User

http://america.aljazeera.com/multimedia/2015/10/bh-workers-claim-discrimination-unsafe-standards1.html
Looks like I'll have to start buying gear from other places.
This is really sad.  Also I was unaware of the lawsuit in 2007 settled for millions of dollars.

But you decided to bump an almost 1 month old thread about it shipping because.....

Hi, I've not access to another 18-35 to test I'm afraid.

Yeah you have to go into your menu favorites to switch to 60p. Keep in mind the audio is compressed 256kbps in mp4 and linear PCM in AVCHD - so if you think you might have to do a lot of audio manipulation in post, you should probably go with avc. 

35 is only available at 60p ....
Bob

In tests I've seen the image quality is indiscernible. 

Continuous Dual Pixel AF is alot different than the normal continuous AF's. It's way more smooth and has human like focus pulling. It's not great when someone is running at you but other than that it is solid.

I am not an audio professional but most audio professionals I've encountered will tell that they prefer a wired mic over a wireless all the time and in general a boomed mic over a lav mic as well (Either shotgun or hypercardioid depending on surroundings). But sometimes you simply need wireless to get the job done. I have a G3 system and it gets the job done (Actually I've never, ever, had a problem with it) but cost me quite a bit but and if I was on a budget I'd look at Rode's wireless offerings, they are bulkier but they are easier to set up and use and priced really reasonably in my opinion. Sennheiser also has new equipment that is far easier to use but it is not cheap but will probably last forever.
One investment I made is buying a set of adaptors for my wireless lavs that will let me feed them phantom power from a wire. This way if I'm on a shoot and I'm having problems with wireless I can still feed them into a mixer, or in my case a simple Juiced Link box. Sennheiser makes these adaptors for about $130 US each but there is a nice company in the UK that makes them for half the price as well. http://www.canford.co.uk/ 
The product I bought for my G3 kit is:
http://www.canford.co.uk/Products/20-769_CANFORD-ELECTRET-MICROPHONE-ADAPTER-3.5mm-jack 
Also the stock lavs that come with wireless kits are nothing special, many folks update these.

The FSB 6 and 8 are close ... better to err on the heavy side for the mount ... a bit more resistance may yield 
a bit less shaky vid ... at least at my age that seems to work....
Yes panning I tend to rush things ... or so my Cello instructor contends....
Bob

It works well with the 24-105, but I'm struggling to get it working with the 18-35 correctly. I have updted the firmware on the lenses and it seems to work ok with the continous focus option, but not well with the one shot focus option.

The 18-35mm used to only work well with Dual Pixel AF at f/1.8, but Sigma have now updated the firmware so it works at all apertures (reportedly very well). So make sure you buy a unit with a later serial number - otherwise you'll have to update it manually with a dock or by sending it back to Sigma.
The 18-35mm is undoubtedly the more "cinematic" lens. It really is like owning three cinema primes in one (in terms of image quality), and yes, even at 18mm you can get nice shallow DOF with moderately close subjects. If you're doing run&gun there's no denying IS is a big benefit - but the difference between f4 and f1.8 is significant.
What about the Canon 17-55 f/2.8 IS as a compromise? A lot of professional C100 owners have sworn by that lens as "the one" for a while now. It's not as sexy as the Canon "L" or the Sigma Art, but it's a damn good lens.
Also interesting might be to consider one of Canons newish image-stabilised, wide primes - I think they do a 24mm 2.8 IS, a 28mm 2.8 IS and a 35mm 2.0 IS. The 35mm I know is superb.

Sound either makes video or kills it . $128 add to a $6K cam seems like a bargain ...
I have a Rode NTG 3 and an AKG 414XLS both driven well with the Device. 414 XL has 5 patterns easily selected.
 
Bob

No but I use this with a xlr to 3.5 mini jack cable ... dead quiet but runs through 9 volt batteries if you do not
have an external power supply.
http://www.bhphotovideo.com/c/product/403002-REG/Denecke_PS_1A_PS_1A_Portable_Single.html
 
They also make a dual version.
http://www.bhphotovideo.com/c/product/406897-REG/Denecke_PS_2_PS_2_Portable_Dual.html/prm/alsVwDtl
Bob

I will tell you as a 1dc owner it's tough to get super deep DOF with the 1dc.  I've shot the 16-35 F/4 @ F/16 and it still blows the background out a bit.  The colors and skin tones are just wonderful - the 1dc is magic fairy dust especially after you grade it a bit.  Lots of data in those 500 M/bit files, and they grade quite nicely.
The regular 1080p FF mode is pretty lousy, but the 4k scaled to 1080 and the s35 mode are great.  I've gotten decent results with the 1080p60 and quite a bit of sharpening - it's the main knock on this camera.
If Canon were smart, they'd put the 1dc sensor inside a 70d body and add the DPAF system - with a touch screen.  It'd be killer.

Ibrahim and User
 
I had the 1Dx and loved it .... 
Now the C100 Mk II ... I use it without the handle with ... mainly manual focus Nikon mount lenses ... with a Wooden Camera quick release for
video tripod use ... it is smaller and much more ergonomically friendly than any DSLR. I passed on the Leica S007 with 4K gave up my Sony A7s
... color issues and love the files from the C100 Mk II.
 
Truth be told ... the day the Canon 1Dc II arrives your investment is toast. No one will give you what you paid for it ... 1000 exposures is nothing
but ask yourself why are they selling it.
 
Biggest problem with the C100 is the ability to capture amazing amount of file with minimal effort ... so you need a big computer to deal with 
4K files but with the C100 you will have 10 times the video in focus and correct exposure to deal with ... without thinking about it. Those NDs 
are to die for ISO starting at 850 ... unlimited higher range. My sense is that glass is golden and sensors will improve... buy what will work camera wise and 
invest in the best lenses you can find. They rarely depreciate like the cameras. Makes more sense to me to buy a C100 and a discounted BMPC 4k 
for when you just have to say I got more real estate than I know what to do with....
 
This video convinced me that the original C100 and the Mk II were sufficient ...
 
 
Bob

And this
 
 
Bob
 
And for color this...
 
https://***URL not allowed***/canon-c100-mark-ii-review-exclusive-footage/
 
Bob

I would like to add that editing native 4K 1DC clips will require a heavy machine. The C100 files will be much easier to work with without the need of transcoding.
And don't forget to add additional backup storage which you will need when shooting large files with the 1DC.
 

Haha..I think you're right!

Got to love wood, it's so organic.

I really like the RodeLinks I got, only notable downside is they're kinda bulky ish.

DPA D:screet series are a personal favourite. Very good vocal tone and ambient rejection
not budget, but of course nor is your 416!

Yeah, I've used the new Rode's and they're pretty amazing.

I'm loving the new Rode Link mics. Check em out.

The DPAF works with the new sigma art lenses as well, but you have to make sure their firmware is updated. It works a little slower though than on canon glass. 

I'd say it's in the GH4/BMCC range of DR, maybe showing more in the shadows and less in the highlights. Yeah CFast 2.0 cards are crazy right now.
It works on any of the Canon lenses as far as I know. I use it with the 17-55 which isn't L.