Lintelfilm

I've written another article for DesktopDocumentaries.com (as has young Master Ebrahim Saadawi recently - a great breakdown for beginners of what technical features make a camera's video image "good": http://www.desktop-documentaries.com/10-elements-of-a-high-quality-image.html). Mine is an appraisal of the current line-up of "affordable" video cameras on offer, looking specifically in the $2500 region this time (as requested by the site owner) and narrowing it down to a personal choice of the GH4 and XC10: http://www.desktop-documentaries.com/best-documentary-video-camera-2500.html 
It's a long one. Would love to hear your thoughts on any of it ...
Note: A certain member didn't like it when I posted a link to my last article for DD.com. As a previously active member of this forum I'm here to get feedback from my peers and betters - out of personal interest only. No ulterior motives. Please go ahead and tear my article apart as you wish - I expect and even invite that. I will however not respond to personal attacks or comments made by anyone who has clearly not bothered to actually read the article. It's easy enough to ignore this thread if you don't like it so please do so. Thank you.

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.

Stop being a troll and just answer the questions you keep dodging.
Lots of talk but every time you get called out you run away scared. Its all pretty lame and at this point nothing but spam.
 

Well, I shared the piece with my class as they are all on the Canon t5i train and clueless about other options. So thanks for the article. I don't care what they choose as long as they're informed and aren't just choosing a camera because they know the brand is popular. Whatever they chose, there should be a reason, a feature, that makes it right for their project.

Yeah I thought about that. I wanted to write something though - not just list gear. And most of the audience is completely in the dark about Panasonic as far as I can tell. 

Again you failed to read what I said. I said she didn't want used equipment listed.
I talked about the GH4, NX1 etc. I don't remember praising them particularly. In fact I said 4K is unnecessary. I don't think it's misrepresentative to say those cameras broke Canon's near-monopolising of hybrid video though. They did. Outside of a few forums like this Canons are the go-to cameras for cheap large sensor video. How do you see the current camera landscape?
And enough with the crap about rules. I came here asking for your opinion. I'm not looking for validation. I know the package I put together is good. I just thought I might get some sensible suggestions of other packages that fit the brief from intelligent, mature people.
How embarrassing. As english is my native language I can (unfortuneately) sail through life completely ignorant that other languages even exist  
I just assumed it was Spanish because of the Venezuela thing ...
Look forward to seeing the subtitled version though. If you send me a link when it's done I'll try to include it in my next article on Desktop Docs: (matt at lintelfilm dot uk)

Interesting that you came up with such a similar kit. Some good ideas there too - the 17-50 Tamron is an amazing bargain (Mark 1 version only though!). I think that with a Chinese Speedbooster is a killer low budget set up.

Sounds like I'm wrong!
I blame YouTube adding macroblocking to the XC10

Unfortunately it doesn't. You have to create a LUT for each scene which is cumbersome.

I do my costs on day rate, whether it's only 3 hours or 10 hours. 
Pre-Production: estimated days to complete pre-shoot work. (treatment, references, locations, talent, equipment, shot lists etc).  Production: days to complete shooting schedule.  Post Production: estimated days to complete post work.  Within these costs, I add a 25% margin to cover the cost of business and a bit more for cushioning. I will also add an extra 2 days for post production amendments and advise the client that should they request anything above what was agreed, then that would be charged at day rate too. 
The amount that you charge really depends on the value/quality of your service, the expense of operating business and the project type

Hey EOSHD'ers,
In case anyone's interested, I've just written an article about Stillmotion's MUSE program (which I've been a member of for a couple of months now). It contains a Q&A with Patrick Moreau, and details a lot of the misgivings I have about the program.
You can read it here:
http://lintelfilm.uk/blog/muse-vs-muser
Would be great to hear your thoughts. I'm happy to answer any questions you may have too. BTW is anyone else here a MUSE member?

Thanks man. Yes I know exactly where you're coming from. I can't really answer your question because I still don't really know myself! There isn't any ND on MUSE - I think it's just that it's hard to see the wood for the trees so nobody knows how to sum it up. Personally I think if you're making short docs of corporate videos (as I am), then MUSE will be useful as a way of focusing all those theories of "story" onto that specific, real-world discipline. For anything else I can't imagine it telling you anything you don't already know.

Firstly, I want to commend you on a well written article/ interview. But, like most information I have read about the Muse program, I found your article to be lacking information that explains exactly what the program consists of. I assume there is some no disclosure element to the pilot program?
As a writer first, and a filmmaker third... Or something, I have read almost every book about screenwriting, so I get the gist of what they're selling. The question becomes... Is the program a paint by numbers, formulaic program, or a jelly of the month club that shows real life examples as to how their process works? 
In the end... If you find it useful, then it is. I don't like plans or programs that promise the world at a hefty price tag when most of the information can be checked out from your local library, or on the World Wide Web. 
But every book I have ever read about story or screenwriting has had some little nugget that has made my writing a little better, or the process a little easier... For that alone, I have never felt I wasted a penny on a writing book.

That shot is a pretty extreme DR example. Sun blasting the pavement. It's also 1080 at 96fps which is the worst in regards to overall res/detail. Look at other shots and you'll see a difference. Trust me I've been shooting with the GH4 ALOT since it was released and the highlight rolloff is much improved.
 

Argh. F**king Canon. Now I want one. I just did a quick grade of your footage and the image is just great. I'd happily replace my BMPCC for one of these I think. Just that lens though ...

Argh. F**king Canon. Now I want one. I just did a quick grade of your footage and the image is just great. I'd happily replace my BMPCC for one of these I think. Just that lens though ...

Sounds like you want an FS5

It's very sturdy, the top edge of the screen rests against the camera body when looking down. Very steady together with the ibis.
Audio is really good. Adjusting it is done pretty quickly with the function stick. Or touch if not using the loupe. The good part is the amps, it sounds great. Where you would activate the +20 dB gain on the mic for DSLRs you don't on the XC10. Signal is still strong and clean.
All the audio in this is from the XC10.

If it would be a Eos-m mount their could be plenty of options.
An evf would have been a dealbreaker for me. I much rather have the loupe which gives me pretty much a huge evf.
If they would have put one in it probably would have been the dreadful one from the xa20, c100 and xf100.
And the one from the c100ii would probably compromise size and price.

A number "5" on its front.

Since that drone MFT camera can do 4k raw i have a strong feeling that panasonic will fight back and probably bring that to their next GH-camera

But, for that, they shall run it in much higher bitrate...
Upcoming post-focus feature will happen.
And I hope for 4K/60p as same as DVX-200.
 
S35 won't happen, I bet. But, have you used the speedbooster going with the GH series? You'll reach the same optically.

8-bit 4:2:2 and I would buy it.
(I will buy pretty much the first DSLR/Mirrorless that does, maybe the 5Div)

IBIS.
In-body stabilisation that works in video mode is a must if they want the GH5 to compete at all. Plus it's a feature that would sell the camera alone I think. They could practically just release a GH4 with ibis. 
What I'd really like to see is an MFT version of the A7S: a low-megapixel sensor optimised for 4k video (using the full width of the sensor) that has decent low light performance and better dynamic range.
I'd LIKE to see 10bit internal recording. I doubt it'll happen, but if they keep making a big fuss about log profiles on the GH line and want it to be taken seriously, they have to implement it eventually. Ultimately the whole point of MFT cameras is small size, so selling them on a feature that requires a large external recorder surely can't last. If the BMPCC can do it a GH camera can. 
Another jump in colour quality would be great too.
Not much to ask eh?!

IBIS.
In-body stabilisation that works in video mode is a must if they want the GH5 to compete at all. Plus it's a feature that would sell the camera alone I think. They could practically just release a GH4 with ibis. 
What I'd really like to see is an MFT version of the A7S: a low-megapixel sensor optimised for 4k video (using the full width of the sensor) that has decent low light performance and better dynamic range.
I'd LIKE to see 10bit internal recording. I doubt it'll happen, but if they keep making a big fuss about log profiles on the GH line and want it to be taken seriously, they have to implement it eventually. Ultimately the whole point of MFT cameras is small size, so selling them on a feature that requires a large external recorder surely can't last. If the BMPCC can do it a GH camera can. 
Another jump in colour quality would be great too.
Not much to ask eh?!