Jimmy

We all know the outcome.... Each camera will have pros and cons... None will check every box. Some people will buy whichever checks the most of their particular boxes. Some will stick with what they have and hope that the next release is the one to tempt them to spend. Rinse and repeat ad infinitum. 
 

Unless they buy the dedicated video camera!
If the C200 had some weird crop still image mode, the still guys wouldn't sit crying about it, they'd just buy the stills camera. 

It’s funny the last time me and the girlfriend watched a movie... she mentioned that she couldn’t really follow the story because they were shooting with a 45mm lens instead of a 28mm.

Maybe i'm reading it wrong, but sounds like 10 bit 4:4:2 is internal (but 4K 60p will be 4:2:0?)
https://www.fujirumors.com/breaking-fujifilm-x-t3-specs-leaked/

What are you guys filming that makes S35 so redundant? I think it's a great format, you can have smaller, lighter lenses, but still get very shallow DOF. 

What are you guys filming that makes S35 so redundant? I think it's a great format, you can have smaller, lighter lenses, but still get very shallow DOF. 

It sounds like the new sensor will have at least 1 more stop of DR, coupled with 10 bit, this could mean we shot Eterna (or a new profile) with around 13+ stops.... Salivating. 

So, beyond all the Chicken Little reactions and  a subpar press release from Nikon (creating a crazy echo chamber of negativity), what I'm seeing is:
-A well respected manufacturer with good qc and customer service
-Small mirrorless body with adaptable mount
-Full frame 24mp with clean 4K
-10-bit HDMI out
-Flat and Log profiles (basically the Nikon equivalent of CLog1 and CLog 3)
-A few essential lenses, with every logical core option already roadmapped
-IBIS that, by all accounts, bests Sony's
-Great battery life (more than 2 hours of straight 4K)
-Solid ergos, on par with other mirrorless manufacturers
-Natural color science without any major problems (blue channel clipping, greenish skin, greens shifting towards blue, magenta cast, etc)
-Integration with Atomos recorders for easy on set workflow
All baggage, brand politics, and bad press strategy aside, it ticks a LOT of boxes for me. Gonna be looking hard at the Z6 when it drops.

First time i've logged in for many months as I have been so happy shooting with my XT2 that other camera news didn't interest me... But this was worth a log in! I absolutely love the XT2, but banding is a problem, so 10bit should fix this. Fuji colours are just so, so beautiful (even better than Canon) and the Eterna lut/simulation is so nice. If the AF is further improved, this will be the camera of the year.
It amazes me that so many people ignore Fuji, but I actually quite like it that way... Feels like being part of a select group. Stills are exceptional, the lenses are beautiful, solid video specs, good DR, the best skintones in the price range and constant firmware updates. I think this select group is about to get alot bigger though, once people see the Fuji colour in 10bit glory.

First time i've logged in for many months as I have been so happy shooting with my XT2 that other camera news didn't interest me... But this was worth a log in! I absolutely love the XT2, but banding is a problem, so 10bit should fix this. Fuji colours are just so, so beautiful (even better than Canon) and the Eterna lut/simulation is so nice. If the AF is further improved, this will be the camera of the year.
It amazes me that so many people ignore Fuji, but I actually quite like it that way... Feels like being part of a select group. Stills are exceptional, the lenses are beautiful, solid video specs, good DR, the best skintones in the price range and constant firmware updates. I think this select group is about to get alot bigger though, once people see the Fuji colour in 10bit glory.

If you only read the title, it does.
If you actually use the camera, you'll know that it's not 4k, it's not 16:9, it has no usable live view and requires CF cards that were very expensive when the 5D3 was launched.

Off my list too. Let's hope Canon read this forum!

Also here are a few more screengrabs from my film. 

When the NX1 came out Philip Bloom bought it but didn't use it very much as he said the dynamic range was limited.
I thought it was a bit limited too, turns out we were both wrong...
Here is the effect of Fast Colour Corrector in Premiere changing output levels to 16-235 for NX1 clips recorded in 0-255 RGB range mode.

Original file - blown out clouds...

And here is an additional 1-2 stops in the highlights from enabling Smart Range + in-camera -


I'd put this camera right up there for image quality now... Right near the top of the pile.
Both sample images shot with the superb NXL adapter by the way with Canon 50mm F1.2L full frame FOV and DOF. Thanks Luca

I've had this kit for nearly a year now, so it's time to review it. 
Thought I'd share a mini review from some notes I've written down. 
Intro
I've been mostly a Sony shooter since 2012 when the FS700 came out. Got the FS5 as an A-cam all rounder, and soon updated it with the raw update and Inferno. Mostly shoot in Slog2 alongside other Sony alphas like the A6500 and A7SII. 
Best Bits
Electronic ND!! Nice ergonomics. Lots of HFR options.  Internal XAVC-L HD holds up really well.  Really nice monitor (Inferno) - easy to use and quality screen.  Continuous slow motion is useful for longer scenes.  4k 100fps - looks great! Raw images look very thick and tasty.  Worst Bits
Menus are complicated.  Internal 4k is nothing to shout about.  White Balance, especially in Slog, never looks right (Colour can either be too cool or greenish yellow. ) Often difficult to grade images (but can get great results).  Inferno monitor battery life is very poor.  Camera is heavier, bigger and harder to use with the Inferno. Continuous slow motion is very noisy.  Raw to ProRes 4k is only incrementally better than the Internal XAVC-L HD.  EVF viewfinder seems a bit too small.   
Perspective
The idea behind FS-RAW and the external recorder is very attractive, however some users may end up being disappointed with the experience. This is a very stable and reliable camera setup, however if you like to move fast and have a lot of freedom with your tools, this is likely not the right setup for you. 
To use the FS-RAW update is expensive, and I've found that if you don't plan to shoot RAW but ProRes instead - the difference isn't worth the extra money. It might be to some for special purposes, however I didn't feel the benefit enough. 
The A6500 beats the FS5 raw to ProRes ProRes image in 4k. Not so much in 1080p. 
A lot of us think that the more lucrative the setup, the better our images will be. It's definitely possible. But as our smaller, cheaper camera have limitations - the bigger boys also come with significant limitations too. You need more crew, more hard drives, more muscles, bigger tripods, bigger gimbals, bigger sliders, bigger batteries, and a much bigger wallet. 
If you're thinking of "upgrading" from your mirrorless, be prepared for a much different experience.
For me, I do find purpose in using this setup. For some shoots, there's not a better option. But for the majority - being more compact is definitely more favoured. 
Here's a video I produced on the FS5 with the Inferno:
 

Hullo everyone,
I just wanna let people here know about a new MLV processing/correcting/grading app I'm developing - It's called 'MLV App'... unless I come bother to come up with a better name.
Here's how it looks:

The goal is to make a cross platform app for converting MLV files to ProRes/h.264/whatever you want.
This is a plug, but I'm not making any money, as it is an opensource, free software, and free app... I'm just announcing it so maybe I can get more people to contribute - both testing/feedback and help with code is valuable.
Here's the Magic Lantern forum discussion: http://www.magiclantern.fm/forum/index.php?topic=20025.0
Here's the source code on GitHub: https://github.com/ilia3101/MLV-App
Downloads are here: https://github.com/ilia3101/MLV-App/releases
Theres a 'Cocoa' version and a 'Qt' version, the Cocoa version has a GUI built natively for macOS, and the Qt version works on Mac and Windows, and soon Linux (some errors compiling right now) - both versions have the same exact MLV processing and reading code, just the user interface is built differently.
Here's a demo video that shows how the processed images look:
(Note: the video was created with an older version of the app)
It's a pretty basic app right now, but I think the processed images look nice. It supports 10/12/14 bit RAW video, however I have not yet implemented compressed RAW, that's coming as soon as possible.
(I'm the one who made the RAW calculator at the start of this topic btw)
Enjoy

How do you define creativity though?
Yes, if you film street photography style footage, a GH5 will offer more creative freedom than a fully rigged Arri.
If you are filming from a camera mount on a snowboard, then the GoPro will offer more creative freedom than a GH5
If you are filming fast moving skaters, then a DJI Osmo will offer more creative freedom than a GoPro
If you are filming the aurora, then a Sony a7s ii will offer more creative freedom than an DJI Osmo
If you are filming music video, a C200 will offer more creative freedom than an A7s ii
and on and on..... There is no one camera that offers more creativity for every type of filming.

Has anyone actually ever said production cameras are more creative? They are just better for production. Though NDs, better handling and better audio can be very creative features.
If I'm climbing a glacier... Then carrying up all the shit needed for a production camera is gonna hinder me.. (c300 is about as big as I'd want to go)
Horses for courses... As ever

Well not sure how this one made it under my radar, but it would seem that this thing is something of a breakthrough. The Light LT16 utilizes 10 lenses to take pictures and soon 4k video, and is the size and shape of a smartphone. The multiple lenses are at different focal lengths, and the camera automatically stitched the images together to yield an image that has more dynamic range and post adjustable depth of field. Lowlight performance is 10x that of smartphones. You can read more about it here. Oh... and it's been available since July 14th, 2017.

@EthanAlexander
The 4K one, 2 builds up from the one you just posted, is the only one I have recently tested... Fine in 1080/24p

Why not keep that version on an SD, then try some of the new builds on a different one?
The latest 4K build seems very steady with all the normal modes (1080/24p etc)

thanks tihon!
 
I went with the 5d raw in the end! Happy so far, but just getting my act together at the moment!
 
 

Apps that use the holographic display will not be simple Android coding. Hopefully something like Unity... But at this point, no one knows.
Maybe save your "meh"s for a topic you understand?

Most people say it's not really worth it for video, more for stills.

It's an experimental build that is separate from the nightly builds, scroll here
https://builds.magiclantern.fm/experiments.html
I'm not very technically minded... But if the horizontal resolution is 5760, then isn't it the horizontal crop factor something like 5760 divided by the horizontal resolution, eg, 5760/3072 = 1.875 crop factor?
I think proper crop factors use a diagonal measurement, too tired to work it out!
The live view is pretty bad, right now... It's not so much the grey scale but the fps, it is really jittery and looks to be running at about 5fps.