Matt James Smith ?

Have to say I see the high data rate of the 4K 120fps as a positive. It's 4X the bitrate of 24p, which is exactly what it should be if it's going to look as good. I'd be complaining if it was less!
When looking at the table, the data for 4 minutes of recording time looks huge but then that's actually 16+ minutes of footage.
Personally I only shoot short clips in 120p anyway. Though the fact DPAF works in 120p means it'll be an absolute killer gimbal camera and that'll mean people wanting to do long takes.
 

to be honest. I have never done an interview that lasted less than 1 hour, never happened to me.

I don't agree at all. Even when you edit an interview down to 10 minutes, conversations can go on for much longer. To get the required information, the subject often has to be conversed with and prompted. Documentaries a case in point. The multiple cameras just makes the situation worse. If you have to keep stopping, restarting and syncing 3 or 4 cameras every 20 minutes, that is seriously distracting - and not just for the crew but for the subject as well.
When it comes to the edit all these files will be broken up from multiple cameras into 20 minute chunks and it makes the edit harder.
Canon probably realise all this - they still want pros to buy the Cinema EOS cams instead.
Even though the EOS R5 is £4000!

Micro HDMI is a big disappointment. Especially due to the 30min record time requiring an external recorder for interviews etc. Even more so if that's the only way to get intra frame files. 
Lack of ALL-I in 4K 24p was surely possible if it can shoot IPB in 60p. That's annoying. Though 170mbps h265 is a fairly beefy bitrate, even for 10bit, isn't it? Will have to wait and see what motion looks like on clips.
As has been said the big test is going to be rolling shutter. In some situations the IBIS will help with this in comparison the the 1DXIII but it'll still look like shit if it's that bad.
Oh and not recording video simultaneously to both cards defeats the purpose of dual slots for filmmakers! 
Hopefully SmallRig or someone will come out with a discreet little clamp that solves the Micro HDMI issue.

Micro HDMI is a big disappointment. Especially due to the 30min record time requiring an external recorder for interviews etc. Even more so if that's the only way to get intra frame files. 
Lack of ALL-I in 4K 24p was surely possible if it can shoot IPB in 60p. That's annoying. Though 170mbps h265 is a fairly beefy bitrate, even for 10bit, isn't it? Will have to wait and see what motion looks like on clips.
As has been said the big test is going to be rolling shutter. In some situations the IBIS will help with this in comparison the the 1DXIII but it'll still look like shit if it's that bad.
Oh and not recording video simultaneously to both cards defeats the purpose of dual slots for filmmakers! 
Hopefully SmallRig or someone will come out with a discreet little clamp that solves the Micro HDMI issue.

Have to say I see the high data rate of the 4K 120fps as a positive. It's 4X the bitrate of 24p, which is exactly what it should be if it's going to look as good. I'd be complaining if it was less!
When looking at the table, the data for 4 minutes of recording time looks huge but then that's actually 16+ minutes of footage.
Personally I only shoot short clips in 120p anyway. Though the fact DPAF works in 120p means it'll be an absolute killer gimbal camera and that'll mean people wanting to do long takes.
 

Have to say I see the high data rate of the 4K 120fps as a positive. It's 4X the bitrate of 24p, which is exactly what it should be if it's going to look as good. I'd be complaining if it was less!
When looking at the table, the data for 4 minutes of recording time looks huge but then that's actually 16+ minutes of footage.
Personally I only shoot short clips in 120p anyway. Though the fact DPAF works in 120p means it'll be an absolute killer gimbal camera and that'll mean people wanting to do long takes.
 

Have to say I see the high data rate of the 4K 120fps as a positive. It's 4X the bitrate of 24p, which is exactly what it should be if it's going to look as good. I'd be complaining if it was less!
When looking at the table, the data for 4 minutes of recording time looks huge but then that's actually 16+ minutes of footage.
Personally I only shoot short clips in 120p anyway. Though the fact DPAF works in 120p means it'll be an absolute killer gimbal camera and that'll mean people wanting to do long takes.
 

Micro HDMI is a big disappointment. Especially due to the 30min record time requiring an external recorder for interviews etc. Even more so if that's the only way to get intra frame files. 
Lack of ALL-I in 4K 24p was surely possible if it can shoot IPB in 60p. That's annoying. Though 170mbps h265 is a fairly beefy bitrate, even for 10bit, isn't it? Will have to wait and see what motion looks like on clips.
As has been said the big test is going to be rolling shutter. In some situations the IBIS will help with this in comparison the the 1DXIII but it'll still look like shit if it's that bad.
Oh and not recording video simultaneously to both cards defeats the purpose of dual slots for filmmakers! 
Hopefully SmallRig or someone will come out with a discreet little clamp that solves the Micro HDMI issue.

Micro HDMI is a big disappointment. Especially due to the 30min record time requiring an external recorder for interviews etc. Even more so if that's the only way to get intra frame files. 
Lack of ALL-I in 4K 24p was surely possible if it can shoot IPB in 60p. That's annoying. Though 170mbps h265 is a fairly beefy bitrate, even for 10bit, isn't it? Will have to wait and see what motion looks like on clips.
As has been said the big test is going to be rolling shutter. In some situations the IBIS will help with this in comparison the the 1DXIII but it'll still look like shit if it's that bad.
Oh and not recording video simultaneously to both cards defeats the purpose of dual slots for filmmakers! 
Hopefully SmallRig or someone will come out with a discreet little clamp that solves the Micro HDMI issue.

https://www.eoshd.com/comments/topic/20260-how-i-got-scammed-through-ebrahim-saadawi/
 

Belittle away, I have no emotional investment in the FZ2000
As I say, I got it for specific jobs (small vignettes of pre-match build ups at stadium and for live streamed press conferences) where the overall feature set of it was more appropriate for what I personally needed in a versatile allrounder, particularly the faster lens with the longer reach and the additional ND.
I agree about the XC10 codec but for my purposes the FZ2000 was fine as, for the small films, I would shoot in 1080p (which also avoids the bugbear of the crop in 4K) so the 200Mbps ALL-I was perfectly adequate and for the press conferences the 4:2:2 10-bit HDMI output was more than adequate for the livestream encoder it was being sent to
Like I said originally though, all the output I've seen from the XC10 still keeps it on my radar when the price is right.

This is all XC10. Most of it on a Ronin S. Just a home movie but it gives an idea of image quality.

This is all XC10. Most of it on a Ronin S. Just a home movie but it gives an idea of image quality.

There's a few big budget movies that have used a 360° shutter, Public Enemies comes to mind:
 

In many ways you’ve got more creative control with an EOSM and Magic Lantern, or an iPhone with FilmicPro, than you have with most ‘professional’ cameras. 
 
Hurry up with the EOS App Store!

Hadn't you mentioned it was shot on EOS-M, I'd be pretty certain it was shot on actual film.
Congrats, it looks really convincing and beautiful.

Sometimes it's good to listen to / see some lo-fi works. It somehow clears the mind and lets you see the message / feel the vibe more clearly.
I hope that makes sense.
( :

Here's the footage I shot (and threw a load of film emulation effects on top of). It's not edited into anything interesting it's just 20min of stuff ... so skim through and find the bits you like.
Some other nice stuff posted here folks - nice to see! The main tips I'd give are:
1. Be aware of the horrific aliasing - tree branches against a bright sky look just horrific. I've added a strongwomen Tiffen Digital Diffusion or HDTVFX filter to the front of the already soft 6mm lens, which suits the consumer 8mm look I'm going for and deals with most of the aliasing. Adding grain in post helps diffuse it too.
2. Rolling shutter. It's awful. Put the strap on the camera and pull it taught around your neck (or use a loupe) to avoid jitters. A pistol grip handle helps too as the EOSM is not an easy camera to hold steady. Then stabilise the footage and correct the rolling shutter in post as best you can (I use Lock & Load).
Here's the vid. I'm pretty pleased with it as a Super 8 simulation.
Pw: S8mm
 
 

Here's the footage I shot (and threw a load of film emulation effects on top of). It's not edited into anything interesting it's just 20min of stuff ... so skim through and find the bits you like.
Some other nice stuff posted here folks - nice to see! The main tips I'd give are:
1. Be aware of the horrific aliasing - tree branches against a bright sky look just horrific. I've added a strongwomen Tiffen Digital Diffusion or HDTVFX filter to the front of the already soft 6mm lens, which suits the consumer 8mm look I'm going for and deals with most of the aliasing. Adding grain in post helps diffuse it too.
2. Rolling shutter. It's awful. Put the strap on the camera and pull it taught around your neck (or use a loupe) to avoid jitters. A pistol grip handle helps too as the EOSM is not an easy camera to hold steady. Then stabilise the footage and correct the rolling shutter in post as best you can (I use Lock & Load).
Here's the vid. I'm pretty pleased with it as a Super 8 simulation.
Pw: S8mm
 
 

I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. 

For the video below I used the following setup.

6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus)
Tiffen Digital Diffusion 5 filter (reduces moire artefacts)
EOSM with latest ML build
18fps override (exact)
5x zoom
12bit lossless RAW
4:3 aspect
1440 x 1080 
i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8.

This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
 
 

Someone should tell Picasso that his art does not accurately reflect real people.
Art doesn't exist in a vacuum, it is always created and viewed in reference to previous work. Over time, film has deviated from being completely in reference to the real world, and has developed its own conventions, symbols, and nuances. New films are viewed in reference to other films, not the real world. In the same way, narrative storytelling, sound design, musical scores, and all other aspects of filmmaking are built on previous films, not just real life
You seem to be implying the color should be accurate to real life unless the artist specifically wants it to be different. This implies that using color as accurate to expected film convention is the work of a "hack." I think this is false.
Would you consider Max Richter's album Vivaldi Recomposed to be creative?

I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. 

For the video below I used the following setup.

6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus)
Tiffen Digital Diffusion 5 filter (reduces moire artefacts)
EOSM with latest ML build
18fps override (exact)
5x zoom
12bit lossless RAW
4:3 aspect
1440 x 1080 
i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8.

This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
 
 

I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. 

For the video below I used the following setup.

6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus)
Tiffen Digital Diffusion 5 filter (reduces moire artefacts)
EOSM with latest ML build
18fps override (exact)
5x zoom
12bit lossless RAW
4:3 aspect
1440 x 1080 
i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8.

This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
 
 

I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. 

For the video below I used the following setup.

6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus)
Tiffen Digital Diffusion 5 filter (reduces moire artefacts)
EOSM with latest ML build
18fps override (exact)
5x zoom
12bit lossless RAW
4:3 aspect
1440 x 1080 
i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8.

This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
 
 

@Matt James Smith
 
Very nice!  I think you've nailed the Super 8 look.  The rolling shutter jitter when the camera shakes at the end is the only thing that hints the footage might be digital.
 
Nice job!  Thanks for sharing the video and the settings!