IronFilm

Hmm, the 5D3 is more detailed than the GH5? I'm having trouble with that, particularly when comparing the 4K output of the GH5 to the HD output (no 4K on the 5D3). Doing that comparison, the GH5 blows the Canon away in detail. I'm not saying the Canon isn't a great camera, but for anyone shooting video, I can't see spending the money on a camera that can't do 4K. Not in today's world and especially considering how good HD looks when it's downscaled from 4K. Then there's IBIS.
The footage out of the GH5 looks so much better to me. That's MO. 

Agreed, wait a few days and see what Panasonic announces! Will hopefully give you the best of both worlds. 

JVC LS300 or Sony FS700 would also make interesting worthwhile supplementary cameras to your C100
But a C200 / C100 mk3 probably will lack TC or SDI. 
Will only get FHD 120fps if we're lucky, or maybe do something twisted like 120fps but in 720P.
Will have 4K, but will be 4K 24p / UHD 30p and be 8bit 420 (maybe it will even be cropped like on the 5D mk4?? Kinda doubt it, but no kind of crippling Canon does would surprise me....)
All for a price even higher than the current C100 mk2!
 

@mercer Ok, I agree Fuji is great, I am very excited about them taking video seriously and I am looking forward for their next moves. Their APS-C cameras are serious ones and they seem to listen to their customers and I always enjoy their top execs interviews; very honest and good natured.
I just expressed my opinion that isn't "hands down", I was expecting much better results from Fuji. It is great, but NX holds its own. NX1 is a more complete camera than NX500 in every way. Also in my monitor I didn't see the "huge" difference I was expecting. Let's say, I think I saw a bigger difference with my friends a6300 in high ISO.
These days, is very difficult to NOT be happy with most cameras in photo and video (except maybe the lack of 4K from Canon, or some specific feature like 120frames slow motion, something that X-T2 have not, if I remember correctly, or something else). In my opinion (based in technical facts) the NX sensor is more unique than that of Fuji (which is manufactured by Sony and sold to others as well). It is made in house by Samsung, the first BSI ever made (September 2014, while Sony announced their a7Rii in June 2015), it still has the highest megapixel count ever for a APS-C camera (while Fuji had 16MP back then, Samsung had 28) with incredible fast readout (with 6.5K readout) etc Worth mentioning that its rolling shutter is 7.9ms in 1080p, and the most impressive thing, that not a lot know, is the excellent heat and power management that are capable of. I have failed to overheat these cameras, even the small NX500 in unbelievable conditions and continuous hours of video recording. These are the reasons I found it more original.
I shoot raw, and I use Lightroom for the rest, but I have some collections that have - in total - more than 2000 presets from the classic film stocks to whatever one can imagine (I never use them now, just saying), and something similar for video (again, I am not using them). That is what I said. It is not like choosing your film stock anymore, you can choose, manipulate, do whatever. Samsung's color profiles are really interesting too, unexpectedly, even. I use the NXs as hybrids (I mean, I equally care for photo and video), and dedicated video cameras for more advanced projects, NXs are for very very low budgeted video jobs and they have served me well for the last couple of years (knock wood). That's all. When I will be more happy with another hybrid camera, I will let you all know (be sure about that!).

They probably went with the LP-6 due to weight and size? The micro cinema always uses those batteries... Which also sucks. 
You know what, I couldn't tell you because I have never used the internal recording. I do like to over expose a stop or two at times to get clean shadows, I would image this is more of a problem with the low bitrate. It is seriously difficult to get the F3 to fall apart. I will say that I use the C300ii quite a bit and the image on the F3 is pretty similar, (besides crummy indoor lighting, where Canon does so well at staying bright and colorful.) I do think it has one of the best 1080p images available. You do need to know that unless you have upgraded to the 444 version of the F3, you will not be able to get 60p with the video assist. You can with the 7Q without the upgrade, but that is much more expensive and a lot bigger/heavier. Also, for whatever reason there is a bug that causes the bottom pixel to flicker when using the video assist and capturing 60p/3g.
I buy directly from SWIT. These guys are really good about shipping. I ordered Monday at 4pm and they shipped it out the same day and I will have it tomorrow. I currently own a 63w but just purchased that bigger one because it was on sale. I'll probably buy another if it works out. These are seriously convenient. http://www.swit.us/dv-batteries.html
I have been using Canon LUTS and I am really happy with the results. I am working on a longer project that will be graded professionally, very excited to see how far we can push the files. I attached a couple stills. I think in almost all of these, I am exposing ETTR. I am really happy with how much saturation is held when over exposing. 
I have the F3 rigged right now but no photos... This is a very minimal low footprint setup, could be used on a monopod or something. 
 
 
 

Ugh, I know! Even internally the camera is great, but part of me knows I'm not getting everything I can out of it. What are the biggest things you notice jumping up to external 10-bit? Just a lot more robust in the grade?
Nice to hear the recorder is no fuss. I should invest in one or two of those d-tap Sony batts; battery life on the assist sounds irritatingly short. Not sure why they went with LP-E6 over Sony NP-F. 
Got a link to the batts you use?

I agree Ben. Color should be a spec. I guess what bugs me is the fact that canon seems to limit some of their cameras that can do more then what they're locked into doing.
For example, look at the 5d iii and what the ML hack has been able to do with this cam. It shows the almost limitless capabilities that camera can do. But the 5d iii out of the box without jail breaking has hardly any video features. Why canon???
So canon makes cameras that are capable of being amazing but just blocks this from us and tries to force us to upgrade our camera. :/
And I get it. They don't want everyone buying just one of their cameras but that doesn't mean you completely make your dslrs crap. Look at Sony. Even though they have their FF mirrorless cams with a ton of video features people still buy a ton of fs5's and fs7's. I just don't get why canon can't do the same. 
I mean canon is just now putting c-log on the 5d iv! LOL Why now? Why not when the camera was released? C'mon canon! It's pretty ridiculous IMO. 

Noooo.....  Don't even joke about spreading nasty rumors like that!

B&H occasionally has a few weird glitches when they mark something as discontinued when they just mean out of stock.
 
Plus the G7 would get discontinued before the G85....

I strongly doubt it. G85 is half the price of a GH5! Which will make it an attractive purchase for many people.

I strongly doubt it. G85 is half the price of a GH5! Which will make it an attractive purchase for many people.

B&H occasionally has a few weird glitches when they mark something as discontinued when they just mean out of stock.
 
Plus the G7 would get discontinued before the G85....

Since the full sensor is much bigger than say 4K... Couldn't they crop the sensor to get those last few FPS? Not saying they would be interested in that. Probably would need an ML type hack.

Ever since I gave up my Nikon D5200 a few years ago for the Panasonic GX7, I've been dearly missing one lens. The 17-50mm f2.8. I tried the 12-35mm f2.8 on the Panasonic but didn't like it. Then the Samsung NX1 came out along with the 16-50mm f2-2.8. At the time, it was way above my budget. So I've since considered other systems such as the Sony but for one reason or another, they didn't fit my needs. But now, over 2 years later, I've finally been able and willing to pick one up. Luckily as well, the camera body is entirely unused. The manufacturer sealing was still in place. 
One of the first things I do when I get a new camera is to compare it to my other camera(s) for things like colour, dynamic range and noise. I've made many such tests before but never usually post them. This time I've taken the time to do it properly and edit it together for all to see. 
First up is the X-T2 vs NX1 shootout. The main point of this was to see the differences in colour and tonality. See the video description for all the fine details on settings.
And next is this high iso comparison with two other cameras I currently have. Again, you can see the video description for all the setting details.
Some thoughts on the differences between the X-T2 and NX1:
AF-C and focus pulling with AF works much better on the older NX1 than the X-T2; in video anyway.  The 16-50mm f2-2.8 is a ridiculously good lens, image wise. And the focus rings works just like a classic lens. The grip and button layout of the NX1 is far better. I've always felt the retro styling of Fujifilm were a detriment to their functionality. The downside to the NX1 is that it is far inferior to the XT2 in low light. The last shot in the shootout was shot at ISO 800 on the NX1 and 1600 on the XT2, yet the NX1 shows less detail and more muddiness due to the noise reduction.  Also the NX1 is far sharper in 4k and HD but has more aliasing and moiré in the latter.  
Anyway, I'd really like to hear your thoughts on the difference between the images I'm yet undecided of which system to keep, even though the NX1 would finally fulfil my want.. or need of a 16-50mm f2.8. 

Oh sh*t, that Kangaroo must be annoying! Try a different cable perhaps? You might just be unlucky with that. (had a similar issue with my F3+Samurai, until I swapped it out)

Also if you need to 'mix' bass frequencies you may be better off using a good pair of headphones as these will have a more accurate base response than a cheap subwoofer setup in an untreated room. By 'good'  I don't mean mega expansive either - Sony DMR 7506 or equivalents are 'industry standard' for monitoring recordings and should be part of anyone's sound production kit.You will still be better off mixing the mid an upper frequencies with monitors as they will give a better stereo presentation but bass is not very directional so use headphones. 

Hey guys,
 
I´m a great fan of classic Andrew Reid stuff like this one telling about Richard Gales Nex5 mod.
Are there any other cool mods going on by Richard or others? I just think this looks so pretty:)
Here is this super cool article by Andrew:
http://www.eoshd.com/2012/07/mystery-camera-revealed-sony-nex-5n-in-cine-housing-with-cooling-mod/

@mercer
I am with you! Give me raw for 200euros! why not?! I am not against the workflow (even though it doesn't fit my profile at all), high end features are always welcomed, in whatever price range, my point is that in this entry level category, not a lot of people care about raw, most just need dependable, reliable machines to work well day in - day out, and even cheap media and less backup space play their role in this category (NX's H265 rule! as I keep 2 backup and 1 working project). That's is why the most used camera in my country is still C100 (even the older versions), and FS5 sell as well, mostly because of the e-ND function.
Ursa mini Pro with the EVF, SSDs and battery options are almost 10.000
FS5 needed a 600$ update for that (I am not sure what's the policy now) and you needed a top of the range external video recorder, while the 4300euros Canon C100markII does 35Mbps 1080p.
I am not trying to bring you down, I just like to be realistic with my expectations and the market we are in. If you don't understand why someone would choose a Canon C100mark II, a FS5, or the new Panasonic instead of the GH5 (even in this market) then these cameras are not for you, GH5 or an older Black Magic are just fine for your workflow I guess. To be honest, I would prefer a price closer to 5000euros, and let Canon/Sony to worry about their pricing, with or without raw.

I'm speaking under correction here, but I don't believe the Varicam LT shoots RAW  without an external recorder....if I'm correct about this, and can't see how there would be any business incentive for them to put it in their next down the line Cine cam.

If you are a one man crew then I think it is an even stronger argument not to shoot raw. You don't want to be fluffing around with AC or DIT duties.

I'm really curious to hear about how to monetize on streaming, particularly with bit torrent, etc. getting in the way. Can you PM me?

Not sure where you're going with that? Are you leaving EOSHD because you feel like you've outgrown it or something? Or was it just the point of saying 'thanks' for allowing the guidance of your journey to your present day situation?
So, I take it everyone is welcome here whether you own a cellphone or a RED. But... there's a lot of people that could use some help figuring all this shit out when starting out. And there's just too many places that are too pro, too serious and couldn't care less about n3wbz. I feel like here, there's no judgement, whether you're using a Sony F35, URSA Mini, GH5 or T2i/550D... it's all good, it's about getting the basics right and being able to deliver convincing content and there's more to that than an expensive camera. Think the crowd here is mix of professionals and enthusiasts that aren't quick to judge and are supportive of eachother. Positive vibes. There's too few places like that around on the good ol' interw3bz. Anyways. There's continuously going to be people starting out and not that quick to drop $3k+ on a camera and of course the core that gets more experience and higher end equipment as time goes on. That just allows for more interesting insights and knowledge to be spread around here, so personally I don't see the DSLR community going anywhere... if by that you mean the users of consumer & prosumer DSLR and mirrorless cameras that want to practice their art and be executing their talent as cinematographer or filmmaker. And isn't an URSA Mini a mirrorless camera at the end of the day either? And one more accessible than an ARRI?
Seems there are a lot of 'coffee and <insert interest>' events popping up everywhere. I feel like maybe this is a 'coffee and filmmaking' hangout, where you can just talk about whatever is on your mind filmmaking related (or occassionally even otherwise) amongst people with similar interests.

Almost for certain I'd go for ProRes or some other similar but high quality compressed codec (such as AVC Intra). 
Had exactly this discussion too with a director that I was going to shoot a feature with (although that sadly hasn't happened yet, as his life went through a few upheavals out of the blue that he had to focus on first), he is a diehard raw fan! 

But when you are so very constrained with resources when it comes to time/money/people, then that little extra 1% gain from raw is just not worth it. 

So ProRes HQ it is! (was going to be shot with a mix of Sony PMW-F3 / BMPCC / BMCC, although we did for a little while have access to an F5 too)
Although we did kinda come to a compromise that on very very very rare occasions then we might shoot specific shots in raw instead, where we/he thought it would really benefit from raw for that shot.
 
 

I'll never understand why when a discussion of zooms comes up, the question of 'how much reach do you need', never comes up. 

Holy crap! So old! Haha. It's ridiculous how long Canon takes to move. 

..or maybe this one http://www.eoshd.com/2014/03/canon-4k-refresh-c200-c400-coming-nab/        !!!
a 3 years full circle!