Rinad Amir

id love if panny improved slowmo options 90fps is really crap 
maybe 1080/240p be killer combo 

Oh the crazy Japanese. Oh wait, Apple does it too. Oh wait, so does any consumer electronics company. It's called economics in the 21st century, with mass production, globalization, etc. 
Ah, the days when you had two sets of clothes, one pair of shoes, and it cost you 6 months salary to buy that "television?"
You're demanding a perfect camera so you won't have to buy another camera again for the rest of your life. If you want that bargain, then you'd have to make it profitable enough for that company. Buy that Alexa.
No? Then you have to deal with compromises and shop at h&m like the rest of the masses and follow the seasonal trends.
Look, even apple is struggling because the 5s is good enough for too many people. Ironically, their phones became too good, satisfying consumers as well as pushing their competitors. So Apple now has pressure because consumers are spending less money than expected. That's the power you as a consumer wield.
These are consumer electronics companies, and you are the consumer market. There's really only one way to clearly communicate to the company. Buy or don't buy. 
That's why blackmagic is a welcome addition. Competition lowers prices and drives innovation. 
There will never be that "perfect" camera if you have the purchasing power of a consumer. Technological advances and expectations will always keep you wanting.
 

There are not many people I know that shoot with a c100 or c300 that would trade in for DSLR format factor even if they gave 20 stops of DR in  compressed raw format.
NDs,  XLRs etc and a good image are what sells it
Also worth noting the $1500 XC10 has c-log.... so it is not strictly a price separator 

There's a point where the image is good enough, and at that point other factors come into play, such as 60p and DPAF. Like many have said there's no point in slightly more DR if you missed the shot. To each their own. But I much prefer the ability to easily nail focus to a negligible difference in picture quality at the extremes. Out of focus shots are immediately apparent, and effect the ability to tell your story. Slow motion 4k is a powerful story enhancing tool. A slight increase in detail in the shadows is not going to impact the story to any great extent. It's really that simple.

1Dxmii New Sensor 4k60 upgraded autofocus why even bother 1Dc is history !

Yes, the 1DX II's touch screen PDAF is very useful. The tracking is decent, though appears to use some form of feature/corner tracking such that when the object changes significantly, it completely loses track of the object. For example, I was filming a show dog walking on hind legs and spinning. After locking track on his face, when he fell down, the track was completely lost and focus immediately went to the background. This ruins the shot. Instead, the algorithm should default to tracking near the last track at the same spatial depth (the dog was still in focus- it should have stayed and picked up a new track based on the pixels already in focus). I write image processing algorithms for my day job, and I'm surprised they didn't implement it the right way.
We also use the C300 II, and I'm finding the 1DX II more useful for location shoots as it's much smaller and lighter than the C300 II (fully rigged with top and side handles). In 4K, the 1DX II is also a 1.33 crop vs 1.5 for the C300 II (1DX II is FF in 1080p). While the C300 II has Canon Log 2, which produces ARRI-like highlight handling (and along with other settings has similar colors so ARRI 3D LUTs can be used etc.), it cannot do touch-screen AF as with the 1DX II. However, it can do WIFI device touch AF with the WFT-E6A (the 1DX II requires the newer WFT-E8).
One nice thing about the C300 II is the 1080p is excellent, and the 50Mbps IPB is not only very small, but still looks great for low-camera motion shots. The 1DX II's 30Mbps 1080p is good, but not really 1080p (perhaps someone will do resolution tests) and has aliasing and Moire (note the C300 II has aliasing and Moire on very fine detail fabrics, for example. Something else to look forward to improvement for the next cameras (capturing at 8K (or more) and filtered down-sampling to reduce and/or eliminate aliasing).
In summary, the C300 II is a superior camera to the 1DC in every way (except perhaps size/stealth and crop factor), and we find the 1DX II to be a superior camera than the C300 II for certain types of shoots. The 1DC is still an amazing camera, however the 1DX II is superior in real-world shooting (remember shooting -1EV + using a log-like profile (Cinestyle or your own) + HTP gets you the same level of highlight detail as the 1DC in CLog (see earlier post in this thread showing the results in actual video with the 1DC). PDAF is indeed a massive help for focus, but still needs work (could be improved via firmware, though Canon doesn't do firmware updates very often). For the show dog example, manual focusing with a single operator (handheld) is nearly impossible as both zoom and focus must be done at the same time (with a balanced shoulder rig and lots of practice it should be possible, however will never be as good as a computer (when the software works properly ;)).

I have to agree with everyone who has stated that Canon should have included C-Log on this camera (Canon, you need to hear your customers on this one). But nonetheless, I also have to confess that in spite of this, the 1DX Mkii is the best hybrid to date. And a much more compelling video camera than any other hybrid to date. While a case could certainly be made for a dedicated video camera like the FS7... as the price is pretty close, the fact remains there are places you can take a hybrid that you simply would not be allowed to take a dedicated video camera. Also it is weather-sealed, and in the real world that is important. I can easily carry the 1DX Mkii on a plane, and still have 60p, in a tank like body... that is reliable, works in less than ideal lighting, and I don't need a focus puller... even with a low f-stop. Nothing else on the market can make these claims. Not Blackmagic, not Red, Not Kinefinity, not Sony... Frankly not anyone. So if you want an on the go, rock solid reliable, weather-sealed, pro-level unit with 4k 60p this is the only option.

With the release of a $6000 1D body that has no peaking, uses an ancient 8-bit codec and has no log, don't expect the lower range 5D body to be whipping those specs...
the writing has been on the wall for so long it's faded and someone has graffitied toilet-dicks all over it: Canon has seperated video and stills for the foreseeable future.
sad times.

Hey guys - I haven't been here for a while so I'm not sure if the new Sigma APSC Art zoom has been discussed much yet, but I just got one yesterday and thought I'd share my first impressions.
I haven't done any technical tests but I'll start by saying my first impressions are it's a superb piece of glass with the superb sharpness (even wide open), character and build quality that you've come to expect from the Art line. 
However there are a few things those of you interested in adding it to your kit might like to be aware of - especially if you're thinking of it as a companion to the now classic 18-35mm 1.8.
1. It's HEAVY, and pretty big. The 18-35mm feels like a modest MFT lens next to it! It's not exceptionally long but it's got a lot more heft to it and is quite front heavy, meaning it's probably a bit unweildy on a hybrid camera. On my C100 Mark II it's OK to hand hold, but only just.
2. Focus breathing is EXTREME. Personally this isn't a big problem for me but it does impose a certain style on your focus pulls, so if you don't like that look take note. It's going to take a bit of getting used to for me.
3. While the 18-35mm has minimal focus breathing it is not parfocal, which can be annoying at times. The 50-100mm however appears to be parfocal (or at least very close to it). I don't know if trading breathing for focus consistency was an intentional choice by Sigma, but it is another difference to the wider zoom.
4. I read somewhere that it was effectively as quiet when autofocusing as an STM lens. This is not the case at all - not with my copy anyway. It's at least as noisy as the 18-35. Of course this is only really an issue if you're using it on a Canon DAF camera or a6300.
The 18-35mm has been my go-to lens on my BMPCC and GH4 (with their respective speedboosters) for a while now. The relatively compact size of the lens was a big part of this. Now I use a C100 size is not such an issue, but if you're hoping the 50-100 will make a great partner for the 18-35 on a smaller camera as a full walk-around "prime" kit, you may be disappointed. It's so heavy in fact that Sigma's included lens case comes with a shoulder strap! Even on the C100 I'm going to be using it on a tripod most of the time, as the longer, front-heavy focal length makes footage pretty shaky. Of course the flipside of this is that the extra weight helps with reducing micro jitters and with a bit of practice focusing and holding it, it may be useable handheld. 
I'm happily holding on to the lens because the image quality is superb, it's made really nicely and the convenience of having prime image quality (minus the breathing) in two modestly sized zooms is invaluable for my work. In most cases I'll be using the 50-100mm as a portrait lens for interviews, so in general it will be on sticks and this negates the weight issue. It's by no means so huge and heavy I don't want to put it in my kit bag. 
If you want to keep your kit small and think you'll get by with one or two fixed focal length lenses and value compactness and ease of handling, I'd weigh up the pro's of sticking to primes before shelling out $1000 for the 50-100mm.
 

If I had the money I'd buy a 1DXII in a heartbeat. The image looks beautiful and in terms of usability, I love the form factor and touch + DPAF combo. Hoping some of this functionality makes its way to the 5d4

Lol you guys talk about thickness of the image like wine conocers talk about their drink.   Please stop. You cant possibly make judgements lile this from a compressed web video. You need the raw footage in your hands and know about how it was lit, shot etc. Most people who use cameras like the gh4 arent setting up huge diffusers to soften 1k watt lights or even the sun. Thats really where the difference lays when you see footage from a 10k camera and from a 1k camera

give the crew a $60k budget to shoot, and a $20k budget to pay for the edit/post for a promo video for the nex5n and the results would be just as awe inspiring.  The level of production value on this video makes it impossible to judge the camera because in real instances with these budgets they'd just add another $2k for the rental of an Alexa Mini for the couple of days of shooting.     $80k for 8bit acquisition and a lens mount incapable of using real cinema lenses, or $82k for arriraw acquisition and the ability to use cooke s4's..  
Nothing more annoying than consumer advertising techniques selling a dream to people that they'll be using a dslr to shoot these types of projects.

I can certainly understand the desire for C-Log, and it's a poor decision for Canon to leave it off their flagship model. No doubt that decision is going to cost them more than a few sales. Especially when one considers that Nikon includes log profiles on even entry level models. But that said I'm liking the motion cadence much more than my Sony A7Rii. To me this camera does not have that classic "film look"... rather it looks more like the modern take on what cinematic is evolving to be. I think the images out of it look great, and are very workable. This camera could be a serious tool for video production. The low light also looks good. It's clearly much more forgiving that a traditional cine camera would be under less than ideal lighting conditions. Another point is this thing is rugged... built like a tank, so no worries about needing to baby it. The camera is weather sealed also. For a gorilla style shooter, this camera could be ideal. IMO, this camera is looking like it might fit the bill as an all around tool. Great at video and stills. Loving the 14-16 fps stills mode. Auto-focus is epic in both stills and video. You can fly this bad boy and not worry about pulling focus. Yes, I would have taken a flip-out screen, two CFast slots... but most of all C-Log (Why no stinking C-Log Canon?) and 10 bit would have been very 2016 (well in this price range anyway). But in any case, I know of no other camera this versatile, while being able to shoot 4k 60p. The fact is most cinema cameras are also "permit cameras". The 1DX Mkii is much more discreet than say an Ursa Mini. I'm in for one. I've always loved the Canon look, and this 1DX Mkii seems like a workhorse and a serious pro level piece of kit. Mine should be in next week, I'll be happy to post a few frame grabs to let you know how it works out.

Used G7 might be your option

You know exactly what I'm trying to say, come on now.
What if I told you that in my opinion the Mazda CX-3 is the car to get rather than the McLaren 675LT Spider? Is it really a fact that the McLaren is the actual better car? Doesn't it depend on your own personal criteria of what makes a great car? So the 675LT Spider goes faster, well the Mazda has the better mileage, etc. How's it different when you talk cameras? You might have different criteria, hence different opinions. Non of the opinions are good as facts (albeit some opinions might be more reasonable than others) unless you make your conclusions quantifiable and post proof comparing results. He didn't present a fact, he even said it's his opinion... twice for crying out loud (based on his personal critera). He doesn't have to provide proof as he claimed it's his opinion. Just let the man have his opinion, already. Geez.
If you want to go against it... sure. Ask him about his actual criteria. Then you can come up with measurable results and compare it, proving you're right. But even then there's a question of taste. How do you quantify something that 'looks good' to you? That's different from one person to the next.
Not sure why you need everyone with the same opinion here. It's a forum. I value people that share their experience and opinions.

If I don`t see any new small 4K camera at NAB with 10bit 4:2:2 codec, most probably I will get a GX80 with a metabones XL, I just hope it at least shows the same image quality than the G7……and no the killing issues we just saw in the A6300….what a disappointing!!!! 

This is what I am using - https://www.blackmagicdesign.com/products/blackmagicvideoassist
I find it really nice to work with... It is not uncompressed, but the quality is great... But I would wait for NAB and see what comes out.

have a read of this thread all the info on the g7
 

Since we had a big spam attack last week, newly registered members had to have their first posts or replies approved by a moderator. Unfortunately this system didn't work and most new members could not post at all from the get go.
I have taken the locks off and now you should all be able to post and use the forum as intended. Enjoy EOSHD!

Ugly, ugly post. Here's a clean table:

I will leave this ere for u 
http://www.bhphotovideo.com/FrameWork/charts/resolutionChartPopup.html
 
 

Well you could consider selling your 18-35 or keeping it for later and getting some other full frame glass.  Or if you really want to use the 18-35 the A7r ii will probably be better for you:  Aps-c mode is 4k dowsampled from a full apsc sensor readout.  For this you would want something like the metabones e-mount to ef adapter (not speedbooster).

Yes it has it but its not 4k, only 1080p

Hi,
on my blog there are many test on youtube bitrate and quality.

Upload your video in 1440p and NOT in 720p or 1080p... 2K resolution boost bitrate x3 in youtube transcoding process!
Youtube Best Settings Guide: Uprez your video to 1440p take advantage of the higher bit rate boost

My youtube video download test (h264 and Vp9):
Test video quality 720p 1080p 1440p 2160p max bitrate which compresses youtube
For other resolution:
Best Youtube export settings for 720p 1080p 1440p 2160p

for 4K 25mbits is ideal... for 2K 20mbits...  best h264 encoder is MEGUI: high quality h264 file... for vp9 media encoder with webm premiere plugin

$100?