Xavier Plagaro Mussard

@IronFilm This guy seems to believe the C100 outputs more than 8-bit: Canon C100 + Atomos Ninja2 10-bit Workflow
 
Correct. Color science was tweaked in C200 (probably to closer match Alexa)

Also remember that you're comparing footage from those cameras through the compression of YT or Vimeo, unless you download the 4.6Gb file of the video @HockeyFan12 shared above.
This may or may not be relevant depending on how your project will be distributed and broadcast.

Shooting 8K and delivering DVDs!!!

Shooting 8K and delivering DVDs!!!

How many times will companies have to split the atom before people are satisfied?

is 8k SHARP enough?

Mine worked perfectly with LX100 4K h264 25p, but either HVEC or 10 bit or 50p killed it. I haven't started any serious project, but I foresee proxy/Prores creation as a necessary step.

I'm using the Weebill with a GH5s, .64x Speedbooster and my (manual focus) Contax-Zeiss lenses. You asked how focus works. The focus wheel requires the use of the Focus Servo to manually control the lens. It will not control a native lens through the USB connection. I absolutely love this gimbal and use it in underslung mode more often than not. I think you'll be happy with it. If you want to run with longer lenses like say a Sigma 18-35, you may want to wait for the Crane 3 Lab. This won't hold it reliably.

I have a 128Gb and a 64Gb and they both seem to work. I tried to find a difference between 400mbps and 200mbps and couldn't find it yet!

more than 60 pages before, this thread started wit "I WILL be getting a Fuji X-T3!" and I have him!
I sold my Samsung NX1 and bought a X-T3. Great camera for photos and filming. Now building my ideal setup that will be finished end of december I hope. I ordered the cage and some other things at Smallrig.
Lens setup; Voigtländer Ultron 40mm f2.0, Bolex anamorphot 16/32/1.5x, Rectilux HCDNA. 
 

Where's it going to end. How many times splitting the atom will be enough?

My Macbook fighted with h264 4K25p 100mbps 8 bit files OK. It's on its knees with h265 4K50p 10 bit files. 8K it's the last thing I need from a camera for the next ten years!

Well for narrative probably not, but I guess newfoundmass has never had the pleasure of clients asking you for CSI ENHANCE because they want to focus on something else in the shot.

No offense but if you need *8k* to crop and re-frame for 1080p editing you got bigger issues than resolution! ?

My Macbook fighted with h264 4K25p 100mbps 8 bit files OK. It's on its knees with h265 4K50p 10 bit files. 8K it's the last thing I need from a camera for the next ten years!

This thread is mostly going no-where, but it's not anyones fault.  It's actually a symptom of how a nodal editor like Resolve works.
Begin PSA
In PP or FCPX a person can ask the question "how much power do I need" and someone else can give an answer that is useful because people use the software in basically the same way.  Sure, you can have layers and multiple tracks of video, but mostly people edit with one shot visible at a time, and PP and FCPX have such limited colour functionality that you would only use a couple of colour effects.
Resolve is different.
Resolve is a nodal editor, which means that you can make an infinite arrangement of adjustments that apply to some or all of the image.  It's a "how long is a piece of string" question.
It's not uncommon for a 'basic' grade in Resolve to include:
Lift/gamma/gain/offset level and tint adjustments (to set black and white points exposure and adjust WB) A luminance vs luminance curves adjustment (adjust contrast and finer adjustments like shadows) A luminance vs saturation curves adjustment (desaturate extreme shadows and highlights) A hue vs saturation curve to take one over-saturated item and make it not be distracting A node adjusting mid-tone detail, maybe contrast, and some levels that has a key to only be applied to skintones An oval qualifier with level adjustment for a vignette adjustment This is without any OFX plugins, LUTs, Colour Space Transforms, etc.
When you think of Resolve as an EDITOR, you can compare it to PP/FCPX in terms of how it works, but when you think of Resolve as a COLOUR GRADING tool, you should compare it to After Effects.  You wouldn't ask "what computer do I need for After Effects" because it depends on what the hell you're using After Effects for - you could be tracking a window or you could be rendering an entire CGI universe.  Grading in Resolve is the same as that - you could be setting WB and contrast or you could be doing a day-for-night transformation.
End PSA ???

Unfortunately the Moore law and hard drive technology are not developing as fast as the sensors. I can't even imagine the hurdle to edit 8k video in h265 and/or store it in raw. Proxy can help for editing but not much for storage.
The latest high end CPUs are just expensive rebranded server processors. Most NLE don't use all these cores and Intel keeps postponing the 10nm architecture because they can't manage it. In terms of hard drive technology, the first HAMR and MAMR drives should be available next years with increased capacity but the prices should hurt because of the production cost.

Right now I'm very happy with 4k and I prefer to focus in HFR, HDR and 10-12 bits codecs. I'm no against 8k but computer are not ready for this yet.

I don't want or need 8k.
 

RAM is user upgradable (two slots) and 32Gb would cost you little more than paying Apple for 16Gb, it comes with a 256Gb SSD, so instead of upgrading to 512Gb, you can buy a Samsung T5 of 1Tb. So with 2000€ you have one hell of a machine. The first benchmarks are promising ("The first Geekbench result is the strongest, showing a single-core score of 5512, which eclipses all Mac models save for the latest four-core 4.2GHz iMac, plus a multi-core score of 23516.").

It's an incredible lens for the price. And if you are a wide-angle kind of guy, the 10-24mm OIS is the natural option. All available now!
I was in Athens last weekend, I loved it!!!!!!!!!

Fujinon XC 16-50mm OIS
Fujinon XC 16-50mm OIS II
Fujinon XC 15-45mm OIS PZ

Then the two lenses talked about, 18-55mm OIS and the only non IS standard zoom, the 16-55mm 
There is also the 18-135mm, which OIS is excellent. And you mentioned the upcoming 16-80mm OIS. 

Out of those 7 lenses, that cover the standard zoom range, 6 are OIS, one is not. 

Personally I'd go with the 18-55mm because it's incredible good value. And it pairs nicely with the 10-24mm OIS

I agree, is a cheap and good kit lens, but If I am buying a new hybrid system I want some specific lenses for pro work, and a stabilized 16-50mm isn't available yet.
Also, some more modern designs (faster AF, IS) on older lenses.
The new 16-80 4f could be it, but an 2.8f would be much more desirable.
In any way, I am waiting the reviews of that lens, and if it is very good for the price, then it could be a killer combo with the cheap X-T3. Do not care for IBIS, but IS on lenses is mandatory.
Hey, it is a Greek flag at your back!

lol at pixel peeping license plates from a mile away. these kinda tests always crack me up.. do a skin tone test in mixed lighting and we'll see who comes up on top!

At least Canon is consistent!
 

A quick test I did the other day, I love the files that the X-T3 produces, even if my Macbook Pro is not very happy about h265 and 4K 60p...