Yehouda

I have a Think Tank Airport Accelerator and I can put a video camera, a DSLR, a Zoom H6 with mics and Rycote dead cat, a big headphone and a travel tripod in it. Great for travelling because it's a backpack and it's rock solid.

If you use 10 bit files on 8 bit monitor the files are still 10 bit so you still have the 10 bit latitude for grading BUT you can't really see what you are doing and the image may change if you look at your final grading on 10 bit monitor. 10 bit is not as critical as HDR but you might have some surprises. In general there is no problem but for serious grading a 10 bit monitor is a must have.

It is the well known Canon politics of segmentation. 24p is for cinema so if we want 24p we must buy a C camera. Canon DSLRs, Mirrorless or XF/XA camcorders will never have it anymore. It is a pity but this is their marketing choice.

The big advantage of Canon is that the color science is the same between a C300, a 6D and an XF400 (for exemple) so you can use all those different tools at the same time and you will not have any problem during editing/grading. This is not the case for other brands like Sony or Panasonic.

Image quality of the S1 is stunning!

MF is a very important artistic tool for sure but when you are on a gimbal trying to keep your subject in focus artistic considerations is not the priority. With good AF you have a camera set up smaller and lighter and this is also important for artistic creativity.

I use the screen 90% of the time and EVF 10% of the time so I don't have any issues even in outdour shooting but it is true that it can be tricky in some situations in very bright light.

3 hours ago, kye said:

It depends on how good the AF is to begin with.

Of course if we use AF we must use very good AF only. I would only use Canon DPAF and Sony PDAF for professional use. And the combo very good AF and touch screen is a must have. I will never use AF without a touch screen to control it.

AF for gimbal and fast moving subjects is great!

For other things manual focus is the best option mostly if you have a very good focus assist like the Canon one. It is one of the strengths of Canon: great AF and great manual focus assist. For me a descent AF is a must have even if I don't use it everytime. Poor AF is the only reason I'm not buying the Lumix S1 right now.

WOW ... I don't care about 8K but this A7R IV is boring for video ... A few months ago I said A7R IV and A7 IV will be released before A7S III. Hey Sony! It was supposed to be joke!

I have an old Dell U2410 and it is still very good even if it's not 4K. Dell offers high value for the money.

A french one by a very popular singer in France. Her musical clips are known to be true short films which lasts sometimes more than 15 minutes.

@PannySVHS C300 II codecs are very good for dynamic range. With C-LOG 2 you can easily recover an overexposure of 2 stops and maybe even more. The only case I feel the codecs are not robust enough is when you grade footages of C-LOG 2 in low light.

I never had any problem of rolling shuter with the C300 II even handheld with quite fast movements.

PS: I have never  used C200 so I can't talk about this camera.

I owned a C300 Mark 2 for one year and the image quality is great with 4K 10 bits 422. Now that you can have the touch screen of C200 it is even better. The big difference for me is that C200 have 4K 60p. If you need that option you should go for C200 but il you don't need it go for C300 II.

SIGMA announces L-mount version of their prime lenses and an new EF to L-mount adapter.

https://www.l-rumors.com/sigma-announces-the-release-of-12-new-l-mount-art-lenses/

https://www.l-rumors.com/sigma-announces-the-new-canon-ef-to-l-mount-mc-21-adapter/

Good news for S1/R!

Rycote Super-Softie 3D-Tex are great.

http://mymic.rycote.com/products/windshield-solutions/super-softie-windshield/

I really hope A7SIII and maybe A7000 will have electronic variable ND. It should be a game changer to have this technology on such small cameras.

I wish a small and lightweight cinema camera from Canon with S35 or FF sensor (maybe a XC with RF mount) and Sony A7S III ?

@androidlad and @Mokara

You are absolutely right, so the question is why Canon didn't include a DIGIC DV in addition to a regular DIGIC one in their DSLR and mirrorless. For DSLR I can understand because those are clearly photo orientated products. For mirrorless which is a hybrid photo/video market the reason is segmentation: "no DIGIC DV in a photo capable product" (you can take photos with XC10/15 but it is just a bonus).

The X processor 4 in the XT-3 prove that it is technically possible to have really good video capability in a small mirrorless body. In a body like EOS R/RP which are FF, Canon could do it at least for 24/25/30p if they wanted to.

In addition to segmentation problem there is a business problem too. The market is shrinking so Canon's strategy may be to sell new products with old technology to stay economically relevant for their shareholders. They are somehow obligate to do that to stay in the first place in camera business. Only high-end products will have new technology and good video capacity (with some artificial limitations because it is Canon...). On the other hand it is an opportunity for smaller company like Fuji and Nikon to take market shares with new technology and very good affordable products.

Since the XC10 in 2015 Canon have a very good XF-AVC 8 bits 422 305mbs codec. Why not use it in their EOS R/RP? Even in 5DIV or 1DXII instead of old MJPEG?

Yes, I know ... segmentation ...

Another disappointment from Canon! If they had an affodable dedicated video camera with RF mount I could understand why video capacity on EOS R/RP are so bad and I could understand their segmentation but this is not the case. We might have an affordable XC R or something one day or another but Canon don't tell us their roadmap on purpose for maximizing their sales. This EOS RP or even EOS R are not good enough for me to upgrade from my 80D which is a 3 years old FHD DSLR... That says it all...

The problem is Panasonic said many times that S1/S1R are for photographers with some high end video capacity. So I hope we will have 10 bits and LOG internally. Without that S1/S1R will look like mirrorless 1DX Mark II for video (with better codec thoug but no DPAF). I have waited so far for S1 and I hope I will not be disapointed. After all Panasonic said S1/S1R will be "without compromise". Wait and see!

This noise is normal for USM and there is no solution. For silent focusing you must have STM or NanoUSM.

Skintones on A7III and A9 are much better than on the previous A series but this is still not Alexa, Venice, Varicam or Canon color science level SOOC or for flexibility in post.

3 minutes ago, Caleb Genheimer said:

Finally, zombie filmmakers can rejoice! Undead skin tones in stunning 8K H.265!!!!!!!!

We already know that A7S III will have Venice color science so no more zombie skintones (I hope!)

Yes, the future of camera is not really about pure image quality. Now it is about new technologies like AF, automatic variable ND filter, low light performance etc. With these technologies we will be able to work with minimal rigs and the camera system will be much smaller and lighter. Shooting movies will be faster, easier and cheaper.