zerocool22

Indeed and this was something I was quite drawn to with one of my possible future systems, the combo of great AF and focus breathing compensation with Sony.

I agree with @kye, get a camera such as the Sony FX30 and let the camera handle lens breathing in camera.
As also, any lens that has no lens breathing is likely to be a cinema lens... and thus won't have autofocus anyway!

If you're concerned about breathing then it's worth mentioning that Sony have lens breathing compensation built into some of their newer bodies.  The lenses still breathe, but the camera knows their 'profile' and crops into the image a small amount and as the lens changes focus the camera adjusts the digital zoom to keep a perfect frame and eliminate the focus breathing.
In the tests I've seen the results are absolutely perfect and it's one of those things that I didn't think I cared about much until I saw images where it was eliminated and you see how much of an improvement it is to have it gone.  
I think that unless you have a huge amount of money to spend on lenses then you'd be better off going for a system like this that adjusts digitally rather than paying a lot for a lens without much breathing, as I'd imagine those are likely to be more expensive cine lenses.  Happy to be proven wrong, but the Sony compensation seem to do a great job.
Sony AF is also very impressive so you wouldn't be compromising there either.

Good to hear you worked it out.  Resolve has all the options but sometimes it guesses wrong and you need to roll your sleeves up and correct it.
I guess that's what happens when you make something more powerful - it's got a steeper learning curve.

Yes that is a good strategy. Too bad for us. Or would be great if bm would release a hybrid as well, with hotflash shoe for flash photography, IBIS, fast AF, compact and great battery life. 

I think the panasonic s5 is the best price/quality hybrid atm.

Been so for years, super annoying. Not sure why those accounts dont get removed.

We're all talking about aesthetics.  
We're talking about aesthetics when we talk about the "look", but we're talking about it when we talk about specifications too.  
A debate rages about what is "enough" resolution, "enough" sharpness, "nicer" bokeh... what is "cinematic"...  what is "visible"...  what is "practical".  
This thread is a reality check against the warped concepts that stills photographers and their camera-club specifications-obsessions have given us.  Because, for the most part, better objective measurements are mostly worse subjectively.  It's our imperfections that creates our humanity, and it's analog imperfection that creates emotional images.
Baseline
First, let's establish a baseline.  Here are some test images from ARRI that are designed to showcase the technology, not a creative aesthetic.


Note the super-clean image, lack of almost all lens-distortions (except wide angle distortion on the wide lens, which is actually super-wide at 12mm).  If you were there, this might be what it actually looked like.
Those were grabs from a 4K YouTube upload, but lots of trailers aren't uploaded in 4K, so here is a still from 1080p Youtube video that ARRI uploaded in 2010.

Now, without further ado....
The Aesthetic - The Chilling Adventures of Sabrina



These are obviously very distorted, and I chose frames that were especially so.  This should instantly disavow you of the idea that somehow Netflix demands "pristine" images - these are filthy as hell, but this is appropriate to the subject matter, which is about witchcraft, the occult, demons, and literally, hell.
Whenever I hear someone say "oh I can't believe how terrible that lens is - look at the edge softness" I just laugh.  The person may as well be saying "not only don't I have a clue about film-making, but my eyes also don't work either..  please ignore everything else I say from now on".  
The Aesthetic - Sex Education




A show with a deliberately vintage vibe, the look is suitably vintage, with some pretty wicked CA.  One thing that's interesting is the last shot, which was either a drone with a vintage lens on it, or it was doctored in post, because it has pretty severe CA - look at the bottom right of the frame above the Netflix logo.  Also note how nothing looks sharp - the first image should have had something in-focus, but softness of this level is deliberate because once again, the last shot is a deep-focus shot with a stopped-down aperture and should be super-sharp but isn't.
The Aesthetic - No Time To Die




Some shots are softer than others, but note the amazing barrel distortion and edge softness on the middle two shots.  In case you missed it, here's the star of this $400M movie in a pivotal scene from the movie:

Are there lenses that could have made this shot more "accurate"?  Sure - just scroll up to the ARRI shots which look pristine (and they're ZOOMS!).  This was deliberate and is consistent with the emotion and narrative.  The Aesthetic.
The Aesthetic - The Witcher




Sharp when it wants to be, oversharp too - see the second image, but with anamorphic bokeh for the look.  Ironically, a fantasy story of witchcraft and monsters, using cleaner more modern looking glass.  The complete opposite approach of Sabrina.  
Note on the second-last image the vertical anamorphic bokeh, and then look at the last image and note the "swirl" in the bokeh.  I doubt this was accidental.
The Aesthetic - You


Sharp and clean when it wants to be, and other times, really not.  Appropriate for the subject matter.
The Aesthetic - Squid Game

Clean, sharp but not too sharp, neutral colour palette, but note the vertical lines on the edges of the frame aren't straight?  Subtle, and perhaps not deliberate, but picture it in your mind if they didn't flare out..  it makes a difference, deliberate or not.
The Aesthetic - Bridgerton 



Clean, spherical, basically distortion free, but sharp?  No.  Go look at that Witcher closeup again for some contrast.
The Aesthetic - The Crown




Clean and relatively distortion free, but lots of diffusion, haze, and low-contrast when required.  The Crown is a masterpiece of the visuals matching the emotional narrative of the story, which is made extra difficult as the story is set in reality, and the emotional tone is so muted that had lesser people been involved in making it any subtleties may well have simply been bland rather than subtle but deep.
The Aesthetic - Mindhunter

Perhaps the most interesting example here.  After looking at the previous images the above might seem completely unremarkable, except that this look was created in post.  
and I mean, completely in post:

More here: https://filmmakermagazine.com/103768-dp-erik-messerschmidt-on-shooting-netflixs-mindhunter-with-a-custom-red-xenograph/#.YftoaC8RrOQ
and here: https://thefincheranalyst.com/tag/red-xenomorph/ (there's a great video outlining the lens emulations in post in this one).
That's enough for now.  Hopefully now you can appreciate that "perfectly clean" optically is actually only perfect for "perfectly clean" moments in your videos.  Sure, if you're out there doing corporate day in and day out then it might seem like "clean" is the right way, or if you're in advertising or travel where neutral reigns, but when it comes to emotion, it's about choosing the best imperfections to suit the desired aesthetic.
 

How much time do you spend 'walking and talking' while holding the camera up with one arm?  If it's, well, any time at all then I'd rule out the C70..  it's enormous!


and is heavy......

 

Hello,
Has anybody tried the new magic lantern hack where you can shoot 14 stops of dr with the 5D III? Would love to see some video's shot with it. I always loved the 5D iii, so I might pick one back up again if it holds up. 
Cheers

Hello,
Has anybody tried the new magic lantern hack where you can shoot 14 stops of dr with the 5D III? Would love to see some video's shot with it. I always loved the 5D iii, so I might pick one back up again if it holds up. 
Cheers

Hello,
Has anybody tried the new magic lantern hack where you can shoot 14 stops of dr with the 5D III? Would love to see some video's shot with it. I always loved the 5D iii, so I might pick one back up again if it holds up. 
Cheers

Yes I'm just stuck in this odd middle ground where nothing is perfect or terrible. I would love CAF but having my entire collection of EF glass available to all of my cameras (5DIV, C200, S5) is worth more to me than CAF.  The EF adapter is such a pain to remove due to my S5 cage setup that it has never come off after putting it on. Hybrid AF works pretty good most of the time with the adapter (half press to achieve focus then flip the MF button on the lens to lock focus).
I will probably hang on like this until I see what disappointments the R5c manages to bring next year. If they somehow get it right, I'll finally move to a more native EF system (even though the R5c is RF mount).  If Canon manages to colosally disappoint yet again then I'll just stick with what I have for a couple more years. If the R5c is even 80% what the S1H is, then Canon will have a winner but I don't see that happening since they already have the C70.
In my perfect world I would have two identical bodies that can use all of my existing EF glass; both as good at photography as the R5 and as good at video as the S5 but with the R5's AF and the S5's XLR module, dual slot video recording, and dual ISO. One rigged for video (cage, XLR module), and one rigged for photography (no cage, dual battery grip, hotshoe free for flash triggers).  Then on a shoot I can mix and match where the areas overlap when I need a quick video clip during a photo shoot, or a few images throughout a video shoot and where in a pinch I can use both bodies for the same purpose such as multi-angle interviews or both cameras rigged for photography for a wedding.
So far its an unachievable dream but who knows what the future holds. My bank account thanks Canon every day for not making this dream possible.

I'm more and more pleased with this camera all the time. I recently purchased the 1.5x aivascope anamorphic adapter (amber flare) and, paired with my trusty Helios 44-2, a little black pro mist, and of course that thick V-Log image, this little Easter Weekend run-and-gun lens test I shot last week felt effortlessly cinematic:
(this was even before the big firmware 2.0 update, so now I'm even more excited to try out some of the new anamorphic ibis modes and especially that 6k, 3:2 open-gate/full sensor mode.) 
Also: 12-bit, 5.9k anamorphic Pro Res Raw, anyone?! 🤯
The S1 is going for like $1500 used these days. Absolutely incredible what it's capable of. The best bang-for-buck in the camera world right now 👌🏻 

I have a feeling we will see a new sensor from blackmagic soon as the ursa mini 4.6k and 6K sensors are quite old (in bm terms). So I might hold on till the end of summer.

I have a feeling we will see a new sensor from blackmagic soon as the ursa mini 4.6k and 6K sensors are quite old (in bm terms). So I might hold on till the end of summer.

The old-school method is to take the camera with you to the place where you WILL be standing, focus on your tripod head from that spot, make sure the focus on the lens doesn't change, then put the camera back on the tripod and go back to the EXACT spot you were standing when you focused on the tripod head.
The distance from you to the tripod head is the same as the distance from the tripod head to you 🙂
As far as using a remote, I can try with my pixel remote later and see, but (obviously) with adapted lenses it will have to be af-s. 

So I am trying the self timer for creating some selfies, but whenever I hit the photo button it focuses on my face while I am right in front of the camera, then I run back to the background where I want to be standing, but then the camera doesnt refocus. (I am using an S5 with EF adapter and tamron 24-70mm g2.)
Does anybody know how to fix this? 
 
Thanks,

@zerocool22  I think the best solution is to put the lens in manual focus mode.
Focus the point you 'll be standing, hit the button and go!
I believe this way will be 100% in focus. I wouldn't rely on AFC with an adapted lens. 
Cheers

Using the imaging app to remotely control the camera over wifi, possibly using the camera itself as the wifi access point?

@zerocool22 I don’t think you will have much, if any chance, trying this with a non-native lens and even then…
Certainly not in face tracking mode, the key to which is tapping the yellow box once it has found a face, ie, that yellow box needs to be activated to track.
So many people are unaware of this and Panasonic hardly help their cause as they should really do a bit of shouting about this fact!
The ONLY mention I have ever come across is on the YouTube channel of Luca Bona.
Photo Joseph…who seems like some kind of Panny spokesperson maybe (?) may have mentioned it but not seen this point stressed by anyone but Luca.
Will it work with an adapted lens?
Maybe…I don’t know, I only have L Mount lenses, but if you can’t tap that yellow box, it’s not going to track!
You could however try the oval box AF which might work?
The non-face tracking won’t work either as you need to again set it and tell it by tapping in order to instruct it what to track.
I think PDAF is coming however.
The FP-L has it but it’s a bit crap as things stand. I suspect firmware will improve it.
I think the GH6 will have PDAF and if so, then I think it will be a sign that at least all future Panny and Sigma cameras will have PDAF and I think Leica will have to jump on that ship, because if they don’t, all 3 are going to sink faster than the ill-fated passenger liner of 1912. “Iceberg, dead ahead!”

Looks like Canon did not shield the mic input from the USB C power circuit!

Yeah the DOF was distracting. And I usually love shallow dof. I hate lens flares (all of them), so that was annoying as well. 
Not a masterpiece, but for netflix def a watchable movie. Allthough there is lack of character growth, and all characters remain flat.

I like Scott's videos but he's one of those YouTubers that pretty much only reviews things sent to him for free, so it might be worth looking for other reviews. It does look like a pretty good option, but I'm just always skeptical until I see more reviews from people that don't have an incentive to give more favorable reviews. 

Awesome, I liked it. I am starting a channel soon as well. Not focussed on film making itself though. Prolly start next month.