design decision on the C300 Mark III. They've kept the EF mount because of compatibility, all the glass obtained and used for any Canon cinema camera fits on these new models from the get go and it can be swapped out for PL as well. They also don't have to re-engineer anything on the camera for the new RF platform, it saves costs, enables them to improve other areas. In their first cinema-related RF mount camera, they will probably make something smaller and more modular, to sell their V-ND EF RF adapter instead of having internal ND at a higher price. That could wait until the next generation, maybe then they will switch to the electronic variable ND as well, since they do have a patent for it.

More Tokina 28-70 2.6-2.8

Hey everyone, I've always been content with just using individual batteries for all my gear, and still typically do. I'm used to using Sony NPF style batteries to power things like black magic cameras, LED lights, monitors, etc. But I've been accumulating more bits and pieces to the point where I'm starting to see the advantage and benefit of having everything plugged into one bigger battery more power on tap for everything. I'd mostly be powering a camera (typically just a small mirrorless), a monitor or evf, a tilta nucleus nano, Maybe an audio recorder too. I wanted to see what you were all doing to power your set ups and what you were using/sending power to. I've started piecing together an anton bauer gold mount kit, but am pretty new to this world so wanted to reach out and see where you were all at. What are your battery needs/solutions? I'm thinking about getting this LanParte Gold mount battery pinch, does anyone have experience with this? https://www.bhphotovideo.com/c/product/1100250-REG/lanparte_abp_01_a_mount_battery_pinch_and.html/?ap=y&ap=y&smp=y&smp=y&lsft=BI%3A514&gclid=CjwKCAjwqJ_1BRBZEiwAv73uwAv0u4Ab2af962lUiZB_L_EExRoBb5ob_jj7JrH9qCfnrwmMswMCYBoC50oQAvD_BwE

You can’t be taken serious. I owned the S1 for a stint and was amazed at how good the IBIS was, and of all the MILCs I’ve had my hands on the build quality of that camera is a thing of beauty. With the full V-LOG the color science is amazing, I much prefer it to both the Fuji and the Canon Really hope Canon does well with the IBIS, but seeing how this is their first attempt I’m not holding my breath. Just look at how Fuji cocked up the XT4, which has a smaller sensor. And motion cadence, LOL

I have no clue. Some say it has to do with rolling shutter but I've heard some say a camera with much higher RS than another has better motion cadence. I've also heard people say a camera has great motion while another person says it looks bad. So who the hell knows imo

Happy accidents.

The tokina 2.6-2.8 is definitely one of my favorites and probably one of the lenses I've had the longest. I have no intention of selling mine, it's just so great. I'm still very happy with it. I have gotten other zooms that I use a bit more regularly these days (Nikon 28-70 2.8 and Samsung 16-50 2-2.8), but that tokina is just epic.

I think they should have a FW with middle codec on the C200 and 1 year from now it will be at that price level.... why crating a new model, new manual, new accessories etc... for a C200 without RAW but with 10bit make not too much sense in term of R&D..... Only point to do a new model is for whatever reason the HW of C200 cannot do 4k10bit in whatever codec....

That would work for me. Be interesting to see what the Sony fx6 offers

This would be a great move and I think create a whole new buzz about the C200, at £5800 new it is still too high for a camera without a middle codec and I would prefer the Panasonic EVA - but 10 bit would make a return to Canon more interesting for me. I have no interest in 8k of the R5 but would spend that kind of money on a used proper cine/video camera

I think there are a few caveats with this test. First, it's using a pre-production camera. Second, it's using XF-AVC. The author argues that with a log curve like CLog2, there won't be any difference between that and raw. Personally, I suspect it's a bit more complicated than that, and depends significantly on the implementation. I've heard for example that the Alexa ekes out a tiny bit more DR with arriraw than with Prores. Third, and related to the first and second point, Clog2 is only rated for 15-stops DR. Whilst under the above measurement the C300 Mk III only has 12.8 stops, it technically is rated by Canon at 16-stops. This matters because presumably some work has to happen on Canon's side to figure out how to distribute its DR within the Clog2 gamma. In the comments, the author writes the following: Given that it's a pre-production camera, there could well be some tweaking that needs to be done on this front. Fourth, it says nothing of the actual roll-off. This is ultimately the crucial question. Canon said that the DGO would allow for higher saturation in highlights, which is crucial to that smooth roll-off; what happens at present is that different colour channels clip at different rates and thus you end up with colour posterisation in the highlights. Roll-off always looks so much better in black-and-white for this reason. This test might prove to be accurate with the production model, but I think we should treat it with caution.

I bought my FP used, albeit from someone in my country. I have already updated it once. The update is a free download from Sigma's site. Same with older Sigma cameras, I used to own second hand purchased DP Merrill. I guess my major worry would be support if something went wrong with the camera. Grey imports don't come with local tech h support (generally). I have found in the past, if you buy second hand, at least the local distributor will give you some help, or offer a repair at a cost. But they really don't want to support people who grey import.

HDMI seems to always carry the bright green battery symbol. I’ve been through the manual and forums and can’t find a definitive answer. Anyone using this e-m10 iii with an external recorder or capture card? I’m trying to go into a BM ultrastudio 4K and there it is, bright neon green battery symbol. Is there a fix? Thanks in advance!

A simple LUT smoothing fixes it, it's easy to do in Matlab, but I couldn't create an online version yet. It's on the todo list

It's a 12mpx which is reasonable for this type of sensor. 48mp is a BS "supersampling" gimmick. Shooting in this mode adds a bit more detail but at the expense of noise. At least they didn't try to play the specs game non sense like 8k on the EVO2 with its plastic lens and low bitrate... Smaller sensor, wider focal (24mm vs 28mm), about the same range and battery life, shoots 4k60. No D-log, no DJI Go App but uses the basic DJI Fly app. Has ADS-B for traffic avoidance (receiver only). Battery life is announced at 34min but as usual, you can safely remove 7-8 minutes to this. DJI introduced the ActiveTrack 3.0 on this one. I couldn't care less about auto modes as I generally disable all the sensors and auto features but this mode is clearly improved, however it still has hard time to detect small stuff like wires and small branches. Definitely not as good as the Skydio 2 if you need an advanced autonomous tracking mode. DJI also introduced a new "ToF" sensor (some sort of lidar). Due to the shared CPU load, obstacle avoidance, HDR, and some auto flight modes are disabled when shooting in 4k60.

Yet more Chinese 8K cameras: Seems the Skyworth 8K is a rip off (but badly implemented) from the Z Cam E2-F8 that they borrowed from Z Cam under false pretenses, but using the Sharp 8K MFT sensor (however stupidly using an EF Mount instead!!!).

E-mount is pretty shallow too and they still have physical ND on FS5/FS7

I recently started a web series about Quarantine Life and shoot it mostly on the Panasonic S1H (some shot on the EOS R). Thought you'd like to see some real world footage of the S1H and maybe have a laugh as well. Like most of you, I had almost all of my work for 3-months canceled, so this is based on a very true story.

With such terrible wolf still around these uncertain days, looks like a good advice for a second chance as fresh reminder as ever:

Best thing about that lens is how natural the falloff is and the lack of breathing. This is an older Test I did with it, jump to 4:12 to see samples and how "smooth" it is.

Hi kye: I still need to ask you what's a "P4k" ? [Is it a Panasonic 4k camera, like a Lumix G7? I know that the G7 has a four thirds/ 17.3x13mm sensor, and probably one can still shoot on a 8mm lens, with vignette effect] My clear preference was for an action camera, too - but I think I need to put it on hold for the moment. I also considered buying a cheaper action cam (e.g. an Akaso), and to grind away the metal body & try to fit the D-mount lenses, but honestly the point is to get some good quality, otherwise looks like wasted time. Finally, in one of my pure idealist moments, I was thinking to try to film on the 8mm vintage cameras that I'm currently try to purchase Thanks again for your pieces of advice, Florin

@JordanWright Hallo, a few words from you about the Tokina would be cool. I know, a lot has been written about it. But I can never get enough of some beautiful lens reports. I even own one myself but never got around to buy a better adapter for it and get beyond 8 metres of distance.

Looks incredible. I think this is now the camera to challenge RED. Very future proof. Has absolutely everything besides IS. Most importantly, they’ve listened to users. Well done Kinefinity!

I just realized something else genius about their design: You can slide in 2x NP-F550 batteries underneath the camera (integrated in with the rails!), which means you can easily hot swap V-Lock batteries without needing to wait around for reboots! Killing wasted downtime.

Yes, I have. Although I can get even better prices if I buy slightly used from ebay.

Complete BS (Ken wants you to use his affiliate links, and not buy it from somewhere else for potentially cheaper), the firmware will update on any camera, no problem. The only difference is with some brands, some languages and frame rates are not available (the fp is NTSC/PAL switchable, so no problem there)

Is it me or does this not follow the original OG Mavic Air philosophy of compact portability with a balance of camera performance? It looks huge compared to the Mavic Air. Even looking at it folded there is so much wasted space. Why didn’t they evolve the original, great, design?

Dad's shares are crashing at home so he has to spend more time with his children now.

Marketing is the issue, 8K is an important badge for Canon trying to recover from years of ridicule and the perception they fell behind the cutting edge. Let's forget for a moment that the practical uses for it are dubious and niche at best, and that the hardware for 8K exists in a Xiaomi smartphone, albeit with a much smaller sensor. Many seem surprised the EOS R5 doesn't set on fire and melt due to the data processing required for 8K but it has a much larger body than a smartphone to dissipate the heat and if a $999 smartphone can do it then a $4k+ large pro mirrorless really has no excuses. 4K/60p was a big step up in data-rate from 30p remember... Something Sony still hasn't achieved on their A7 series but Fuji and Panasonic have. The Canon 1D X Mark III 5.5K at 60p is also a big step up but 8K sounds like a bigger step up because resolution is always the headline and people forget about frame rate! 45MP by the way is a smart choice by Canon, something of a sweet spot for a full frame sensor, it is 8K horizontal resolution, it is Nikon D850 / Z7 and Fuji GFX 50S level horizontal resolution (the 50S has more resolution vertically though due to the 4:3 aspect ratio sensor). You have to go to 100MP to significantly see a difference past 45MP or 8K and that gets very pricey. Sony have gone to 60MP, and actually the pixel binned 4K from the A7R IV is pretty nice. But it is only really a very incremental type step from their older 42MP sensor in the A7R II and III. If you shoot 8K on the EOS R5 and downsample in post to 4K, yes it will be more detailed. But not by much. And when you view it as intended - on the big screen or in a cinema - the 2.8K Alexa will probably still beat it for the cinematic feel. So yeah, let's not get too excited about 8K. It is still impressive technology compared to what Canon were doing before though. Personally, I would rather have the 1D X III sensor in there and 5K/60p RAW. Same data rate for the processor as 8K/30p remember. I like that 4K/120p is in there but it is probably line-skipped. You know, the big question mark with the EOS R5 is what the quality of the 4K/24p and 60p is going to be like. Will it be oversampled from the 8K (full pixel readout) or will it be binned? If it is binned then we are pegged with the A7R IV and Leica SL2 on 4K quality, more than likely, depending on the pixel binning method Canon uses. So if you ignore the 8K, ignore the 4K/120p for slow-mo, and you just need 4K/60p, the EOS R5's real advantages over the competition like the Leica SL2 are: 10bit codec at higher the frame rates in 4K (60p, 120p), not just at 4K 24p Dual Pixel AF That's about it Still very useful though. And the IBIS might be better, or it might be worse. Personally, I am still going to wait to see what the R6 brings and I am in no rush to chuck my GFX 100 or Leica SL2 in the bin, after paying so much for them. As for Sony A7R IV or A7 III users with mainly Canon lenses, yes, it is safe for you to go back to Canon now As for Panasonic S1 and GH5 users, as well as Fuji X-T3 owners - it is more of a dilemma, and will depend on if you need the Dual Pixel AF, full frame 8K, 4K/120p and Canon LOG / Canon colour science on offer with the EOS R5. Let's not forget how much more the expected costs will be $4k body, expensive FF mirrorless lenses, expensive media. I don't think GH5 owners will rush over too soon. It definitely has AF over the S1, but again the 4K/24p from the S1 will probably be better looking, especially in low light. So it all comes down to whether you need that 10bit codec at 120fps and have plenty of Canon lenses to make use of Dual Pixel AF. Or are tired of 8bit on Sony cameras.