Tim Sewell

Those of you guys doing wedding videos... don’t take this the wrong way.... but you are doing something wrong. I don’t know what you’re doing, but I know it’s not right.
There are venues that are going as high as $50 or $100 per person. The average cost of a wedding as per google search is $33,900... are you telling me that couples are willing to forego the cost properly capturing those moments? 
Your telling me that people are not willing to spend at least 10% of their budget on properly capturing the event itself???
May be they don’t see value in it.... at which point skip those people.... 
But, you need to lean in on those that do see value in video and lean in hard!!! Which means.... package it properly.... and throw in a crap load of marketing behind it.
Let me be honest here... I got married in 2010.... I hired pretty much a nobody... barely had a portfolio to show... he was fresh out of film school and he was recommended by the photographer. But, from the small portfolio that he did have, I was super impressed - my now wife... I had to convince. He charged $3800 (Canadian)... my mom complained stating exactly what you guys are saying.... “videography shouldn’t cost more than photography” - He made her eat her words by the end of it. BTW, photography cost $3200....this was at the cusp of the DSLR revolution.... he was running around with a 7D and 50mm.... But at the end of the day.... this guy came full guns blazing. He filmed with us for about 12 to 14 days... (that alone is going the extra mile) and created a 20 minute short for the wedding. At the wedding itself, he came with a 12 foot crane/jib (4 extra guys); had posters of the 20 minute short (all over the place) and a 2 minute trailer of the short (full video was shown at the reception). When he finished that day alone... FYI -there were 700+ people at my wedding (I’m Hindu)... 8 people signed up and he charged $5200 per person. Thereafter he signed way more by showing people the final cinematic cut of the wedding itself. And, he even packaged the tangible products properly - from the Blu-Ray/DVD menu to the cover and housing of the disc. I got the original disc in a leather case, and regular DVDs (however many I wanted) in a custom plastic case. 
Owning a camera and knowing how to edit the footage is not enough. Ask yourself how many steps ahead are you from the regular joe (owning the same or similar camera)??? It has to be visible differences though. If you’re going to talk about DR and noise reduction.... people don’t see that.... do you know why photography is more expensive??? And people are willing to spend money on it?? There are physical - tangible products at the end of it - a physical and custom album and custom framed pictures or canvas pictures <- people see that.... it’s visible... a DVD or USB stick.... sure it’s something... but it’s not framed on the wall or anything. 
Im hoping that you guys are seeing the visible products that pretty much acted as a marketing campaign for the guy that I hired. If you don’t see it, let me list it out: Camera jib (that’s something the regular guy doesn’t own), movie posters, trailer, 20-short, 45 minute cinematic cut (final product) and leather casing.
Sure that seems like a lot of work.... and it is... but then ask yourself again how many steps ahead are you from a regular joe who owns the same or similar equipment that can do it for free?
 
 

Is amazing. I love it. Never going back to RED unless I’m forced to by a client.
Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

That’s amazing. I Heard of someone who got a fs700 with the raw upgrade for 450$ a few months ago. I need to keep my eyes extra open lol 

I picked up a FS5 (with the raw upgrade, which wasn't even mentioned in the ad) for £1200 a few weeks ago - that's cheaper than I got the FS700 for back in 2016.

I picked up a FS5 (with the raw upgrade, which wasn't even mentioned in the ad) for £1200 a few weeks ago - that's cheaper than I got the FS700 for back in 2016.

That would work but wouldn't be a great option, in addition to not being able to review the footage the camera would not be able to verify the integrity of the file after dumping the buffer unless it also signed each file then checked the signature prior to clearing the buffer.  Any way you look at it, the encryption process would incur overhead; processing, heat, HW, development, etc. and include compromises (complexity, possible lost data, additional costs, etc) for a very small target client base. 
Also, if you really are in a scenario where the government seizes your camera; if they can't read the data and you are physically unable to provide the decryption key on the spot they will now have an excuse to search the rest of your gear or they will simply destroy the storage medium.
Once again phones have the advantage here, they already have network connectivity, they already have data at rest encryption options, they can already livestream events as they happen, etc. Trying to reverse engineer all of that and put it into a camera then trying to market and sell that camera simply isn't something any for profit camera maker would do.
 
All of the encrypted SD cards that I have seen require a full OS or some way of loading their decryption/encryption application onto the device; something that would be impossible to do with a camera. There may be one that I am unaware of (entirely possible), but I haven't seen a simple SD card you can just plug into a camera and have it encrypt everything that is written to it. I believe they all need an app, and you need to enter the proper authentication information into the app prior to using writable space on the card. I have seen USB drives that have physical PIN pad buttons which is how you enter the volume password like this one: https://www.amazon.com/Apricorn-Validated-256-bit-Encryption-ASK3-120GB/dp/B00W2EN8CE/ref=sr_1_1?dchild=1&qid=1601314672&refinements=p_n_feature_keywords_browse-bin%3A6813186011&s=pc&sr=1-1 but for that to work the camera has to support writing to a USB drive or SSD drive.
The FlashAir SD card looks like the best option, but it looks like it would be complicated to setup and get to work reliably. Just turning on and off the camera would require the offloading device to reliably reconnect to the wifi, the app to automatically grab the files as it detects them, then move those files to a cloud backup solution (and we are talking large JPGs here).  It's been my experience that getting that many different technologies to work together reliably and repeatedly is uncommon.

Love my Super Taks - all I'm gonna say.

I really only have one question and that is why did they name it after a Volvo?
A used Volvo C70 is also cheaper and less good at video, but the Canon C70 is easier to park.

I think Canon and Fuji make their own sensors don’t they? And the DPAF on Canon cameras is all their own work (and still much better than Sony’s).

I try to do this at least once a week. The feeling of relaxation that comes over me as I wander around shooting a little bit of this and a little bit of that is a fantastic antidote to the week's stress.

Yet another bargain - Sony FS5 Mki for GBP1100! So off to the beach I go. Unfortunately I went with the wrong lens still attached, so some of these shots are a bit soft. This was on SLog2 with SGamut. Now working on some stuff in SLog3 with Sgamut3.cine, which I'm advised should give better results.
Thoughts on the camera
I really like the size and the ergonomics. WB setting is a little cranky and I wish I could map push AF to one of the handgrip buttons, but overall I'm really enjoying it - especially the 10bit HD 4:2:2 and the S&Q modes. I haven't even tried the 4K yet. Obviously the AF is the definition of shonky compared to the C100 mki with DPAF that I sold to buy this.
 

Lots of good deals on the S1 on eBay right now 🤣

Yet another bargain - Sony FS5 Mki for GBP1100! So off to the beach I go. Unfortunately I went with the wrong lens still attached, so some of these shots are a bit soft. This was on SLog2 with SGamut. Now working on some stuff in SLog3 with Sgamut3.cine, which I'm advised should give better results.
Thoughts on the camera
I really like the size and the ergonomics. WB setting is a little cranky and I wish I could map push AF to one of the handgrip buttons, but overall I'm really enjoying it - especially the 10bit HD 4:2:2 and the S&Q modes. I haven't even tried the 4K yet. Obviously the AF is the definition of shonky compared to the C100 mki with DPAF that I sold to buy this.
 

Pretty honest take:
 

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.

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.