Django

CCD sensors definitely got that "classic digital" mojo and better yet are mostly global shutter. it's kind of a shame no one recently aside from digital bolex has done either still/video cams using a CCD in favor of CMOS due to the race in DR & high ISO performance. I'd love to pick up an old CCD cam just for fun but problem is theyr'e usually SD resolution & using obsolete formats like DV/Firewire etc.. I did find the Panasonic AG-HMC150 which is actually built around the aforementioned cult DVX100 but shoots in 1080p (upscaled) and records to SD: IQ looks amazing imo & nails that vibe, but sadly camera seems real hard to find if not impossible here in europe

I've had A7, A7II, A7III, A7S, A7SII. I think I'm pretty familiar with the whole A7 series!! I'd trade any of them for a 1DX2 in a heartbeat. Although kind of apples & watermelon. I like Nikon too, they've just been so behind in video, especially AF and no peaking in like the 2 cameras that shoot 4K.. pity really. D750 had awesome sensor/color science. As for Luts & resolve.. I enjoy it when i can grade creatively.. hate having to fight with every clip just to get normal colors/skintones. Drives me nuts & often time is money.

all these examples are in daylight conditions.. skintone issues start to arise in mixed/artificial light if you're not super careful with WB/Color settings..

I've had access to an A7III for over a month. My opinion stands. Same 8-bit 4:2:0 100mbps XAVC-S codec. Hot pixels. Motion issues. Even more convoluted menus. AA filter. strong NR at high ISO..etc ..so I'd disagree with "significantly better than their predecessors in every way possible".

I wouldn't switch now, especially from a 1DX2 + $6K Canon glass. All rumors are pointing towards a FF mirrorless from Canon probably announced around Photokina. Also 1DX2 is a beast and imo destroys the A73 in terms of IQ. The file sizes might be huge but they produce super thick imagery with that cinematic intra-frame motion. The A73 AF is good, but nowhere near Canon's dual pixel reliability & smoothness. Let's not even get started on color science & WB..

The most hype man in fashion this year, Virgil Abloh (who recently made headlines after being appointed creative director of Louis Vuitton) held a fake press release for his collaboration with Nike, shot on throw away point & shoots and retro digital video cams: ..on the right there is the Canon XL2 series zoom, released in early 2000s. always loved the look of that camera from shape, ergonomics to color scheme.. Had some pretty cool features as well for the time including 3CCD, 24p, cine gamma & even film grain feature! https://youtu.be/tsz4asyrmjs

URSA Mini can do just that and so I assume the P4K too since they'll be running the same OS..

I don't believe Max has any secret hidden agenda (but who really knows? ) i just think it's his personal issues with so & so cam. the format tends itself to be very one sided though. he's also been called out in his comparison vids to make some pretty blatant mistakes, although to be fair comparison videos are extremely difficult to make accurately (so many variables to take into account).

Yeah i can safely say the most epic cinematic project i've directed (art video shown in national museums around the globe) was shot on a BMCC 2.5K! if the upcoming BMPCC4K is anything like it, we'll be in for a treat! I can see how C100 IQ can seem 'meh'.. it doesn't stand out in a wow factor way today.. it's 1080p.. tiny 8-bit internal codec etc. Hell IQ can seem dated. But to me it just nails that Super35 look for peanuts (compared to other cine cams) with the Canon skintones. especially when shooting ProRes with an atomos. of course it comes with other benefits such as dual pixel AF, waveform display etc.. I've never used an NX1 but doesn't it suffer from in-cam oversharpening? i got a problem with cameras that do this (cough *GH5*). others may appreciate it. i guess this is where personal preference may crall into play..

Native ISO is 800. I treat mine like a cine cam so i'm always aiming to stay at native with fast primes & lighting so i never need to push but i believe it handles higher ISOs fairly good..? i'll have to do some tests just for sake of it.

I've got a Ninja with the C100 and although i've yet to really try out & compare non-native ISO footage with it, recording straight to ProRes is definitely miles ahead of the internal codec (which is already quite robust for it's minuscule bitrate). it's hard to go back to the internal codec now that i've got a taste of ProRes. I understand now why some C100 user have the Ninja permanently strapped to their cam!

oh I agree, headphone jack & larger battery would have been great. fortunately there does exist a workaround. not the case with the issues i've listed (rolling shutter, crop factor, AF, jerky IBIS) which is why i've listed them higher in my issue list. thats pretty factual not "made up stuff". moire is indeed a nasty thing. my "workaround" is avoiding objects/fabrics which showcase it. not ideal but not impossible either.

Easy Jon. May i remind you i have a Sony A73 with the new batteries. My C100 can do 4 to 5 hours on a single charge. So what? I wasn't comparing cameras. My point was simply that the grip on the H1 is mandatory (like it or not) and takes care of issue 1 & 2. As for the moire & aliasing, yes I'm fully aware of it. I've shot super slow-mo with the H1. again if you actually read my post I make it clear the issue is overblown by Max by only contextualising it with the worst case scenario. Not saying the issue doesn't exist or isn't important.

The grip is just mandatory for video and takes care of issues 1 & 2. Fat32 i've run into that issue once or twice but usually the recording time limit stops before you hit the 4 gig limit (although with 200mbs this could now be real issue). the 120fps IQ issues is overblown in his video.. i mean who shoots brick walls and cranes in super slow-mo?! I'd say currently the biggest beef with this camera is rolling shutter, crop factor, AF & the jerky IBIS. i'm still tempted to buy one though, Eterna is sublime and it rocks for stills.

BMD color science has evolved as i believe they were advertising "Color Science 4.0" or something during their launch event. It's worthy to note they use differently sourced sensors on just about every cam & have had color cast issues with certain sensor batches. In the end color science isn't really an issue since BMD users mostly shoot Film/Log or Raw and go nuts in DaVinci which is highly optimized for their cams.

..and it's funny you mention that because that's basically what made me re-purchase mine! stumbled on some old C100 footage and was taken back at how cinematic it looked. i'd sold it shortly after jumping into 4K, thinking i'm done with 1080p. and planning on moving to C200 (before EU prices crushed that dream). in the end though i still deliver most projects in FHD, and of course the great thing about the C100 is it's a 4K sensor downscaling to 1080p. other cameras do that as well but with varying degrees of success. anyways there is just some mojo about the OG C100/C300 sensor imo. what really put it back on my radar was when comparing that old C100 footage with recent footage with the same actors but shot on a Ursa Mini 4.6K (in DCI 2K). couldn't believe it but to my eyes the SOOC C100 footage looked more pleasing than the graded UM4.6K! not trying to say C100 > UM4.6K but those canon skintones never cease to please.. speaking of BMD another old cam that shines was their BMCC 2.5K. 13-stops, superb fine detail, motion etc.. Digital Bolex IQ obviously and such beautiful hardware to go with it (already getting scarce, people are holding on to them!) And of course how could we not mention 1DC & 5D3 Raw! Any others giving filmic mojo on the lowlow?

meanwhile Sony adds a picture profile to the FS5 and has the nerve to call it a MK2.. the hype train is real these days.. getting back to BMD, this is how you do a real camera follow up!

tell me about it.. i just bought a 2012 C100 last month! LOL

Rather not get into the "shooter skills" argument. The way i see it, if you need IBIS, EVF, AF for stills, Anamorphic etc.. you got GH5/GH5S. If you need Pro Res / Raw with a 5" display, pro I/Os & no in-cam NR/Sharp etc.. go with BMPCC4K. me? could care less about m43. waiting for canon or getting another fuji.

I'm getting déja vu from the XH1 thread.. where every page was getting polluted by GH5 defense talk. i kindly suggest to jonpais not to get so personally affected by GH5 criticism.. let's face it the camera jus isn't as unanimous as it was a year half ago. times gonna change. that being said no need to feel threatened if you're still enjoying its output..

@Luke Mason do you remember what lens was on camera by any chance?

true.. but you do need a shogun inferno for that bringing the price closer to +$6K

@Luke Mason ok now where talking! kudos for sharing

@anonim my guess is the prototype was barely made ready in time for NAB (may i remind the rubber port cover that broke off during grant's presentation lol). pretty sure they aren't saying much because they themselves probably haven't had a chance to see/do much with it. it's pretty much specs & a prototype at this point i think.

by all means speculate away! just trying to put a little perspective around this announcement.. btw i'm excited as well!!