Kisaha

@Dimitris Stasinos at this price point and tier, just whatever, get the Deity if you will, or the NTG4, or the 600, or anything from AKG or BeyerDynamics (these are excellent sound companies by the way, with decades of manufacturing professional sound equipment). It is not really that important. I probably buy myself a Sennheiser 440 for this Xmas, as in my opinion, all the other mics are backup, 3rd or 4th options, which is good to have in case something goes wrong, or you really need an additional shotgun, and for that reason the 600 is perfect in my opinion.

@nooneIf 7s is so good, I am wondering why most of us are waiting eagerly for the IIIrd version, and Sony had a second version out almost immediately - in camera's timeline. We too have used a lot of cameras and systems in our time and A7s, honestly, from the perspective of a professional videographer is one of the worst, but with the best High definition high ISO performance, and then, C100 is one of my favorite cameras ever (where it counts) and is definitely on par with the 7s on low light performance. Also, it wasn't that far away in price when new, considering that you are taking the camera, putting 2 SD cards, and you shoot from day to night without worrying about anything at all. There are ways around most issues with tools and equipment, but some cameras have far less issues, and when you are a pro, and run and gun, in the heat of the action you want to worry about as less as possible. Ergonomics and battery life are very important, par example. I know people going Fuji and m43 for pro photography, not one to A7s.

@Trek of Joy the 2 is around 830euros, V2 is 630. The thing is that Crane 2 is better in absolutely everything, and I am not talking about load weight, but all the rest; better tightening mechanisms, Manfrotto plate, OLED screen, nice button lay out, you can't damage the camer on the crane, etc; even the case is superb! I do not have much experience with gimbals, and usually Ronin is the preferable solution, but I had some issues with the classic Crane. I wish there was a Crane MK2, not just to make things more confusing, but to take the good things from the 2, and put it on a Crane V2 design and tier! Then we would have Crane V2, 2 and Mk2. I seriously consider the 2 for those reasons, and then you can mount a C100mkII there too, I guess.

Do we have Christmas discounts @lucabutera??!! You can do something like "EosHD special, only for December 2017, and only for my mates in the most special forum ever!"! What are your plans for the next NX project?

@cantsin Samsung NX1, 15fps, ergonomics, robustness, good JPG, good 1080p with amazing rolling shutter, good 120fps video, 28mgpxls BSI sensor etc they are just off the game, but that system existed for a while, and a few of us still using it (Andrew Reid also) @Shirozina yes they do. The older ones at least.

I am sure most of you have seen this already. They are going H265/10bit/HDR/8K. Actually HDR maybe is coming faster because of Apple. It took them 3 years NOT to perfectly implement H265 in their workflow, but they seem to be the front runners of HDR. My previous post stands though, I do not care, much, about HDR in 2018! https://vimeo.com/blog/post/luminous-colors-stunning-high-quality-hdr-arrived

Right now there is absolutely no need for HDR. I am cooling down my self, concentrate on my 8 bit stuff and workflow, and wait for the next big wave to happen. We got at least the whole 2018 to think things through. It is not advisable to be at the tip of the spear (or the edge of the razor, the peak of the iceberg etc); except you have plenty of money to waste, or you are at least 80% positive of your "investment". In anyway, the HDR dust hasn't settled yet, let them (or the market) decide on most standards and specs, and we go from there. But I do agree that HDR is a big deal, anyone can see that is much better than HD, they just can't truly see it yet!

I haven't used any of those (C200 and EVA), so I will take my words with a handful of salt! To be honest I do not use viewfinders at all, so the exclusion on the EVA is not a big deal for me, for the money they should have put one though, just in case. Ergonomically, the sound buttons on the EVA are the fewer I have ever seen on a camera, you have to go to menu for most of the sound related options. My points were: 1) the 7.500$ cameras, cost 10.000$ in Europe 2) there is a huge gap, or no option between the 2 aforementioned cameras and their lower tier siblings (or the lack of them)3) the 5000$ market is a viable one, the 2 most prominent cameras of that price bracket, C100 in all their versions and FS5 have sold a lot, they are just a bit old fashioned at the moment (for different reasons each), I would rather wait (and that I do) one more year for their next versions 4) C200 is missing some middle codec for the price/EVA is missing some -modern- futures (such as the touch screen dual pixel AF), for the price. @jax_rox we obviously have different views about the markets (and the world) and how they(it) work(s), that is just fine and I respect your civilized approach, we just do not agree 100%, that is perfectly fine. A lot of big companies have gone bankrupt in my timeline, for exactly the reasons I mentioned, not reading the market right and keeping their nose up in the clouds. I was pulling focus on a documentary recently -ironically, for the connection of European and Chinese philosophy- and we had C300mkII and Arri 18-80 or Zeiss primes for landmarks, 80% (at least) of the focus pulling could have been done easier and faster with touch focus Dual Pixel. Also, I put "cine cameras" on quotes, because, what does that even means, but Canon C line, is their Cine line. I will come back after using these cameras, a little bit unfair judging from the specs and my imaginary expectations. I know there are a dozen of C200 in our market currently, not one EVA, as it is just recently available. Very good releases for sure, I truly respect these 2 brands so I am eagerly awaiting their next moves.

@jax_rox EVA ain't C200 in no way, it doesn't even have a viewfinder (the most obvious difference), no touch Dual Pixel AF (the most important difference) and I highly doubt the EVA ergonomics will be as good as any C camera. The EVA reminds me an older video camcorder than a "cinema" camera. Also, C200 records internal RAW, which in a way, is a huge difference already. Actually C200 is a couple of codecs (or 1) away for being the best camera for most of humanity, but those to codecs are pushing Canon users to C300mkII, which is quite more expensive than a C200, and maybe EVA, but that has to be seen. I take (actually, I really do) a C100mkII every time, instead of a FS5, and then usually we work with a C300mkII and PL lenses. The first C200s are already here, and a couple of friends have already bought them, so I guess I will be using one next year for sure. But my point is valid, from C200 you go to C100mkII, where is the middle ground? and from EVA, you go to the GH5 (which is a m43 camera by the way, not even a S35 one, which is our case study), if you do not see a big dark hole eating mass/time and space, then I rest my case. Sony and Panasonic are Japanese, if you think that Japanese mindset is similar to middle eastern, Indian or from the Philippines, then you have to re-read a few history books again. I didn't get your mobile phone's analogy, as I do not know about iPhones, but every main brand produces special Android phones for those markets (even just for India, Samsung has a whole division, Xiaomi as well), car manufacturers produce specialized cars for South America, Asia, and other developing areas, and just to put some things into context, the so called "developing" world, consists of the 3/4 of the whole population. China and India are increasing their middle class, so they can consume the products they are producing, in a way, a French motor company is more in trouble than a Chinese one, because you can sell so many cars to Europeans, but China is huge, and they just have started to consume. Imagine this analogy to photography, or video. Xiaomi already produces a m43 camera, it ain't good, but it is very cheap (with 2 lenses), next one will be better, for sure. There is a good cheap camera though, the JVC LS300, and it is a true S35 camera, and a m43 one(!) this is another camera I have used quite a lot lately, but no AF, terrible ergonomics, even worst high speed shooting, terrible viewfinder (at least it has one!) and monitor. The image is not anything special either, but it offers a few codecs, J-log and a few unique features (zoom function for prime lenses). I know what a builder needs, my neighbor is one, and I have a lot of artists as friends, have a Bachelor of Arts my self, also I know what a cameraman needs, I have seen a few in my time. When you go from a 35euros hammer, straight to 90euros, then there is a whole in the 60 euros market. When your paints for a painting, are either 350euros, or 900ones, then you are missing the 600euros one.

I would rather have a Canon C200 with the EVA codecs, than either the current C200, or the EVA! Now, I dislike both! Where is this Canon C100mkIII?! They still do not offer a 4K camera for less than 5000euros/$/quids/money, also, the camera between the GH5 and the EVA, is the AG-DVX200?!?! wtf!! I believe ALL the manufacturers, are missing the most important aspect, and target group, of the market, the around 5000money segment, something from 4500 to 5500. In Europe C200 is around 9000-8300euros, and EVA around 8700 euros (yep, more expensive than Canon in almost all the places), then you go to a C300 or C100mkII, and to a camcorder, or GH5 for Panasonic. Am I the only one seeing a huge gap in between pro segments? I would believe that a slightly cheaper capable camera could sell to the thousands, if you consider the markets of South America and Asia, or other less profitable markets in the world (South Europe, Eastern Europe) that 9.000euros for a camera is a certain NO, in buying power and work profits, and these people will need 4K at one point, because their 4K TV sets are cheap, why not their cameras? (then, of course these are the reasons that Canon C100 sold so many cameras, and GH5 sells now). Anyways, I belong to that 89% of the world that 8500euros (10.100US$/12.900CA$/13.300AU$/14.600NZ$, mind you) for a camera is a certain NO!

I got a few copies of Lightroom (4 and 5) with my Samsung NX cameras, and I offered them to friends. I still use Lightroom 5.8 (I think), photography is very low in my profit order, so I do not need the latest and greatest. I also have some DxO older thingy, which I am very pleased for most things, and the new one is 99 and 149$ accordingly (normal or elite version). Every time I download Resolve, because I would be really happy to abandon Premiere and its paying policy for good, but every time I go back to Premiere. There is a Black Friday special going on right now on Adobe, I am just happy with my "old school" photo software right now (sometimes I miss good ol' Photoshop), or else is a really great deal. For annual plans. Lightroom (1TB) or Photography plan (20GB) = 12.39euros, Photography plan (1TB) = 24.79e, Single APP 25.79e, All Apps Black Friday Special 49.59 (regular 61,99e almost 150euros less per year).

@Caleb Genheimer I agree with all you said, I do find the NX AF more reliable for video, in my experience on a gimbal NX has better percentage than a 6300, NX AF is on the sensor, but not a Canon dual pixel, per se, technology, only on mobile phones Samsung has exactly the same technology as the Canon. Canon has the most reliable AF for video in my opinion, just not a pro mirrorless camera, like the NX1 is. Sony does not have a APS-C pro mirrorless camera either. I do have 2 NX1, 1 NX500 and 1 NX3000 (just for kicks!), and I do implement them all on live/show recordings. @Parker Very detailed and great description of things. I didn't mention IBIS, because it is a blessing and a curse the same time. People have completely replaced their mono/tri-pods with IBIS, which ISN'T a mono/tripod in anyway, and can't replicate a real gimbal. The last few productions we did with the GH5, we used ZERO mono/tri-pod, in my opinion, that resulted in some so-so results. Tripod shots, are tripod shots, you need a tripod. I use mainly tripods for most of my personal work anyway and all this hand held stuff ain't my cup of tea. Of course it is something that NX misses, and our next cameras, definitely will have this feature, so that is a + for GH5. I personally prefer the NX1 type of display, I prefer having my monitor in the center of my subject and just raise my head to check my subject, and back down (or up) to my monitor, also, the side ways screen of GH5 covers some of the I/O ports(! yep, designer's fault here), also you can't damage the screen, in NX's way. Except the "hesitation" you descripted, we have different issues among the GH5s I have used, in one we couldn't stop rec some times, another one didn't turn on and off easily and some other erratic behavior, all of them corrected with battery off camera/on camera, but it was a thing or two to get stressed when working on important jobs with famous presenters/people. I do not like the full frame look, but I have a lot of legacy lenses that I would like to use with the NX on a wider focal length than the X1.54 of NX, but most of my lenses are FD, that would be very difficult to adapt with Lucas adapter I guess. The other aspect of it, is the additional light it offers, that would be great to ease some of the NX deficiencies. Is the NX-L adapter still in production I am wondering? All in all, like I skip GH4 (and I used that camera a lot, just not MY camera!), I think I will skip this one too. Maybe next Fuji will be it, or maybe the first Nikon mirrorless will be the s@#*t! (Nikon mirrorless, having a crop mode, could be just amazing, but I guess, with an unbelievable price tag stick to it as well). In the end, I would much rather prefer a dedicated video camera to up my game, as NX would be perfect for low budget jobs for the foreseeable future, maybe a C100mkIII, or a FS5mkII, or a JVC LS300mkII will be perfect for what I do (something that C200, FS5 and LS300 ain't).

Everybody loves APS-C, but companies are pushing bigger formats because they can freely put whatever price they want to bodies and lenses, but most sales (in numbers) is APS-C and under. Now with the high m43 prices, APS-C seems like a better bargain, even. For some of us, APS-C is the sweet spot, and we stay NX, because it represents what a APS-C system should be, with an "if.." in the end though. If the trend continues, I see Fuji as the most likelihood candidate to be my next system, already I have some friends photographers going that way (especially from Nikon), they just ain't as good as NX for video yet, but for photography, they are already there.

I have used the GH5 a few times professionally (major TV networks), I prefer the NX1 in every way (battery, ergonomics, menu system). There is an interesting time lapse feature though, and especially 10bit are good for some specific pro jobs. I didn't edit the footage but my impression is that there is a lot more noise than NX in low ISO, and the oxymoron here, but in high bitrate files, higher ISO seem more organic, 3200 is usable, while in NX is not, but in no way is a low light camera, I would take C100mkII anytime for high ISO.

@sondreg that is so low! Where can I get one?! Ever for a backup or third mic, MKE600 is worthy of its full resale price!

I usually do not use any bitrate hack. I prefer NOT over heating my sensor, to use less cards, cheaper, and not super expensive ones, and to squeeze more power from my batteries. These 3 are some of the greatest benefits of the NX1, and not one mirrorless is better than NX1. GH5 is equally good in heat management, but to achieve this is bigger and +50% heavier than the NX1, with a lot smaller sensor; also you need top speed cards and eats batteries quite a lot. I have noticed more heat in the camera, bigger battery consumption and of course bigger files with the hack, and I decided that if I need a different tool, I just use/rent a different camera. For the price range and it's tier, NX is still great and top in some aspects (as the ones mentioned earlier, plus ergonomics, some great lenses, megapixel count, 120fps, 15fps photography, SAMOLED monitors, etc). My impression is that there is a slight improvement from 120-160mbps (never went above that) and for smaller projects, it probably worths the extra GBs, but it ain't 10bit, not 4:2:2, you don't even gain better low light performance (biggest NX disadvantage vs newer APS-C cameras). Bitrates and specs do not tell the whole story. One of my favorite cameras to use and produce is the Canon C100mkII. Do you know it's bitrate?! There are a lot of posts with details, explanations, and tests, you should read some of that stuff. I would expect @Omer Sehayek above to notice some differences, probably on a more complex forest or sea scene. He can post one still from 80 and another from 180mbps, but I have the same card and I am not sure if it can reach as far as 220 WITH sound, but definitely I am not a mod/hack expert in anyway, on the contrary.

How is this relevant to anything at all? Samsung does that since 2014 by the way. Next step in resolution will be 8K (even Sharp has an 8K ready supercam) not 6K, the downsampling is a more crucial advancement than 6K -though I agree that it could be useful for crop/eis, but the challenge for Sony is to provide 10 bit internal for true HDR, among other benefits. GH5 set the standards for next age video orientated mirrorless cameras. I truly believe that 10bit is a luxury right now, but I wouldn't invest easily on an expensive 8bit camera in 2018.

@DaveAltizer yep..sound! maybe use a small recorder from Tascam to connect to your lav, sound is very important and can elevate your videos quality much higher, do not underestimate good sound on videos, and most phones that do not advertise their DAC and the such, ain't that good on sound. What camera did you use for the video (except the 2 action cams obviously!)? I have some lav recommendations if you'd like. The Sony wireless system is quite cheap, the included mic is of rather good quality (not stellar, but you get it almost for free) and it can be connected to Sony cameras through the hot shoe (I do not own any Sony, just mentioning that because a lot of people do). Rode wireless system is quite good too, fully digital, and the price is silly, if you do not mind the size of RX/TX. If you have money to burn, the Sennheiser digital wireless system (not the old G3 and the such) with the MKH mic (not the cheaper ME version) is really really good, with a very advanced "auto-gain" function (which isn't auto gain, but just to simplify it) that saves a lot of work in post later on, the TX/RX are very small, the smallest cheap-o of the cheap (cheap, I mean less than a thousand!), plus, the advanced lav is of really pro quality (and small size). Sony is great, 1" on an action camera is what we need. For me the 1" is the starting point for being serious, but I am not 100% sold on this. It seems less than an action cam, and more like a small camera. I think there is a lot of noise reduction happening in Sony, too, but overall, great image.

@sondreg The 440 is very cheap too, and it is directional stereo! but yeah, do not overthink about it, a good priced 600 would be ok. @maxotics just that post production in sound is it not only about gain/volume/amplification, there are a lot of parameters that can be changed! True, I am not a friend of ADR, but try to do sound on a modern Hollywood film (with 3425 explosions around the actor, while jumping from a spaceship to a platform a few Khm above the surface of a planet!)! ADR is a necessity and a tool. I am a big fun of Italian cinema, and their un-synced sound was always a burden for me, especially in Fellini's films.

@maxotics "Better to set up a cheap mic well, then set up the best mic badly. The more post you have to do, the more you have failed." Definitely. 100%. But if you do not have the right tool for the job, nor the knowledge, then you have failed miserably, and most of the times, bad sound is NOT fixable, that is why there is a lot of ADR happening in huge productions - but similarly, the ADR budget is huge too, so they made it just right. It is not so simple to do a "sound workflow" description with the terms you used (your "post" explanation was completely wrong, by the way!), unfortunately it is more complicated than that, reflections are a huge part of what we do, and you need specific knowledge of physics (acoustics) plus experience, while a child can understand an image is to his liking, or not, sound is working also subconsciously and with no clear "image" of its presence. It is not irrelevant that US government accused Cuba that attacked US embassy employs in Havana with sonic "weapons", or that music is creating emotions and responses in just a few seconds. Also, if you remember the film "The Artist" (2011) which is a modern silent film classic, the most powerful scene in the film, is the dream sequence, that we have, SOUND! I explained a few things with the simple way I could in my previous posts, I even proposed some equipment, if anyone want to go the shotgun route on a camera (I wouldn't), can't go wrong with the MKE600, seriously, a 416 on a camera is just a waste of a -potentially- good microphone. I will say again, that MKE440 is a very interesting mic for these kind of uses. Also, http://www.sankenmicrophones.com/production/shotguns/cms-10/ http://www.sanken-mic.com/upload/pdf/en/cs-1e_rev2.pdf My opinion, just choose one of the 600 or 440, and forget about it, you can not do a lot more pointing a mic to a general direction that some action occurs. It is like having a 50-100mm lens pointing at a tree, and you are waiting to catch some squirrel footage. Yes, you will, if there are any squirrels, but it is just luck, not ability. As of the ENG using 416, in those situations they just need to get some sound, anything, on a war or a fire or an emergency you need to catch some sound, and 416 is one of the sturdiest mics ever built, also, it is industry standard since the 70's, they just do not know any better I guess!

I disagree with @maxotics. What sound post production? Do you do a "sound correction" in the sense you do a "color correction? In what way? my experience tells me that most low to middle productions do not even have a proper sound engineer to do sound post. I would advise most to try to get the most appropriate sound during production, post is almost a lost cause, especially if you are not highly educated and experience in sound. Image you can see, sound not so much. I also disagree with @zerocool22, 416 is a standard in boom operators and sound men, a mic in camera is a whole different world. I would say that 416 is highly inappropriate for camera use, most of its sound qualities and benefits for a booman is lost in camera placement. Also, not experienced boom ops fail miserably with this mic, that is why they prefer "lesser" mics, because they cover their innabilities. I would suggest shorter directional with wider patterns, Sanken has a few very good ones.

As @Vesku mentions, HDR is different for different technologies, and I elaborate, with some added points on monitoring. 1) OLED isn't the Holy Grail, as what you earn on blacks, you loose on whites (brightness), and the difference is vast. That is why there are different standards depending the tech of ones monitor. I would say, there is space of improvement in all fields, as brightness of OLED ain't bright enough for all uses, and blacks of the others ain't black enough for most uses anyway. There are some other issues with OLED technology as of yet, too. 2) right now is almost impossible to find a right use for HDR content, it is a very limited market, and remember that a few posts ago I declared my certainty that HDR is here to stay, up it ain't here yet. I still haven't delivered, not one, 4K video, I do not see myself delivering any 4K in 2018 either (not that they are 100% connected, just saying how the market works, mostly). Our TV channels (the big ones) just this year became full HD, and we deliver in 1080, 4:2:2 8bit. 3) There are NO computer monitors with true HDR, just Dell and Samsung gimmicks that do not even work semi-right [I could link a dozen review about "Dell HDR" and Samsung's new VA monitors that cost to the thousand(s) and fail dramatically even in the slightest], even cheaper HDR advertised TVs are not true HDR. Of course, if I was buying a TV now, it would be absolutely HDR, and at least 55". But I will wait the tech to catch up a couple more years probably (or one year!) 4) to truly have real 10bit HDR workflow takes an investment than no semi pro, or amateur, can afford right now, or next year I presume. No way. 5) I was the one suggested a Sumo as an ok all a rounder for a few jobs in production and in post, but I have worked with Blackmagic 5", a few of 7", Zaccuto viewfinder with mirrorless/C cameras/JVC LS300 and nothing was convenient. A smaller, lighter and brighter 5" is the holy grail of monitoring, I doubt that Focus is, but is the most logical way (price wise also) to go. If you do a little search around, even in obvious YouTubers and forums, it is the darling of everyone right now, and I just named a few reasons. Also, I do not see anyone else producing anything similar for a similar price range. SmallHD -almost- nailed it with this one, and almost is good enough for most!

Of ITS category, that means ultra cheap shotgun mics. Actually is advertised as a "dSLR shooters" mic, but I wouldn't call that. Definitely worth a try for the price.

MKE600 is probably the best mic of its category (it is for me). Sennheiser MKE440, got the right price, good build quality, stereo - but directional, much wider than just a shotgun but not too wide. I would rather put something like this on a camera than any shotgun mic, even if it was a 8060 or a Schoeps, shotgun mics are not supposed to be mounted on cameras.

It is an interesting article about mirrorless cameras, and a confirmation of my view that one of the major strengths of the NX system were the -not so many, but most quite good- lenses. "Sony — NEX is history. But so, it appears, is the A5xxx. Really? The crop sensor Sony line is now a series of three cameras each of which is a "stick more sensor tech in it" version of the former? I fail to see how this is a useful strategy. Things that were wrong with the A6000 are still wrong with the A6500 (and A6300 in between). And when all is said and done these cameras seem a lot more GameBoy than anything else on the market. Don't get me wrong, I like them, but... Note to Sony executives: You're making the same mistake Nikon made with DX, and Canon made with EF-S and is making with EF-M. Samsung made lenses for their NEX-clone that clearly bettered what you put out. You can put all the tech you want at the sensor, but it's the optics out front that are hurting your image quality, not the sensor. What I'd give for Samsung's 16mm f/2.4, 20mm f/2.8, 30mm f/2, 45mm f/1.8, 60mm f/2.8, and 85mm f/1.4 in a Sony E-mount. And no, your Sony 16mm, 20mm, 30mm don't even come close." http://www.sansmirror.com/newsviews/the-latest-state-of-mirrorl.html unfortunately, even someone mentioning the NX system is news for us! It would be interesting if anyone could make a similar evaluation for the NX system in the end of 2017, almost 2018. I see the system being used from some of us until 2020 at least.