andrgl

Went to ML forum to get more specifics, to flesh out my memory.  Until 2013 there was a lot of discussion about 10/12-bit RAW, then things went dead.  On May 11, 2016, A1ex, one of the lead devs posts some findings based on an "@d".  He refers to the raw_twk thread which itself dies in 2014, but picks up again in 2016.  I assumed "@d", came and went in 2016, but he was active in 2013, only made 6 posts, then disappeared.  So it looks like he had a good insight into 10/12 bit video, back in 2013, but it  forgotten until A1ex re-visited it in 2016.  "d's" future game-changer post is here: http://www.magiclantern.fm/forum/index.php?topic=5601.msg38946#msg38946   Maybe he re-signed onto ML using a different name and is active today.  I don't know.  I shouldn't have speculated he was a Canon insider because it doesn't look like I can have any fun here   The main point is that Canon cameras can do a lot more than they do from the factory and that 10/12 bit RAW is more evidence of that.  I was supporting the argument of the original story.
 

To add to the mystery, there is the possibility that someone within Canon leaked the possibility of 10 and 12-bit RAW video the ML forum.  That effort had been dead-as-a-door-nail for a long time.  If it wasn't for that anonymous tip, which is VERY technical in nature, we'd never know that Canon cameras can essentially record a kind of compressed RAW video; that is, much less than the current 4 gig a minute.  Even without 12-bit RAW, I don't understand why Canon doesn't  allow 4-minute RAW recording on their 5Ds.  The only real worry is temperature and they can easily fix that with a limit.  Bottom line, Canon could put 12-bit RAW on their cameras today.  The ML devs have recently proven that.
As for the C100/300/200 line, I no longer see a threat from their consumer cameras even if they had 4K.  The cinema sensors are built for cinema, that is, video resolution with large pixels, so you wouldn't get the same low-light video with your 80D 4K, say, that you would from the C100.  Then, of course, all the buttons, XLR, etc.  I've never bought the argument that Canon would hurt their cinema business no matter how powerful they made their consumer cameras.  Of course, that might not be the case in Canon.
In fairness to Canon, Sony can't seem to do 4K in-camera downscaling to 1080 well (at least in my 6300).  However, I can't see how they can't output 4K in teh 6D II and let those who are inclined, downscale on their PC.  So I see some merit in the argument that Canon is very dismissive of enthusiast video users.  They seem to take the position that unless it can be done in camera, they're not interested in what happens to video downstream.  
The 4K coming out of the A6300 and A6500 is incredible, to me.  And they're great cameras, period.  Sony keeps releasing more lenses.  Once you look at 4K out of those cameras next to Canon video it's hard not to see the difference. 
 

Already been posted and discussed.

Wow, stinging article. 
Sadly the money wagon does take over in every genre of publication ever. 
It's great that EOSHD is still impartial, brutal, sometimes funny, insightful and on a few occasions, off the rails! But I like that. It's genuine and human. 
I cant give an opinion on DPReview, I've barely read it as I find the site design frustrating. 
Oh, and Ebrahim is a video genius, obviously. His knowledge is the greatest thing on Earth  

Probably the studio that shot miniature scenes already own the 1D C and had that motion capture rig made arround it. And they do multi passes to capture lights and other effects. Imagine doing that with the 1D C in raw stills.
It is just like those guys did with the BMCC: 
 

10/10

I own a video production company that specializes in automotive. We have a string of long-term clients in retail as well as editorial.
Here's one of the shows we shoot for Motor Trend:
Our (my) gear purchases usually revolve around solving problems: better slow-motion, more mobile, faster lenses to address low-light, better mounts for a specific rig shot, drones because... well, drones are awesome (I went out and got my FAA part 107 certification). Though I like new tech, I don't buy something unless it addresses a specific need.

I edited this Mummy trailer:
 

I am not impressed at all from such videos.
Most of us we would be able to do something similar if we had the time and money to be in the right spots in Patagonia for a couple of weeks.
The epic music, without anything happen at all is lame too.
Planet Earth I in blue ray is a great achievement in my opinion with the story being King (as it should) and sight and sound follow (as it must) - Planet Earth number II, not so great, even better technically, newer cameras and the such, not that great story wise.

Link: https://www.reddit.com/r/videography/comments/6j535x/i_made_a_dank_meme
original source: https://tapas.io/episode/277406

I say they aren't mutually exclusive. After years of using mutliple camera setups which were an A+ in certain area, and a D in others, I finally found one that is an A all around (for me). Of course it depends on what you're creating, but I think the UM46K is the most complete creative tool that "gets outta the way" and let's me focus on what I'm shooting. It's not tiny like a mirrorless camera or DSLR but it's still small enough to hold in one hand. No need for external recorders or monitors. Quick touch screen controls that are a breeze. I can go from 24p to 60p with a single press of a button on the monitor. Same with RAW. If I need to shoot RAW on a single shot...press a single button.
 

And how about ursa mini 4.6k as a POV camera? I tried it with sigma 8-16 and made this short test
 

Yeah but even on the Photo side the 6Dmk2 is very disappointing.
They move in 2008 with the 5mk2 creating the DSLR video thing by mistake. Now they do everything they can to cripple their DSLR. For me the final hit was the 5Dmk4. I don't know why people still expect anything from Canon. They never fail to disappoint release after release. I already stopped buying EF lenses, I got a GH5 for video and I'm really considering switching to Sony with the next A7R and A7S camera. Especially now that Sigma and Rokinon are jumping in the FE boat.

I have an M5 and is my travel camera mostly for photos because my 1dx and 1dx II are too big for that. I had a M before but the M5 it is much better.
I also use the M5 as remote camera or as wide angle second body for some stuff that I cover.
I have only the 11-22 and the 22 2.0 for the rest I use my EF collection.
 
Regarding video I have used only a couple of time a C camera and it is just ok very similar to the 80D, classical canon 1080p
 
For photos:
The good:
+ photo quality, it is good with good DR finally at 100-400 ISO. Classical Canon sensor so I process the Raws as I do with the one for 1Dx. M5 more noisy but to be expected
+ ergonomics
+ touch screen
+ touch screen even when off can be used to change focus point while looking in to EVF, very handy
+ remote port
+ 7/9 fps
+ DPAF very accurate and works even low light. Fast but not blazingly fast.
+ size
+ 11-22 is very very good with IS and tiny and quite affordable. This is why I use it a lot as a second body for wide-angle shoots.
+ 22 2.0 is also very good and super tiny and cheap. A bit slow on the AF side but still usable
+ adapter works well and most EF lens AF work well and quite fast. I have used quite a bit the 24 1.4 and 50 1.2 on it and with great success. I also use the 8-15 fisheye on it quite often
+ wifi
The bad:
- small buffer in RAW
- takes a lot of time to clear the buffer
- much slower than the 1dx in operations like picture review, etc…
- EVF is not great but I hate EVF so maybe I’m not the right guy to comment on it
- no live view while taking burst. A no go for action/sport
- no fully silent mode (fully electronic shutter). Why why and one more time why?!?
 
For video:
+ DPAF very similar to the 1DXII
+ 60fps same quality as 30fps
+ canon colors
- no 4k
- classical soft canon 1080
- less bitrate than the 80D
 
I would not recommend it as primary camera for video there are better choice in the price range.
Where it shines is a travel, backup and eventually B/C camera for canon user thanks to the tiny size but full support including good AF with the EF lens. If my primary system would not be a canon I would not have brought the M5 but for my need is quite good. Of course if it would have had 4k 30p even only at 4:2:0 100 mbits would have been much better for video.

Interested to see your results.
How much wider can you really go? 8mm is insane, I use a 10mm on Bmpcc with speedbooster and I can basically see my own shoulders, lol
Not exactly maybe, but if I stretch out my arm I can see half of my upper arm so maybe 6" from my shoulder. Here's an test video I did when I got the lens.
 

Found one used for $600, haven't touched these since the M1:
GOOD
tiny flip-out touchscreen dpaf ibis canon color 60fps slomo BAD
native lens select still shit soft 1080 no 4k price as new laughable meh video DR (raw stills at 100 are noice) paperthin 8bit files not worth trying to grade THOUGHTS
An almost perfect consumer hybrid from Canon. Thank fuck for competition. Panasonic and Sony have woken the giant from a 5 year slumber.
Forgot how much fun a tiny cam to snap pics and shoot a few family videos could be.

Is it really only electronic? Haha. Man, I'm guilty of talking shit against estab because of what motion blur does to the image, but to be honest, after testing both cameras, the M5 and GX85 seemed to be identical in smoothing shake.
End of the day, because it was used and I had a few EOSM accessories laying around, this camera was cheaper to own than a A6500 or GX85.

Wait, how is stabilization top notch with Canon? They only have silly e-stabilization, no?
And that embedded video... actually, the image quality isn't too great and you'd already only use the your best shots, but the guy knows his composition, editing, grading etc that makes up for it. Just goes to show that it's the one that presses the buttons that matters, not the device the buttons are placed on. For vloggers etc however, a Canon is just a breeze to work with, you could just shoot away, drop the footage on the timeline, cut the sequence and you're done. If... like... the content is the only thing that matters, I mean, there's enough shakey portrait mode videos shot on potatoes that have gone viral. Though... if you're want to add a touch of actual cinematography and want the most control and information captured as possible... you can't deny that a Sony A-series or Panny G-series is flippin' awesome. They've got more to offer than that point-n-shoot characteristic of anything that's Canon consumer range and especially Panasonic is doing it rather well, I'd say.

I don't need the EVF, so I was thinking about picking up an M6 eventually. Pair it with the 22mm f/2 and it would be a great Pocket cam for casual shooting or interesting, lo-fi projects. I recently found this video shot handheld with the G7X Mark ii and think it looks pretty spectacular...
With the DPAF of the M series, you could have a nice compact set up. I have an M10, which I plan on selling, but the focus peaking is the best I've ever used, so that's a plus too. 

Found one used for $600, haven't touched these since the M1:
GOOD
tiny flip-out touchscreen dpaf ibis canon color 60fps slomo BAD
native lens select still shit soft 1080 no 4k price as new laughable meh video DR (raw stills at 100 are noice) paperthin 8bit files not worth trying to grade THOUGHTS
An almost perfect consumer hybrid from Canon. Thank fuck for competition. Panasonic and Sony have woken the giant from a 5 year slumber.
Forgot how much fun a tiny cam to snap pics and shoot a few family videos could be.

This camera is better in almost every way than the A7R II and A7S II.
Lenses... I'll get onto those in a minute but A mount is nothing to be afraid of. Will be selling a lot of Canon glass after this and will end up actually saving money at the same time as increasing quality and decreasing weight.
The AF is definitely better than the A7R II and kicks the A7S II into the dust. At F3.5 it tracks like a hawk. I can now see why Sony did this because at F1.4 on a softer lens it doesn't work nearly as well as Dual Pixel AF on the 1D X Mark II. But to have this bonus feature on the 24-70mm F2.8, losing just half a stop, but gaining amazing run & gun AF for video.
The 1080/24p and 1080/120p are the SAME QUALITY. This makes the 1080/120p the best on the full frame camera market. The nicest ever. There's no crop, it's full frame. A7R II was 720p only and A7S II was a big 2x crop!
What's more it is not just an S&Q mode but a fully continuous normal video mode with 5 axis IBIS and AF tracking, at 100Mbit. The S&Q mode is only 16Mbit.
The 4K full frame quality is also very good but Super 35 does still have advantage in low light and to eliminate moire.
Nice to have a top LCD for shooting info. A7 series lacks this of course.
Buttons are better arranged than A7R II and A7S II. It is not laid out like a RX10 III. It is its own beast in terms of ergonomics.
You can now assign Super 35mm mode to a button, which you can't on the mirrorless cams. The new menus are in there and do group stuff together better but they're not a big enough overhaul to make me really appreciate them. I try to go into the menus as little as possible. Unfortunately you can't assign 4K/1080p to a func. button or the func. menu, you have to dig into the menus when switching between 4K 24p and 1080/120fps.
You can assign video recording to the exp. comp button next to shutter release, really handy. Default video button is better placed than A7 series but on the rear not the top.
Exposure compensation can be assigned instead to rear or front dial when in A-priority mode, then it automatically reverts to shutter speed / aperture control in manual mode.... again super handy.
The LCD can face forward for VLOGs and stuff, cannot do that with the A7 series or A9. It can also sit on top of the hotshoe almost (reminds me of Sony R1), or flips away to the base. More articulation options than the A7S II.
AF for photos.... hmmm lovely. Super quick and reliable.
The A lenses...TOP stuff. Particularly Zeiss 135mm F1.8, 50mm F1.4 and 24mm F2.0.
The 85mm F1.4 is a bit noisy and slow for AF but great in MF. Super optically. The Zeiss 24-70mm F2.8 is like the G-Master lens, and just as big unfortunately.
I prefer wherever possible the SSM lenses (24,50,24-70 but not 135 and 85) if using AF for video - much quieter internal focussing.
I love the green indicator boxes in manual focus mode for video. Way less intrusive than peaking. It stops you from diving into the punch-in zoom mode or racking the focus ring back and forth a little bit to be sure. As soon as you get that green dot you can just stop and relax knowing that area is in focus. LOVE IT
Have dialed EOSHD Pro Color into PP1. Looks WAY better than the default. Not tried S-LOG 3 to see if the banding is improved since A7S II yet. S-LOG 2 and S.Gamut Cine 3 with view assist all present like A7S II and an improvement over A7R II.
42MP stills and 18MP Super 35 mode. This for photography is significantly more in resolutions terms than the 1D X Mark II and allows you to effectively get two high quality prime lens focal lengths in one.
The camera is more responsive than A7R II / A7S II. Starting / stopping video has zero lag. Start-up time very good. Writing the 42MP RAW+JPEG files - MUCH smoother. Max write speed is 60MB/s to UHS 1 cards. Dual card slots. Not Compact Flash speeds (80MB/s plus) on the card controller but much better than A7R II 30-40MB/s.
This isn't a DSLR. EVF quality is very good, translucent mirror doesn't flip. It's instant-on like mirrorless camera.
Body size and weight is similar to the GH5. So far far less than 1D X Mark II.
Has a DC-IN port, but doesn't seem to take charge from USB. Battery is probably too big for 5v 2-amp charging.
There's a very smooth and nice front dial near the lens release which is assignable to things like ISO... It can be clickless or clicking.
Now the bad stuff...
The LCD dims in movie mode when you're shooting 4K or 120fps 1080p. It's either a power management thing or a heat thing. Makes exposure look totally different and 2 stops darker than same settings in stills mode. Very silly Sony!!! It seems all unnecessary on this camera because of the bigger battery than A7 series. Although the screen does get very slightly warm at full brightness outdoors, to think this would contribute to overheating problems is unlikely and it can be flipped completely away from the back of the camera where the hot main board and chipsets back directly onto the rear casing with no proper heat sink (I've seen the tear-down photos).
Sadly my camera came with a small faulty part... a sticky joystick in the 'right' direction. Apparently it 'wears-in' over time but I don't think mine is proper...why would it only need wearing-in to click right responsively and not also up/down/left? We'll see if my next unit does the same weirdness. On this point, I think Sony still have work to do to convince us they can make buttons. Can you imagine this on a pro body like a Canon 1D X Mark II? Journalists would be rabid, foaming at the mouth.
That's it for now, can't actually use it much more as it has to go back to DigitalRev but plan to do the review soon.
I think this is a real rival to the GH5... No 10bit but you gain full frame, better slow-mo, 42MP stills and maintain pretty much all the other features.

That's it with the Zeiss 50mm F1.4
The Sony 35mm F1.4 G is also a nice one... forgot to mention that. It's much smaller and lighter than the Sigma ART 35mm.
Size comparison with the GH5
Although lens mount makes the A99 II look much larger, the tops of the bodies are practically level (look at hot shoe and mode dials)

The grip is a bit deeper on the A99 II and card door a lot wider... dual card slots on both.

I use this for my PC when I need to edit at Starbucks.

Canon are stating 15 stops DR... Same as C700 and C300 ii
On the C100 ii and C300... They state 12 stops.
It's the new sensor and that is a BIG deal
There are two things stopping this being a slam dunk .. 10 bit codec and 2K raw
Bloody Canon!

Wow a lot of hype in this thread. I am surprised at the specs (for Canon) as well, especially internal raw, but let's throw some cautions out there before somebody drops £7700 in a fit of excitement.
Main codec at 8bit 4:2:0 150Mbit for 4K is worse than the current £1500 mirrorless cameras.
Canon had no choice but to compete with the FS5 (which beats this on price) - but protecting C300 II came at a cost. The 1080p codec is even worse at 35Mbit, that doesn't compare favourably to the GH5 at all.
Unlike the FS5 you are stuck with the APS-C / Super 35 look. No Speed Booster. Dual Pixel AF is a good selling point though.
Of course you have internal ND filters (mechanical, not electronic like on the Sony rival) but no 5 axis in-body stabilisation... which is more important for production values, IMO.
It remains to be seen how good the 1080/120fps is... if it is moire hell and soft then the FS5 is going to win in a key area.
15 minutes of raw at 128GB is a problem. That will not move RED users over to Canon. No way. And you can only currently edit it in one NLE.
Does it only record 4K RAW or can you drop to 2K? RED raw compression is still streets ahead of everything else.
Same sensor as C100 II / C300 II, which is to be expected. But you'd think for 2017 they could have done an update.
Form factor is that of a work camera, I wouldn't get a kick of enjoyment from taking such a clunky camera out on the streets or on a shooting trip.
The C200 is only 12bit in RAW. The normal codec is 8bit.
Unless you are happy shooting 15 minutes at 128GB and archiving a whole week's shoot at that kind of data rate, you will not be using the 12bit RAW.
RAW should be at least 14bit. At 12bit it starts to degrade. We know this from Magic Lantern's work.
It drops even more dynamic range at 10bit in 60fps raw mode... in that mode the file sizes will be borderline unworkable and the shadows will be scratchy as hell.

And here I thought content and editing were the priority. I never realized the difference a 1/4 stop of highlight rolloff could make.  Man am I naive.
The Social Network would've been shit if it was captured on the GH5.