Django

Externally recording the direct YCC 422 signal in Prores definitely make a substantial difference in post compared to the internal codec that can't be pushed much. The Ninja Star is also the most compact/lightweight recorder on the market, uses CFAST cards and of course can be triggered from the cameras record buttons. So fairly easy to use and trouble-free. some C100 users even have it permanently stuck to their cameras lol.. I have to say there is a kind of old school docu/film modjo to the original C100 (and C300). Not always suitable when trying to achieve a very 'modern' cutting edge look which is why I'll prefer shooting on XT2/A73 for certain projects that require wow/pop factor. But for more classic docu/indie film stuff it's a great tool to have in the arsenal and a joy to shoot with, especially on sticks.

I bought a C100 mark 1 in 2018 so +1 from me too... but it obviously depends on what your needs are. for a $2K budget it's imo the best cine cam. Not DSLR, not MILC. CINE camera. Super35 sensor. 1080p downsampled from 4K. Dual Pixel AF (with face tracking on Mk2). XLR inputs. internal NDs. Internal stereo boom mic. outstanding battery. Canon Log. Canon colors. Native Canon EF lenses. Waveform assist. Great ergonomics. Modularity...etc.

oh i agree, if true this is really great news and would probably seal the deal for me on the 5D4 which i've been going back & forth on.. but are you sure that when shooting in 4K (1.74x crop) the 1080p HDMI output is also putting out a cropped image? that would make sense as far as the downsampling but i'm asking because on some other cameras like my Fuji XT2 that also has a 1.7x crop when shooting in 4K, the HDMI outputs non cropped 1080p. Different manufacturer of course but since there is no official info on this matter.. would be nice to get confirmation.

first time i'm hearing about a 4K downsampled 1080p output via HDMI on these Canon DSLR models. that's pretty interesting as i'm thinking of picking up a 5DIV as a b-cam to my C100 (and soon to be upgraded C200). but as we all know typical "Canon HD" is soft as hell, and the 4K on the 5DIV has a huge crop. this would be a great workaround for getting usable b-roll footage in FF.

Have a look at this in-depth tutorial, there is the option under color matrix to select "Cinema EOS Original" to match the C200 with C300/C100 (around 13mn in): Lot of cool little features in this cam.. i should be getting mine next week, stay tuned ?

Not necessarily. 4K60p and even 10-bit aren't the only priorities for a lot of shooters. Sensor size (FF), Low-light capabilities & AF are areas where A7S3 will trump others. I'm more worried about A7S3 losing sales to A7III if they don't seriously upgrade the codec & 4K specs.

@Danell what resolution did you guys shoot on with the FS7?

For what its worth XAVC-I on FS7 is a pretty fat 10-bit/422 intra codec with bitrates up to 600Mbps...

A7S3 is definitely coming. latest rumors suggest the Venice color science (to match Venice/FS5Mk2 as b-cam), a new BSI sensor reducing RS, even better low-light & faster HFR. 10-bit.. maybe in FHD. highly doubtful in 4k. would love a less compressed codec than the 100mbps XAVC-S. It's going to be an interesting year at Photokina with FF Canikon's hopefully announced!

lol only in Canon threads are we concerned about FHD IQ.. i'm hoping this means HFR, no crop 4K, manageable codec, log & dual pixel... all at the same time.

I picked up a C100 again recently, I had dumped it previously after going 4K.. but shifted back after realizing i still deliver just about everything in 1080p and that the C100 gives one of the best 4K downsampled 1080p IQ (especially when externally recording to ProRes). Most TV channels around the globe still broadcast 720p / 1080i. And most hollywood movies today are still shot/projected in DCI 2K i believe. I do appreciate 4K material when i find it worth it ( sci-fi blu-ray or a sports game on a big screen) and of course on monitors for editing but in most viewing cases i find 1080p/2K still perfectly adequate. As for 5D3 ML Raw, it certainly has a great mojo.. let's not forget we're talking 14-bit lossless.. allows for some really good grading/pushing:

i'd say a mix of 16mm analog & digital. the shots at 0:10, 0:40, the biker jacket shots & couple other definitely appear digital. it's a dope ad in any case imo!

For those in the MF market a much cheaper GFX 50R is expected to launch at Photokina: https://www.fujirumors.com/fujifilm-gfx-50r-concepts-of-the-most-affordable-digital-medium-format-camera-ever/ https://www.fujirumors.com/fujifilm-gfx-50r-announcement-not-in-july-august-but-photokina-or-shortly-before-no-price-set-at-this-stage/

you might wanna hold up until photokina in september where Canon is expected to announce a high-end (FF) mirrorless. i have a feeling they might get video specs right this time.

I haven't heard from the "big" reviewers about the bottom pixel issue either yet it appears pretty widespread. Most of those youtubers at the sony event aren't even videographers. Quite possible they didn't stress the camera under harsh enough conditions. Not to mention the A73 launch was in (winter) february and we're now almost summer. Regardless there are indeed overheating reports on YT. This dude shows shut down at 25mn under 30degC: @kye i'd probably avoid if planning to shoot 4K outdoors in OZ heat!

the codec isn't helping but it's more than that.. cuz recording to prores externally stills gives out a soft image. the upscaling seems to be the main culprit. someone in this thread claimed: 5D3 uses large group pixel bins of 5x5, resulting a 1152x648 RAW bayer, which then gets upscaled to 1080p, that's why it has about 600-700 lines of resolution

Canons best 1080p is on it's C line. Even the lowly 24Mbps from the C100 blows away in sharpness/detail any Canon DSLR with twice the bitrate. That's cuz of internal downscaling from a 4k sensor. Of course ML Raw on 5D3 is in another league but the typical Canon soft 1080p is terrible across the entire DSLR line imo and feels like upsacled 720p..

yeah it's in the same pack, just google fuji lut. i've just tried it and indeed very similar to Eterna with a hint more highlight info. should match up nicely to WideDR profile on my C100!

internal FLOG + Eterna LUT is a game changer. Dynamic range gets a major boost and the final look is so much more filmic then before.. it's like a whole new camera! HFR options is also pretty cool. overall at under a grand second hand with the grip & around half the cost of new XH1, i feel XT2 is among best value cameras around thanks to this update.

Just picked up an XT2 again however just found out Fuji pulled the plug on the 4.0 update because of the bugs: https://www.fujirumors.com/fujifilm-x-t2-firmware-update-4-01-released-rollback-to-previous-version-fujifilm-gfx-x-pro2-and-x-h1-firmware-postponed/ I'd really like to test the F-Log & 120fps so was wondering if anyone here could send/upload the 4.0 .DAT firmware file? would be much appreciated!

still seeing what appears like spherical abberation. any chance you could provide us with some video samples? with the (1.5x ?) crop in 4K that effect should be diminished.

not to mention i'm seeing some pretty severe spherical abberation from the sample pics of that custom adapter.. usually result of poorer quality focal reducers.. https://www.popco.net/zboard/view.php?id=dica_forum_canon&page=1&sn1=&divpage=3&sn=off&ss=on&sc=off&keyword=부스터&select_arrange=headnum&desc=asc&no=10172

Nice catch but isn't this more an issue with Mac OS/Quicktime rather than the A7III? i can confirm similar inconsistencies comparing QT & VLC using Fuji/Canon footage.

XH1 also features a new silent movie control mode: The Silent Video Operation function allows you to control settings such as aperture, shutter speed, ISO sensitivity and white balance with silent touch-panel operations on the rear monitor, preventing the camera from picking up operation noise from buttons and dials during video recording. I believe this mode also saves independent video settings from still settings.

The one area where Sony usually keeps ahead is sensor tech. But the days of Sony "leading the way" are kinda past i feel.. they were the laziest this year at NAB by just adding a picture profile to the FS5 and calling it a day with their Mk2. We're still seeing the same 8-bit 100mbs XAVC codec in their third generation MILCs. They took away big features like timelapse from previous gen. Still no AF-S in video. Still color science issues, still same resolution EVF, convoluted menu system...etc. Meanwhile Fuji put a 200mbps codec, DCI 2K/4K options, Flog/Eterna, IBIS, touch screen, top display etc in only their second 4K body ever. Camera has it's quirks but not bad overall improvements imo. Ergonomics & color science wise i also find Fuji is way ahead the competition. But the real battle is going to be at Photokina in september with XT3, A7S3, Pocket 4K as well as much expected FF MILCs from CaNikon.