mercer

Another test with the X-T2. 4K, Acros simulation. I like the look the black and white gave our scene. 
 

I don't have the 80D yet. I was waiting to see how the M5 matches up to it. Since it was sharing a sensor, I thought they were going to include the higher bitrate video as well...
They didn't.
Plus I wanted to do some tests on a cheaper camera to see if I can match Canon LOG and Reid-LOG. So, I just picked up a dirt cheap M10 to run some tests with.
Plus plus I will probably wait for a Black Friday sale and try to get the 80D a little cheaper.
But your points about close ups are very valid. This is why Canon DSLRs became so popular in the first place... Shallow depth hides the inherent budgetary and time restraints common in no budget filmmaking.
Good point about M4/3rds as well. The problem I had found with every other brand of camera I have owned, other than Canon, is that the colors require more tweaking to look "good," and I am not that great with color. I think Panasonic is getting closer with their newer lines, but it still takes some time in post to acquire that "organic, cinematic" look and texture that comes naturally out of the box with Canon's color science.
A couple months ago when I bought the XC10 and shot some footage with the 1080p C-Log, I realized in the first moment I looked at that first clip I don't even need 4K or actually want it in a lot of situations. I think 4K takes a naturally gifted colorist (which I'm not) or a good dose of FilmConvert to get footage to look "organically cinematic."
And this is my fear... Even with the 100mbps from the 80D. So let me ask... how close is the 1080p C-Log from the XC10 compare to the C-Log from the C100? Are they indistinguishable? Can you intercut the two, without any noticeable difference, as long as the correction/grade matched?

Preview footage looks interesting. A little over-sharpened, maybe. The colors are interesting. They remind me of the NX1, in that they're simultaneously somewhat muted and a a tad too much.

That US price is just silly, though. This thing ticks a lot of the right boxes, but only at the initial launch price; cost being equal, I'd rather have a G7 or GX85 any day of the week.

Yes, as far as they say. So, 24p, if present, would be higher.

Good to see others jumping into the ILC realm. I hope this is a huge success so we'll see a second generation that addresses all of the issues any 1st effort will certainly have.

Yup, I'd go in debt for that camera. They won't do it though. I mean, I have to assume that we aren't the first people to think about this, someone at Canon must've mentioned it... Hell... Renaissance mentioned something similar right when the XC10 was released. I would think a quarter of micro budget/indie filmmakers would own this combo. 

Yup, I'd go in debt for that camera. They won't do it though. I mean, I have to assume that we aren't the first people to think about this, someone at Canon must've mentioned it... Hell... Renaissance mentioned something similar right when the XC10 was released. I would think a quarter of micro budget/indie filmmakers would own this combo. 

This is where Canon could find a real winner. A simple but ergonomic form factor like the XC10 but with interchangeable lenses, built in NDs, IBIS and the Canon look and ease of use.

Very true. The only issue I have with the camera is for narratives, I really need a complimentary camera for that shallow depth... I just cannot afford a C100 for the spec shorts I work on. If only Canon would release a C1... A one inch sensor camera with interchangeable lenses. The BMPCC has proven you can obtain a shallow depth with a small sensor and fast lens combo. 1080 (and maybe the 220mbps 4K) and Canon LOG with the eos-m mount for around 2 grand and I'd hand over my money. 

The XC10's ISO performance - especially in HD mode - is very good for a 1" sensor. Compared to a GH4 in 4K (not too big a size difference: 2.9x vs 2.4x crop) it is noticeably better.
The thing is that it's pointless making such comparisons as the XC10 has a fixed lens with an aperture that gets slow at standard and long focal lengths. So although you can do noise comparisons at equal ISO's, the interchangeable lens cameras are always going to do better with half-fast glass (let alone a speed booster). As I said before I find myself ramping the ISO right up in only moderately dim situations unless it's a wide shot. Although noise performance is good at high ISO's, the situations in which you have to ramp it up are way more frequent.
It's a fantastic camera - I really love it for it's ergonomics, ease of use (with a few niggles that I've found perfectly good workarounds for), unsurpassed shot-grabbing ability, incredible stabilization and beautiful image quality. But there's no doubt it's put to best use in decent light. However it's basically an evolution of a classic camcorder and compared to most of those it does superbly in low light. 
Again it's a fantastic companion for the C100. The compliment each other very well. The C100's strengths are low light and shallow depth of field (where 4K is less important). The XC10 is great for deep, detailed DoF (4K), timelapse and as a small, inconspicuous all-in-one shot grabber (incredible IS and well implemented automatic modes). If you want both in one camera you pay a hefty price (money, size and weight) for a C300MkII.

Really, I thought the same until few days ago: I started in 2011 with Canon always in "Neutral" profile and I liked the colors but not the files. I had the 600D and then the 70D, but I used for some videos some 60D, 7D, 5D MkII and MkIII that I had from friends or rented. 

As soon as I "discovered" the Panasonic G6 on EOSHD.COM I sold the Canon (I had the 70D in that moment) and went for Panasonic mirrorless: G6, then GH4, and G7 replacing the G6 as second body some weeks ago. I love them, I use them every days with "Natural" Andy Lee's setting (great profile) but sometimes I need a flatter look.

I've bought the Micro Cinema Camera and I like the file a lot, but I prefer the easiness of control of DSLM/DSLR, so if the EOSHD Log-C could substitute the BlackMagic flat I'm more then happy  

I have to run a test side by side (BlackMagic / Canon with EOSHD Log-C), but in the meantime I ask here for advices, since I did not use the Canons in the last 2 years and to me, with Andrew's profile, they are brand new cameras. 

Yes, I did. I also sold my XC10 to help pay for the 1dx2. Now, I'm waiting for the XC15 to arrive I prepaid to B&H.
 

I have not tested a microphone that requires plug in power, but from my understanding, the XC10 does not supply it... Which I find very strange. 

Great cut at the end of that video! Just when I realize her shirt is--
Cut to Kidzrevil graphic. 

Great cut at the end of that video! Just when I realize her shirt is--
Cut to Kidzrevil graphic. 

I just shot videos and I normally use Panasonic cameras (GH4 and G7).
I also own a BlackMagic Micro Cinema, probably the best one I have, but it is slower for 99% of my works.

So a Canon with EOSHD C-Log could be the one that gives me the flat look of BlackMagic with the easiness of a DSLR (no monitor to rig, no cables etc...).

Of course I'm happy with GH4 and G7 and I'll buy the GH5 as soon as possible, but a Canon with EOSHD C-Log could be a good substitute for the Micro Cinema Camera...
 
What about high ISO?  (1600-3200)
I would use it with Contax Zeiss lenses, so I don't need AF functions.
Thank you!

Here's a shot from a test shoot I did today.
 

I don't think anyone is saying it's "unworthy." I just had my eos-m out yesterday and I still love the image it gives, but Frank has an opportunity to have his work televised and that network has specific camera guidelines, so in this instance, he would be out of his mind to stir the pot. 

I just bought it and what I can say... I tried for some minutes it on my father's Canon 6D and it is just AWESOME!

I went far to ISO 3200 without problems! I tried only C-Log, Cinema 4 and Scarlet, in the next days I will try all the other profiles.
For the moment: 
- C-Log is awesome, great DR no problem with shadows as I have with V-Log L recorded internally on the GH4.
It's really a GIFT for any Canon user! You have to buy if you need a log profile! 
I'm going to try close to BlackMagic Micro Camera as soon as possible just to see differences and similarities.

- Cinema 4 is a "neutral" with better colors and a slightly better DR. Great! I really like it for a 90% ready look.

- Scarlet is a Fuji Velvia-like profile, with raised blacks, hyper saturated look (red blinks to my eyes) and less DR in order to have a great contrast.

I think that just C-Log could cost at least more then V-Log L (it works wonders at 8 bit, instead with GH4 you have to record externally 10 bit to appreciate it), you have a lot of other great profiles, so don't wait that Andrew changes mind and buy it now!  

Thank you Andrew! And Canon has to thank you, because I'm really thinking to buy again a Canon just to use your profiles! 

 

If you are thinking of going with the c100ii, unless you need the 60p and DPAF, I would consider just buying a used c100 mk1 from eBay. You can usually find them for $2000, I actually saw one go for $1600 a couple weeks ago. I saw a mark ii go for around $2500. The rental cost would be a quarter of that. So unless you are definitely using Canon EF glass for the DPAF and you need the 60p, the mk 1 may be more than enough and some people prefer the image from the mk 1 better.

I think they are both great cameras, with their own unique looks. With MKiii you get ML Raw and it's simply gorgeous. With the 1Dc you get Canon LOG, equally gorgeous IMO, just different. Of those options, if you can afford it, I would go with the 1Dc... when paired with the right glass, the image is on a different level. There's just nothing else like it at that price point. But, in all honesty, if I had $4000 to spend, I would probably get a C100 mkii before either of them... DPAF, 60p, small file size, Canon LOG, XLR professional quality audio... a truly professional level video camera. You may be able to find a used C100 mkii and a used A7Sii if you're really interested in the Sony. 

Yes, was just some black tape.
I've had the 77mm mkii version for a fair while and no issues. Only used the 52mm mkii for a couple of days but seems every bit as good as the 77. Hard stops are a great feature. Supplied cap is also a bonus.

That's understandable. Other than my XC10, I've only ever used low end DSLRs. Because I love the Canon Log out of the XC10, and since I cannot afford a C100, I've decided I am probably going to get an 80D... for close ups and DPAF. Hopefully I can match the two.
If I was contemplating switching DSLR brands, I would go with a Nikon D750 or D500 before I'd go with a Sony. I get the appeal of the A7Sii, but I'd rather deal with Nikon Flat profile before SLog... But I am not that great of a colorist either. 
So with all that being said, I'd definitely pick the 1DC before the Sony. But that's just me... Or wait a year and get the 1dxii used for the same price the 1DC is going for now. 
The C300ii is beautiful. In the recent C500 thread, Kino recently posted some clips from the internal 10 bit 1080p and it looks amazing. 

We replaced our backup 5D3 with a 1DX II: shooting both stills and video. The 1DX II / 1DC are great 'stealth' video cameras. Our main video camera is now the C300 II. PDAF, a swivel screen, pro audio, great 1080p (4K is not need for our current projects and Premiere still struggles with 4K material (each PP CC update is hit or miss- sometimes 4K works better, sometimes worse. FCPX handles 4K fine (even with high quality rendering / no transcoding)). Thus the C100 II really is a great deal right now- fantastic 1080p, pro audio, swivel screen, PDAF, tiny files, Canon color, etc.

I used the C300 professionally for a while and loved it (and the C100), but for my personal projects I'd prefer the option of either building up a cage (I've got the Wooden Camera one) with an external recorder and monitor, or travelling light with just the DSLR.
DPAF is the one thing I really want but not a deal breaker. A7S II just seems like the practical move but again I feel like the 1DC might be one of those unique looks that become vintage in the future.