Tim Sewell

I'm sorry, but this just isn't the case. People buy C-line video cameras for a plethora of reasons and for many use cases there's no way they would swap out a full-control, fully specified professional cine camera for a hybrid body. The form factor of a hybrid just wouldn't cut it in a wide range of professional working situations. Codecs, resolution and so on are important, but they really are only one part of the considerations that apply to choosing a working tool.

I'm sorry, but this just isn't the case. People buy C-line video cameras for a plethora of reasons and for many use cases there's no way they would swap out a full-control, fully specified professional cine camera for a hybrid body. The form factor of a hybrid just wouldn't cut it in a wide range of professional working situations. Codecs, resolution and so on are important, but they really are only one part of the considerations that apply to choosing a working tool.

Let's be honest, these stupid workarounds are not practical on set.
It is up to Canon to fix the damn camera, not us.
We paid the money, and not a small amount.
Unscrewing the back, prodding the card door sensor, ripping the clock battery out... None of it is acceptable for $4000

My wife hates opera so I make her happy by not taking her.
Then I use the savings made on the tickets to buy more lenses.

As an update I've decided to build a set from the Super Takumars and sell the Rokkors I've bought so far. The Rokkors have a lovely build quality, but it seems they don't have an option of a nice sharp 35mm - I got two different versions and both were unacceptable soft. The Taks, on the other hand, are beautifully built and render amazingly nicely. So far I've go the 28, 35, 50 1.4, 85 1.8 and 135 2.5 in my sweaty hands and am awaiting delivery of the 20 4.5 and the 200 4. Now I have to re-line one of my hard cases for them and set about getting focus gears made. I'm in 2 minds over de-clicking. A couple of these weren't cheap and I worry that de-clicking might hammer their resale value if I ever have to rake some funds back. Does anyone have any experience of that?
As soon as those last 2 arrive I'll shoot a test of all lenses on the same subject for the delectation of EOSHD members.

Funny how the camera buying internet has gone from "what are the most sick cinematic camera movements?" to "will my camera melt and burn my hands, and shall i buy a self generating ice pack to get 2 mins 8k recording on my year long trip to Africa?" 
FWIW, the A7SIII looks like the better video tool. I live in Manchester UK. Sunlight doesn't exist. Only rain. (besides today!) 

Just sold my XA-10. Used it for interviews, but in low light it wasn't that good. Not sure why you would buy it if you don't need the XLR inputs. The touchscreen is resistive and will annoy you. My M50 b-cam had better quality and video options and is cheaper to find. The XF-100 at least has all the physical buttons, but the sensor is the same as the XA-10, so not that great in low light. The C100 is a whole different level on image quality and low light. Couldn't even mix is with the other two as the image quality difference was very obvious.

I don't earn my living from video, but my main takeaway from both the Canon and Sony launches is this: if, for your bread and butter, you need things like 8K, massively over-sampled 4K, 10bit internal from a full frame, top-of-the-range AF, high frame rates, minimal RS and cinema colours all in a single A camera package that is reliable to professional standards and doesn't overheat... don't buy a hybrid in a DSLR/hybrid body shape, as with current technology all of the above just isn't available in that format. To get all that, you need a proper cinema camera in a proper cinema camera form factor. Sorry, but that's just how it is.

Lovely piece of work. Thanks for sharing!

I don't earn my living from video, but my main takeaway from both the Canon and Sony launches is this: if, for your bread and butter, you need things like 8K, massively over-sampled 4K, 10bit internal from a full frame, top-of-the-range AF, high frame rates, minimal RS and cinema colours all in a single A camera package that is reliable to professional standards and doesn't overheat... don't buy a hybrid in a DSLR/hybrid body shape, as with current technology all of the above just isn't available in that format. To get all that, you need a proper cinema camera in a proper cinema camera form factor. Sorry, but that's just how it is.

I don't earn my living from video, but my main takeaway from both the Canon and Sony launches is this: if, for your bread and butter, you need things like 8K, massively over-sampled 4K, 10bit internal from a full frame, top-of-the-range AF, high frame rates, minimal RS and cinema colours all in a single A camera package that is reliable to professional standards and doesn't overheat... don't buy a hybrid in a DSLR/hybrid body shape, as with current technology all of the above just isn't available in that format. To get all that, you need a proper cinema camera in a proper cinema camera form factor. Sorry, but that's just how it is.

I don't earn my living from video, but my main takeaway from both the Canon and Sony launches is this: if, for your bread and butter, you need things like 8K, massively over-sampled 4K, 10bit internal from a full frame, top-of-the-range AF, high frame rates, minimal RS and cinema colours all in a single A camera package that is reliable to professional standards and doesn't overheat... don't buy a hybrid in a DSLR/hybrid body shape, as with current technology all of the above just isn't available in that format. To get all that, you need a proper cinema camera in a proper cinema camera form factor. Sorry, but that's just how it is.

^ I'm pretty sure Canon & Sony agree with you there! 

I don't earn my living from video, but my main takeaway from both the Canon and Sony launches is this: if, for your bread and butter, you need things like 8K, massively over-sampled 4K, 10bit internal from a full frame, top-of-the-range AF, high frame rates, minimal RS and cinema colours all in a single A camera package that is reliable to professional standards and doesn't overheat... don't buy a hybrid in a DSLR/hybrid body shape, as with current technology all of the above just isn't available in that format. To get all that, you need a proper cinema camera in a proper cinema camera form factor. Sorry, but that's just how it is.

Pretty sure I fall into this category.

The footage from this old sensor just looks better to me than anything else that's out there, including the new cameras or the really high end cameras. That's just my personal aesthetic.

In fact for me, the ideal camera would basically be my C100 mk1 with the only changes being a bit of HFR and external 'real' 4:2:2 10 bit up to 60fps.

I am moving to 8K smartphones 😂

I have an Olympus EM1 mkii that produces nice, stabilised 4K, but for video I've barely picked it up since I got my bargain-basement OG C100. The C100 still produces lovely organic-looking HD and coupled with a Ninja 2 (GBP200 off eBay) it's reasonably gradeable as well. My aim - as a hobbyist/would-be artist - has always been to create work that has that filmic quality we love and that aim is often in opposition to the ultra-sharp, high resolution video more modern systems generate. I have to do far more post work on my Oly video to get the look I want than I do to the Canon stuff.
 
So I think you're correct, in one sense, @kye, although I don't know how much your proposition would hold true to people who are earning their living producing video for clients who, naturally, will generally want the 'best' they can get.

I just watched this video by Of Two Lands, where he talks about why he bought an OG BMPCC / P2K in 2020.  
Some of his reasons were sentimental, as he owned one early in his career and it worked well for him, but he also mentioned that a lot of people are going back to shooting S16, or are getting sick of a super-clear image, or don't want to have the 'crutches' of AF or slow-motion or the challenges and limitations of an older fully-manual camera.
We also had the P4K firmware update that added a S16 crop mode, the Ursa 12K camera has a S16 crop mode, and @JimJones argued that the new Ursa might attract purchasers purely for its S16 mode:
@crevice Argued that the BMMCC still matters, and received much agreement.
 
When the P4K first came out there was a lot of anticipation of getting a 4K BMPCC but then disappointment that the image wasn't the same, and that it looked too modern and too clean and too high resolution.
After all this I wondered what it was about the image from these cameras that attracted so much praise.  I even heard that the BMMCC was a "baby Alexa" due partially to its colour science, but also in other ways too, such as motion cadence, resolution and codec support.
I bought one and tried emulating its image with my GH5 (a project which is still ongoing):
I had a theory that this interest in lower-sharpness (and to some extent low resolution) cinema was a nostalgic thing amongst those who grew up with cinema being celluloid rather than digital acquisition and distribution, but the " cinematic / film / organic / LUT / hipster " crowd is getting younger and more interested rather than less, so I wonder - is this a thing?
Are people feeling a pull to go back?
....to go back to S16?
....to go back to MF?
....to shooting slower and more deliberately?

A lot of it does come down to expense and time.
1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it.
Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. 
Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field.
Shooting slower and more deliberately means you don't have to shoot as much. 
People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. 
I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.

Going forwards all of Peter Mckinnon's videos will be outdoors in a strong breeze. He's going to spend the next three years freezing his tits off.

Thanks for the pointer - I'll check that out!

Wouldn't the C100 be Canon Colour Gamut and Canon Log (as opposed to C-Log 2 or 3)?  That's what I was using when processing XC10 footage from C-Log.
Essentially then you'd be converting from Canon Colour Gamut / Canon Log to Rec.709 / Rec.709 for delivering standard DR, and Canon Colour Gamut / Canon Log to Rec.2020 / Rec.2020 for delivering HDR.
After the conversion you'd then be grading the image to get the look you want before exporting.

Only use 2020 if your grading for HDR. If you're delivering for YouTube or normal broadcast stick to rec709.
For LUTs select the format that you captured in. For example if you recorded in HLG you can use a LUT for 2020 footage. 
IDTs are for colors space transforms. For example if you're going from as log format for Canon log format to rec709 or HDR.

AP's new logo after this: