HockeyFan12

Pretty hard to shoot a Redhead though. Been there done that. My first wife was Irish as Patty's pig. I have a weak spot for them.
I am not going to vote. Loaded question lol. I like both to be honest, but Really liking the new Panny S1 CS. Great compromise. It might be the best one out there overall, at least to me .
I really like I said hate the new Canon CS. I would Never consider buying the C100 mk II even though it is a Ton better camera overall, just because of the new CS. It does not look Anything like the CS I grew up with using Canon products. Sure to the younger people on here the newer stuff is what You grew up with. To each their own.

Are you kidding me?

The Canon image has her face in shadow and uses one source of indirect lighting from the left, sun seems to be on the right illuminating her hair. It's also at an angle that is flattering to her face. 
The Sony image has sun sources directly  in front of her face, with a green bounce coming off the grass from in front of her.  It's shot straight on.

If anyone on this site besides you put up that original post they would have gotten raked over hot coals for it. Probably by you.

I think that's what these arguments ultimately come down to, personal preference. 
I think the PB grades look hideous, but that's just my personal preference. I think the grades themselves are very well done, much better than most YouTube channels. I just don't like the style with lifted blacks, sort of a monochromatic faded wash, etc. My favorite film stocks are generally Ektar and Velvia type stuff, so very saturated and higher contrast. Just a difference of opinion. I think he has a good eye and is technically adept, just not my favorite style.
And I do like his reviews, he's charismatic. But it feels like an instagram filter over everything (to me). Then again.... look how popular instagram is.
But that's 100% personal opinion. And why I think arguing over color is a bit worthless once you've made up your mind about what you like. I strongly suspect we all see color very differently from each other.

I think I heard that from a friend (a working DP whose A cam is a C300 Mk II). He didn't like the the A7S, really liked the A7R III I believe.

I think that's what these arguments ultimately come down to, personal preference. 
I think the PB grades look hideous, but that's just my personal preference. I think the grades themselves are very well done, much better than most YouTube channels. I just don't like the style with lifted blacks, sort of a monochromatic faded wash, etc. My favorite film stocks are generally Ektar and Velvia type stuff, so very saturated and higher contrast. Just a difference of opinion. I think he has a good eye and is technically adept, just not my favorite style.
And I do like his reviews, he's charismatic. But it feels like an instagram filter over everything (to me). Then again.... look how popular instagram is.
But that's 100% personal opinion. And why I think arguing over color is a bit worthless once you've made up your mind about what you like. I strongly suspect we all see color very differently from each other.

DPReview say the GFX 100 is giving the best image they've ever tested...
I'd say the S1R does even better in Pixel Shift mode
https://***URL removed***/news/6009498706/fujifilm-gfx100-sets-new-benchmark-in-our-studio-scene
Impressive stuff from Panasonic to better the resolving power of 100 megapixel medium format.

The dancer was sick but this was kinda of a silly test. The better AC was like neck and neck with the DPAF. I think if you put in a 10+ year AC vet or a Pro Sports Camera man they would exceed any autofocus system.
It really comes down to the skill of the AC, not to mention most legit video lenses don't have AF motors.

Viewing distances + screen size, not just the size.
I notice nearly every pixel of a 1080p image on a laptop, sat close to it, and same image at cinema sat way back looks like an 8K film scan

At that point it’s a harder choice. For me at least. At $3k or $4k it’s an easy choice.
I think most people would prefer the C200 to the EVA1. I think the C200 is a technically superior camera and far more feature-rich. The NDs and DPAF are great. The dynamic range and low light actually seem better to me than anything else under $10k for “cinema” but just by a hair. Dynamic range is just outstanding. Great build quality, best NDs I've used by far (this matters a lot more to me than to most people), DPAF with tap to focus via Wifi or the included monitor, etc.
But what’s missing–10 bit intermediate codec, proper timecode sync, good shoulder mounting options–is frustrating. It's not like Panasonic is amazing in that regard: you get 10 bit h264 instead of ProRes, timecode sync that I've read has a tendency to drift (but even the F5 was frustrating for me in this regard, so whatever), and you need a Z finder because Panasonic and Canon both charge $6k for their entry-level EVFs. It's pretty terrible too, but it's something. 
Personally, I think I prefer the colors on the Panasonic, but that’s largely nostalgia for the dvx100. C200 has more modern color, more neutral imo. The kids would prefer it, but I'm getting old. My favorite cinematography is Kaminski's stuff from around fifteen or twenty years ago. I also associate the "dvx look" with that era subconsciously so it might just be nostalgia.

Thanks, and yeah it is a great camera in most ways. I guess I just started putting Alexa and EVA1 footage from jobs I was on into the same Resolve timeline and throwing on way too many LUTs and noticing the C200 footage fell apart sooner, despite being raw and being flatter. It looks amazing if you don't mess with it too much, but if you do it gets chunky. I totally agree with keeping it simple, though, that might be the best solution. 
The C200 definitely has more highlight detail than the EVA1, even if only by less than half a stop. It's noticeable. 
Never tried the SDI out. I don't like external recorders. But that would solve the problem I'm having with raw being too slow to edit. That's really the biggest problem.
A big part of this was just the price tag. If I could get an EVA1 for $3000 I could sell the C200 and still come out ahead. But now I'm less sure.
Overall I totally agree with keeping it simple.

It reconstructs data in clipped channels from non-clipped channels. i.e Will do nothing if all channels are clipped. And the reconstructed data is generally absent of colour information since it's not known what was missing in the clipped data, and just heads to the white point.
I'm not sure what's available with the C200 rawlite files as I'm not in the Resolve team so my "inside" knowledge only surrounds our cameras and what we provide to the Resolve team (Blackmagic RAW is developed in the camera team).

I do know for instance though the C300 mk2 raw output over SDI has white balance information "baked in", which means all 3 channels are clipped (to avoid non-white highlights) so highlight recovery would not be possible on such data.

http://yedlin.net/ResDemo/#
I actually prefer the look of the 2k images in that demo to the 6k images. 

There is a whole subforum for anamorphic, you can take the conversation there. 
I do not believe anamorphic is a big deal for most people, it can be helpful for some but these type of cameras are bread bringers, mostly just tools.
LS300 sold quite well here for weddings, in schools/institutions and the such. It was an advanced camcorder with some great innovation thrown in.
@KnightsFan I found the body not convinient for anything really. XC15 or C100mkII are my favorite. Imagine an XC15 body and grip with almost any small prime in front and the variable zoom prime function. Masterpiece!

I'd love a camera that can easily be mounted on the shoulder. The issue is it makes mounting on a gimbal a no go, at least affordable ones.

This is a shot taken with one of those Toyo Field Cameras I was talking about. This has a nice look to it to me.
 

It's not that consistent, though. You can't always rely on it, which is frustrating. For some shots DPAF is great but it's not an AC. 
Just rent one for the right project imo–I think it will scratch the itch. The more I play around with C200 raw footage, the "thinner" I'm realizing it is, despite the great dynamic range. I'm surprised how much abuse C100 Ninja footage can take and how little the C200 can take. The log profiles are just so flat.
The more I think about it the more I'm just like-I should just use either a dSLR/mirrorless if I'm focused on story or rent an Alexa if I have the resources. Alexa footage, even transcoded to 8 bit, can stand virtually any amount of abuse in post. My t2i had the best skin tones and best neutralizing of fluorescent lights. (Film is worst at that imo.) No other camera I've worked with behaves like the Alexa, possibly film scans do.... or the F35 maybe? It's something about the noise structure. Yea so I like the Alexa because it's noisy and soft lol...
The C200 is also a lot heavier than a C100, let alone the 5D3. And it's not truly weather-sealed, though I have had great luck with durability from Canon in general. And Canon Log 2 sucks for grading. It's harder to find a fast wide lens than with the 5D3. I'd stick with the 5D3 if it's working for you. But yeah having your camera moves limited by not having an AC is frustrating and DPAF helps there. I do the most rudimentary blocking so everyone is standing in one place. Not good, but on the other hand whatever. But I enjoy the tech stuff and flexibility the camera provides, I'm happy with it. I mean I don't like the F55 raw either and was underwhelmed by the Red, I must be an Alexa fanboy. But I recommend renting one still, it's a pretty cool camera.

https://www.dropbox.com/s/spm7er1jjz32gyu/5DtoRGB Lite.zip?dl=0
Hope this works!
I never found much use for it. I used it on some dSLR and C100 files to bring the super whites into legal range and smooth the color channels before working in After Effects (I didn't want to work in float), but I don't think it has upscale/downscale options and I generally just used the default utility in FCP7 for my dSLR footage because it was faster and looked okay.
But I'm kind of lazy... For keying or color correction it might give you a little more something.

That is what the C200 is good at imo, providing a good image without much of a crew. On the other hand, it lacks input/output/monitoring options, codecs, ergonomic designs, etc. that become more important and more desirable with a larger crew and on a larger production. 
I'm a little underwhelmed by DPAF, it's just hit or miss. It could work very well for simple steadicam moves and handheld follows and on tricky long lens shots and complement pulling focus manually on simpler shots imo. Definitely very useful in certain contexts and pretty natural and a great option to have, but it's still a poor replacement for an AC.
I suspect most pro owner/ops would be better served with an FS7. Ergonomics and codec options and monitoring options are more in line with industry standards. And I prefer the "look" of the EVA1 out of camera, but the canon raw image is so flexible in post that it's not a big deal if it looks flatter/duller imo. It also looks closer to an Alexa, which is nice for B roll or shooting plates. (And it responds better to S curves and an Arri LUT than to Canon's sort of ugly wide DR LUT.) But for your needs the C200 might be a lot better than an FS7. The image continues to impress me a lot, it's in the same class as much more expensive cinema cameras, I think, though it's subjective. From what I heard from Canon, it's the same sensor as the C700, just without the look around room, and I have every reason to believe it.
Don't bother with the B model though imo, the EVF is too useful.

Absolutely.  I also think that people don't know they want something until it is invented or becomes feasible.  
For example, when 1080p was released no-one turned around and said "I want a camera that can record four times the resolution of FullHD, I want it to be the size of a match-box, have a screen on the back and also one on the front so I can film myself and see if I'm in frame, and I want it to do magic so that it looks like a professional steadicam operator is holding it, and I absolutely need all these features and will accept nothing less because I'm going to be using it to make my own TV show starring me and I'll get paid by doing advertisements for brands that reach out to me, not me to them".  
Now it exists and people are criticising it because the bitrate isn't high enough.

I agree. There are a lot of new mounts and high end options out there, but the market overall seems to be shrinking quickly. I'm sure these companies have done their research and are moving upmarket for that specific reason, but I wonder for how long that's sustainable, and if there's already too much competition in a small market. Personally (despite owning lots of adapted Nikon manual focus lenses for EF-mount cameras) I buy into a system for the lenses, because then their cost is amortized over a longer period and I'm not constantly buying and reselling. It's hard for me to imagine what the L mount system or RF mount system looks like five years from now, though, which makes the steep entry price even more of a concern for me.
On the other hand, I would probably upgrade my Digital Rebel XT if Canon met Fujifilm's specs.
Well said. I bought Oakleys back in school and ended up looking like a dork. I think Bay and Fincher are great directors, but I look better in Ray Bans or Persol. (Same parent company in this case, I know.) I guess I will never be a cool kid. I couldn't afford a Red anyway.

I agree. There are a lot of new mounts and high end options out there, but the market overall seems to be shrinking quickly. I'm sure these companies have done their research and are moving upmarket for that specific reason, but I wonder for how long that's sustainable, and if there's already too much competition in a small market. Personally (despite owning lots of adapted Nikon manual focus lenses for EF-mount cameras) I buy into a system for the lenses, because then their cost is amortized over a longer period and I'm not constantly buying and reselling. It's hard for me to imagine what the L mount system or RF mount system looks like five years from now, though, which makes the steep entry price even more of a concern for me.
On the other hand, I would probably upgrade my Digital Rebel XT if Canon met Fujifilm's specs.
Well said. I bought Oakleys back in school and ended up looking like a dork. I think Bay and Fincher are great directors, but I look better in Ray Bans or Persol. (Same parent company in this case, I know.) I guess I will never be a cool kid. I couldn't afford a Red anyway.

Interesting post on RedUser today:
http://www.reduser.net/forum/showthread.php?176501-New-article-The-Cameras-Behind-Netflix-Best-Series-Spoiler-RED-Dominates&p=1856294&viewfull=1#post1856294
This seems like a more sensical and honest marketing tactic than Red had for the Red One. The David Finchers of the world are exactly who want to use this camera system, and its ergonomics and ecosystem demand the same resources (if not more) than you'd want for an Amira shoot, so it's hardly entry-level.
(The David Finchers of the world are sort of the opposite of the Werner Herzogs.... this metaphor makes sense to me but probably not to anyone else.)
This is a major departure from Red's original (questionable) pitch for an "affordable" cinema camera for everyone. Red's new high end systems are about as expensive as Arri's. The Raven, meanwhile, seems to have disappeared and the 3k for $3k camera never materialized, and probably never should have. What was the market for that? I'm curious to see if the Foxconn thing ever materializes and in what form. It seems the high end is where the money is still. Despite everything. Also, Red is privately owned by a billionaire so it could still be unprofitable for all we know.
Another issue with the sub-$10k camera market is that you have a lower level of production that's using it, and so footage shot with those cameras doesn't look as good as it could for that reason (the original Red suffered from this, too). And how big is this market in the first place and how high are the margins?
I'm curious how profitable Canon's, Sony's, and Panasonic's cinema divisions are. Ditto Black Magic. They've cornered a market segment between dSLRs and Alexas that Red seems to be in a rush to abdicate, and there is likely a reason for that. (Selfishly, I hope these cameras stay around because I like them.)
Someone posted a teaser months back showing an EVA1-style body that was hinted at during NAB, so this probably has that form factor... more or less... 
I love the EVA1 and Varicam's color and noise texture–my second favorite image to the Alexa, bar none. Curious if this is positioned above the EVA1 (which is already processing 6k fwiw) or below it and if it maintains that "look" I like, sort of a C300 Mk 1 look with really rich colors.
Edit: bar film, I guess. 

Interesting post on RedUser today:
http://www.reduser.net/forum/showthread.php?176501-New-article-The-Cameras-Behind-Netflix-Best-Series-Spoiler-RED-Dominates&p=1856294&viewfull=1#post1856294
This seems like a more sensical and honest marketing tactic than Red had for the Red One. The David Finchers of the world are exactly who want to use this camera system, and its ergonomics and ecosystem demand the same resources (if not more) than you'd want for an Amira shoot, so it's hardly entry-level.
(The David Finchers of the world are sort of the opposite of the Werner Herzogs.... this metaphor makes sense to me but probably not to anyone else.)
This is a major departure from Red's original (questionable) pitch for an "affordable" cinema camera for everyone. Red's new high end systems are about as expensive as Arri's. The Raven, meanwhile, seems to have disappeared and the 3k for $3k camera never materialized, and probably never should have. What was the market for that? I'm curious to see if the Foxconn thing ever materializes and in what form. It seems the high end is where the money is still. Despite everything. Also, Red is privately owned by a billionaire so it could still be unprofitable for all we know.
Another issue with the sub-$10k camera market is that you have a lower level of production that's using it, and so footage shot with those cameras doesn't look as good as it could for that reason (the original Red suffered from this, too). And how big is this market in the first place and how high are the margins?
I'm curious how profitable Canon's, Sony's, and Panasonic's cinema divisions are. Ditto Black Magic. They've cornered a market segment between dSLRs and Alexas that Red seems to be in a rush to abdicate, and there is likely a reason for that. (Selfishly, I hope these cameras stay around because I like them.)
Someone posted a teaser months back showing an EVA1-style body that was hinted at during NAB, so this probably has that form factor... more or less... 
I love the EVA1 and Varicam's color and noise texture–my second favorite image to the Alexa, bar none. Curious if this is positioned above the EVA1 (which is already processing 6k fwiw) or below it and if it maintains that "look" I like, sort of a C300 Mk 1 look with really rich colors.
Edit: bar film, I guess. 

Interesting post on RedUser today:
http://www.reduser.net/forum/showthread.php?176501-New-article-The-Cameras-Behind-Netflix-Best-Series-Spoiler-RED-Dominates&p=1856294&viewfull=1#post1856294
This seems like a more sensical and honest marketing tactic than Red had for the Red One. The David Finchers of the world are exactly who want to use this camera system, and its ergonomics and ecosystem demand the same resources (if not more) than you'd want for an Amira shoot, so it's hardly entry-level.
(The David Finchers of the world are sort of the opposite of the Werner Herzogs.... this metaphor makes sense to me but probably not to anyone else.)
This is a major departure from Red's original (questionable) pitch for an "affordable" cinema camera for everyone. Red's new high end systems are about as expensive as Arri's. The Raven, meanwhile, seems to have disappeared and the 3k for $3k camera never materialized, and probably never should have. What was the market for that? I'm curious to see if the Foxconn thing ever materializes and in what form. It seems the high end is where the money is still. Despite everything. Also, Red is privately owned by a billionaire so it could still be unprofitable for all we know.
Another issue with the sub-$10k camera market is that you have a lower level of production that's using it, and so footage shot with those cameras doesn't look as good as it could for that reason (the original Red suffered from this, too). And how big is this market in the first place and how high are the margins?
I'm curious how profitable Canon's, Sony's, and Panasonic's cinema divisions are. Ditto Black Magic. They've cornered a market segment between dSLRs and Alexas that Red seems to be in a rush to abdicate, and there is likely a reason for that. (Selfishly, I hope these cameras stay around because I like them.)
Someone posted a teaser months back showing an EVA1-style body that was hinted at during NAB, so this probably has that form factor... more or less... 
I love the EVA1 and Varicam's color and noise texture–my second favorite image to the Alexa, bar none. Curious if this is positioned above the EVA1 (which is already processing 6k fwiw) or below it and if it maintains that "look" I like, sort of a C300 Mk 1 look with really rich colors.
Edit: bar film, I guess. 

ok so in the spirit of eoshd togetherness I have decided to share this video to see what u guys think. maybe it will inspire zach ☺️
let me explain:
i made this short at the end of last year, but I never completed the edit/fx/etc 100%. Got busy with other stuff, and I was working up my gumption to come back to it with a fresh eye.
then my iMac broke, and I have a new ‘puter on the way, but I’m anticipating the nightmare of opening resolve and Siri saying ERROR: NO MEDIA FOUND, because my files, ALTHOUGH BACKED UP, are super disorganized, there might be a few things missing, but at the very least it’ll be a big pain in the ass to relink everything to get going on this again
aannnyyyway I always feel bad for posting literally zero videos but numerous dog pics and I was like Screw it, its not perfect, but here ya go.
this is not the best file, its the one I had in icloud, there could be a better render, etc etc, and its getting murdered by youtube compression, but my first reaction watching it after not messing with it for a few months was…. …Hey~! Its not too bad! ☺️ not bad for a first film i made all by myself! imagine if I had a crew, a budget… ?
so, if youd like to see, pls check it out, and if you have any helpful feedback that involves changing/adding things, that’s great, but I do NOT have access to the actors/locations any more and there is almost no chance of me shooting additional footage, so as long as suggestions don’t involve me spending any more money on this project, I’m all in ?
at best, I think this is a cool example of what one person can do with a 5d3 in 2019 with no budget, crew, or resources whatsoever... as indie as it gets lolol