currensheldon

Whenever they do release the C300 Mark III, I hope it comes with a fairly big design overhaul. The tower clamshell design was terrible for both monitoring and audio controls - and any sort of trying to make it more useable meant that you would probably lose audio inputs, audio controls, or have to use an external monitor. The C200 is pretty great with an awesome screen, so they could pretty much just follow that design philosophy. 
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As I mentioned in the original post, I think the biggest opportunity for Canon (or anyone else) is in the C100 Mark III range. Especially since the video features in the EOS R(p) have been purposely crippled, it would make sense that they would release a lower level cinema camera with the RF mount and the 10-bit 422 4K that their mirrorless/dslr cameras lack (and the C200 lacks). Would be a big seller, I'd imagine. 

Yep - the XC style body with internal NDs and XLRs with RF Mount and 10-bit 422 codec is the dream

Yep - the XC style body with internal NDs and XLRs with RF Mount and 10-bit 422 codec is the dream

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 ?

Haha got it. Well, if anyone else is looking for a great on-camera mic, my recommendation might be useful! 

I throw my vote in for Black Magic Raw. Would love to see Fuji get into the cinema camera game - especially with their Super35 lens lineup and those MKX lenses. 

We're just a couple months away from what I think will be a pretty big announcement period for cinema cameras. 2018 was a very slow year for cinema cameras (but boat loads of mirrorless cameras), but I think NAB 2019 could kick off a healthy string of announcements. 
I'm curious what most people are excited about seeing or are hoping they see. 
Here are my big wishes:
Canon C100 Mark III or XC-Style RF Mount Camera
There has been some rumors about a XC-like Super35mm ILC camera and, with the new RF mount, this would be a good chance to see it released (especially after the crippled video specs of Canon's first two mirrorless cameras). I think this might just go ahead and replace the C100-line. For it to be worth it, would have to have the Netflix-approved/broadcast ready specs of 10-bit 422, so I think it will have:
- 4K 30fps at 10-bit 422 and 4k 60fps at 8-bit 420. 
- 120fps in HD
- RF Mount
- Internal NDs and XLRs
Perhaps in the $4,500 - $6k range. 

Guess we could also see the C300 Mark III with optional 8K recording upgrade in the future. Would probably also have to add internal 4K Canon Raw Lite, 120fps in 4K, and a less terrible form factor of the Mark II (camera tower!). A C200 body would be great. 
I would also love to see Canon add some more compression ratios to their raw codec. I think the C200 is around 3:1 or 4:1, so an 8:1 and 12:1 option would be great to have as well. 
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Fuji Super35mm Cinema Camera
The camera I'm hoping for most is a small cinema camera from FUJI packed full of X-T3 specs, internal NDs, XLRs, and the IBIS of the X-H1. With their lineup of Super35mm lenses, I think Fuji would really crush it in the small $4 - $7k cinema camera space. They also seem to be focusing much more on video and the X-T3 and X-H1 would be great B-Cams/Gimbal cams.
Also wouldn't be surprised if we saw an update to the X-H1 since it was so quickly surpassed in video specs by the X-T3. If so, then they should go for a bigger battery and maybe something revolutionary on a mirrorless camera like internal NDs

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Black Magic Ursa Mini Pro 6k
I think this would be similar but with a new 6k+ sensor, BM raw, and perhaps a more compact form factor. 

Video Assist 2.0 - Blackmagic seems to be going for an end-to-end model and they could really help themselves by releasing an external 4K recorder that records Black Magic Raw but can be used with any camera that can output raw. In my opinion, Black Magic Raw is the most enticing compressed raw format announced recently. For many project Canon's CRL and ProRes Raw still have giant file sizes, whereas Black Magic Raw has 8:1 and 12:1 options that would be great for doc work and take up less space than ProRes LT. Then throw BM Raw into DaVinci for edit and grade. 

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Panasonic EVA-2 (L Mount)
Panasonic made some big mistakes with the EVA-1, which is an otherwise fantastic camera. The screen was unusable, the EF Mount not adaptable and no differentiation from Canon in the mount space, the audio controls were terrible... but the image, dual ISO, and CODECS!! were amazing. So, they just need to make some basic updates, put the main audio controls on the body (not in the menu), make a few areas less flimsy (audio knobs), make a great screen, and throw the L-Mount on there and they'd be good to go. 
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Not sure we'll see much from Sony, but the Mark II versions of the FS7 and FS5 were so underwhelming that maybe they'll push a new FS7 out with 120fps in 4K, 6k+ sensor, or raw internal recording. 

Those are my biggest wishes and since I'm still in a bit of a camera flux, what actually does happen may direct me to what camera company I use for the next 3-4 years. Hoping most for the success of Canon or Fuji (my favorite images in the business), but we'll see.
 
 
 
 
 
 
 

We're just a couple months away from what I think will be a pretty big announcement period for cinema cameras. 2018 was a very slow year for cinema cameras (but boat loads of mirrorless cameras), but I think NAB 2019 could kick off a healthy string of announcements. 
I'm curious what most people are excited about seeing or are hoping they see. 
Here are my big wishes:
Canon C100 Mark III or XC-Style RF Mount Camera
There has been some rumors about a XC-like Super35mm ILC camera and, with the new RF mount, this would be a good chance to see it released (especially after the crippled video specs of Canon's first two mirrorless cameras). I think this might just go ahead and replace the C100-line. For it to be worth it, would have to have the Netflix-approved/broadcast ready specs of 10-bit 422, so I think it will have:
- 4K 30fps at 10-bit 422 and 4k 60fps at 8-bit 420. 
- 120fps in HD
- RF Mount
- Internal NDs and XLRs
Perhaps in the $4,500 - $6k range. 

Guess we could also see the C300 Mark III with optional 8K recording upgrade in the future. Would probably also have to add internal 4K Canon Raw Lite, 120fps in 4K, and a less terrible form factor of the Mark II (camera tower!). A C200 body would be great. 
I would also love to see Canon add some more compression ratios to their raw codec. I think the C200 is around 3:1 or 4:1, so an 8:1 and 12:1 option would be great to have as well. 
---
Fuji Super35mm Cinema Camera
The camera I'm hoping for most is a small cinema camera from FUJI packed full of X-T3 specs, internal NDs, XLRs, and the IBIS of the X-H1. With their lineup of Super35mm lenses, I think Fuji would really crush it in the small $4 - $7k cinema camera space. They also seem to be focusing much more on video and the X-T3 and X-H1 would be great B-Cams/Gimbal cams.
Also wouldn't be surprised if we saw an update to the X-H1 since it was so quickly surpassed in video specs by the X-T3. If so, then they should go for a bigger battery and maybe something revolutionary on a mirrorless camera like internal NDs

--
Black Magic Ursa Mini Pro 6k
I think this would be similar but with a new 6k+ sensor, BM raw, and perhaps a more compact form factor. 

Video Assist 2.0 - Blackmagic seems to be going for an end-to-end model and they could really help themselves by releasing an external 4K recorder that records Black Magic Raw but can be used with any camera that can output raw. In my opinion, Black Magic Raw is the most enticing compressed raw format announced recently. For many project Canon's CRL and ProRes Raw still have giant file sizes, whereas Black Magic Raw has 8:1 and 12:1 options that would be great for doc work and take up less space than ProRes LT. Then throw BM Raw into DaVinci for edit and grade. 

--
Panasonic EVA-2 (L Mount)
Panasonic made some big mistakes with the EVA-1, which is an otherwise fantastic camera. The screen was unusable, the EF Mount not adaptable and no differentiation from Canon in the mount space, the audio controls were terrible... but the image, dual ISO, and CODECS!! were amazing. So, they just need to make some basic updates, put the main audio controls on the body (not in the menu), make a few areas less flimsy (audio knobs), make a great screen, and throw the L-Mount on there and they'd be good to go. 
--
Not sure we'll see much from Sony, but the Mark II versions of the FS7 and FS5 were so underwhelming that maybe they'll push a new FS7 out with 120fps in 4K, 6k+ sensor, or raw internal recording. 

Those are my biggest wishes and since I'm still in a bit of a camera flux, what actually does happen may direct me to what camera company I use for the next 3-4 years. Hoping most for the success of Canon or Fuji (my favorite images in the business), but we'll see.
 
 
 
 
 
 
 

We're just a couple months away from what I think will be a pretty big announcement period for cinema cameras. 2018 was a very slow year for cinema cameras (but boat loads of mirrorless cameras), but I think NAB 2019 could kick off a healthy string of announcements. 
I'm curious what most people are excited about seeing or are hoping they see. 
Here are my big wishes:
Canon C100 Mark III or XC-Style RF Mount Camera
There has been some rumors about a XC-like Super35mm ILC camera and, with the new RF mount, this would be a good chance to see it released (especially after the crippled video specs of Canon's first two mirrorless cameras). I think this might just go ahead and replace the C100-line. For it to be worth it, would have to have the Netflix-approved/broadcast ready specs of 10-bit 422, so I think it will have:
- 4K 30fps at 10-bit 422 and 4k 60fps at 8-bit 420. 
- 120fps in HD
- RF Mount
- Internal NDs and XLRs
Perhaps in the $4,500 - $6k range. 

Guess we could also see the C300 Mark III with optional 8K recording upgrade in the future. Would probably also have to add internal 4K Canon Raw Lite, 120fps in 4K, and a less terrible form factor of the Mark II (camera tower!). A C200 body would be great. 
I would also love to see Canon add some more compression ratios to their raw codec. I think the C200 is around 3:1 or 4:1, so an 8:1 and 12:1 option would be great to have as well. 
---
Fuji Super35mm Cinema Camera
The camera I'm hoping for most is a small cinema camera from FUJI packed full of X-T3 specs, internal NDs, XLRs, and the IBIS of the X-H1. With their lineup of Super35mm lenses, I think Fuji would really crush it in the small $4 - $7k cinema camera space. They also seem to be focusing much more on video and the X-T3 and X-H1 would be great B-Cams/Gimbal cams.
Also wouldn't be surprised if we saw an update to the X-H1 since it was so quickly surpassed in video specs by the X-T3. If so, then they should go for a bigger battery and maybe something revolutionary on a mirrorless camera like internal NDs

--
Black Magic Ursa Mini Pro 6k
I think this would be similar but with a new 6k+ sensor, BM raw, and perhaps a more compact form factor. 

Video Assist 2.0 - Blackmagic seems to be going for an end-to-end model and they could really help themselves by releasing an external 4K recorder that records Black Magic Raw but can be used with any camera that can output raw. In my opinion, Black Magic Raw is the most enticing compressed raw format announced recently. For many project Canon's CRL and ProRes Raw still have giant file sizes, whereas Black Magic Raw has 8:1 and 12:1 options that would be great for doc work and take up less space than ProRes LT. Then throw BM Raw into DaVinci for edit and grade. 

--
Panasonic EVA-2 (L Mount)
Panasonic made some big mistakes with the EVA-1, which is an otherwise fantastic camera. The screen was unusable, the EF Mount not adaptable and no differentiation from Canon in the mount space, the audio controls were terrible... but the image, dual ISO, and CODECS!! were amazing. So, they just need to make some basic updates, put the main audio controls on the body (not in the menu), make a few areas less flimsy (audio knobs), make a great screen, and throw the L-Mount on there and they'd be good to go. 
--
Not sure we'll see much from Sony, but the Mark II versions of the FS7 and FS5 were so underwhelming that maybe they'll push a new FS7 out with 120fps in 4K, 6k+ sensor, or raw internal recording. 

Those are my biggest wishes and since I'm still in a bit of a camera flux, what actually does happen may direct me to what camera company I use for the next 3-4 years. Hoping most for the success of Canon or Fuji (my favorite images in the business), but we'll see.
 
 
 
 
 
 
 

Haha got it. Well, if anyone else is looking for a great on-camera mic, my recommendation might be useful! 

It's true that internal codecs have become pretty darn good and will only improve in the next couple of years, so it makes sense that Atomos would start focusing on just making solid monitors. 
The one thing that I wish third party manufacturers would really focus on is creating high quality audio options for mirrorless/dslr cameras. I'd love some sort of battery-grip sized recorder (no screen) that had a few XLR inputs and that's it. Would probably need external recording in order to have 2-4 channels of audio, but it would be pretty great to have that option. Something like the Video Devices Pix LR, but connected directly to the camera: https://www.newsshooter.com/2016/03/15/video-devices-pix-lr-audio-interface-adds-xlr-inputsoutputs-to-the-pix-e-series/
Either that or just work to improve on the XLR modules made by Panasonic. Panasonic's is OK, but doesn't really have great audio. Or even if camera manufacturers started adding a second 3.5mm jack and 2-channel audio or added a mini XLR like the BMPCC4K. 
Monitors are nice, but the ones that come with the camera work just fine 98% of the time. I'd much rather see 3rd party manufacturers work on audio enhancements - we really don't need more monitors at this point.
 

I don't think that will be the direct comparison for very long. I think the RP doesn't really have any comparison and the EOS R is really the A7III and Z6.
Pretty sure a $3k+ EOS R(x? 1?) flagship mirrorless full frame camera will come before long. The RF lenses are too good and too pricey to be just for the EOS R and RP. In the next 4-6 months, we'll see the flagship plus a cinema camera or two to fill the holes.
Totally forgot that Canon is rumored to announce 5+ lenses tomorrow as well - that's exciting. 

From my experience, off-brand LP-E6s seem to last about 60% the time of the Canon batteries. Same for the LPE17s? Or do other manufacturer's batteries do a bit better? 

Agreed that this is a great value. If the 4K crop is closer to 1.5x as expected, it even has a leg up vs the EOS R. Without the All-I, 10-bit HDMI out, and C-Log, the EOS R is still the better buy as a C200/300 B-Cam or professional mirrorless camera, but this would be a great enthusiast camera or travel camera. 
I don't vlog, but I can see vloggers digging it as well. Wouldn't be surprised if the marketing materials included a lot of vlogging images (and maybe why they included Eye-AF). 

Despite their terrible 4K Crop, Canon is definitely doing some interesting things. Seems like their EF to RF adapter with a variable ND will be shipping at the end of this month, so that could be a big game changer. 
I've always hated digital stabilization, but has anyone else used it in the EOS R? It is surprisingly good and I haven't noticed any of the warping effect that often plagues digital stabilization. 
Most excited for NAB 2019 to see if Canon can put some new energy into the wide open (and rather dull since the original Sony FS5) $3-$7k cinema camera market. C100 III or XC-style Super35 ILC? Hope so. 

Despite their terrible 4K Crop, Canon is definitely doing some interesting things. Seems like their EF to RF adapter with a variable ND will be shipping at the end of this month, so that could be a big game changer. 
I've always hated digital stabilization, but has anyone else used it in the EOS R? It is surprisingly good and I haven't noticed any of the warping effect that often plagues digital stabilization. 
Most excited for NAB 2019 to see if Canon can put some new energy into the wide open (and rather dull since the original Sony FS5) $3-$7k cinema camera market. C100 III or XC-style Super35 ILC? Hope so. 

I'm pumped for the RF mount for all the lens adaptor options I used while using Sony's E-Mount for a bit. 
Unfortunately, the two best things about the RF mount are incompatible. Which are:
LENSES - Canon is about to release a whole bunch of new lenses and among them are a 15-35mm f2.8 and 24-70mm f2.8 that both have stabilization - which is awesome! and something that their EF counterparts don't do. Add the groundbreaking 28-70 f2 and the other high-quality RF lenses, and their lens lineup will soon be one of the best in the mirrorless game (amazing after launching just 4-6 months ago).
ADAPTER - However, the best part about the RF-Mount for mirrorless cameras is that forthcoming EF > RF Variable ND Adapter. I decided to get an EOS R for video rather than so many other options and in spite of its big 4K crop specifically for that adapter. Can't wait until that is released. Carrying around a bunch of step up rings and NDs and variable NDs has been super old for years now. Will be great when I can use ANY lens on my EOS R and not have to worry about filter threads and also not being able to use my lens hoods to block unwanted light and flares. 
But, I'm sure all future Cinema EOS camera will have an RF-Mount option. Easy to take mounts on and off like Red does or the Sony Venice does. And the RF mount is so much more versatile. Dreaming of a Super35mm XC-15 style RF mount camera or a C300 Mark III with the RF mount. 
We'll see
 
 

I'm pumped for the RF mount for all the lens adaptor options I used while using Sony's E-Mount for a bit. 
Unfortunately, the two best things about the RF mount are incompatible. Which are:
LENSES - Canon is about to release a whole bunch of new lenses and among them are a 15-35mm f2.8 and 24-70mm f2.8 that both have stabilization - which is awesome! and something that their EF counterparts don't do. Add the groundbreaking 28-70 f2 and the other high-quality RF lenses, and their lens lineup will soon be one of the best in the mirrorless game (amazing after launching just 4-6 months ago).
ADAPTER - However, the best part about the RF-Mount for mirrorless cameras is that forthcoming EF > RF Variable ND Adapter. I decided to get an EOS R for video rather than so many other options and in spite of its big 4K crop specifically for that adapter. Can't wait until that is released. Carrying around a bunch of step up rings and NDs and variable NDs has been super old for years now. Will be great when I can use ANY lens on my EOS R and not have to worry about filter threads and also not being able to use my lens hoods to block unwanted light and flares. 
But, I'm sure all future Cinema EOS camera will have an RF-Mount option. Easy to take mounts on and off like Red does or the Sony Venice does. And the RF mount is so much more versatile. Dreaming of a Super35mm XC-15 style RF mount camera or a C300 Mark III with the RF mount. 
We'll see
 
 

Bunch of new lenses coming with this announcement as well:
Canon RF 15-35mm f/2.8L IS USM
Canon RF 24-70mm f/2.8L IS USM
Canon RF 24-240mm f/4-6.3 IS USM
Canon RF 70-200mm f/2.8L IS USM
Canon RF 85mm f/1.2L USM
from: https://www.canonrumors.com/canon-to-announce-at-least-5-rf-lenses-next-week/
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To me, that looks like a professional lineup. Not an entry level system. Perhaps Canon has a $3500 pro body hidden somewhere to go along with this announcement?
More likely, they’ll start using the RF Mount for cinema cameras, most likely the mythical C100 MarkIII or XC-15 style camera with interchangeable lenses. If they announce those at NAB 2018, you’ll have plenty of lenses for them. And both the 15-35mm and 24-70mm f2.8s have stabilization - huge for video.
There is a huge gap for a small form factor 4K 10-bit 422 workhorse camera in the $4000 - $6000 range. Canon could really make a big splash with that. 

I love this because it’s so true. I went with Sony for a couple of years (FS7/5, A7s, A7rII) because they seemed to be crushing in specs. But despite all the technical prowess, the 8-bit HD image out of the 5 year old C100 was still way nicer looking. 
Now I have a mixture of Canon and the GH5, but will probably stick with Canon now that they have a full frame mirrorless line.
hoping for a $5000-ish cinema line camera with RF Mount soon as well. Then could be happy for a few years. 

I love this because it’s so true. I went with Sony for a couple of years (FS7/5, A7s, A7rII) because they seemed to be crushing in specs. But despite all the technical prowess, the 8-bit HD image out of the 5 year old C100 was still way nicer looking. 
Now I have a mixture of Canon and the GH5, but will probably stick with Canon now that they have a full frame mirrorless line.
hoping for a $5000-ish cinema line camera with RF Mount soon as well. Then could be happy for a few years. 

I'm consistently pretty baffled that a camera manufacturer can't seem to do the obvious: basically, create a lens and mount eco-system across 3-4 different cameras from higher-end cinema down to pro mirrorless. Canon has a HUGE opportunity this year with the new RF mount, two new R bodies coming, both the C100 and C300 due for updates, a potential XC-15 with a interchangeable lens mount (probably RF). That's a lot on the roadmap and could be amazing if they don't cripple three out of four cameras.
I'm still looking for an ecosystem that has 3-4 different camera sizes, all the same mount, same color/codecs, from same manufacturer. Panasonic has 4 different mounts over their 4 different camera levels (MFT, L-Mount Full Frame, EF mini cinema, and PL for Varicam)... bit of a mess for trying to build a system.
Please:
- A higher-end cinema camera with top level specs (FS7, C300, Varicam, etc) 
- A mid level mini-cinema camera (FS5 sized or slightly smaller - maybe like an XC-15 RF or a beefier X-H1 with internal NDs and a couple mini XLRs)
- A high-end mirrorless for gimbal
All the same mount. All the same lenses. All the same sensor size. Come on. 
Fuji has a huge opportunity, I think, to release a $5-6k mini cinema camera. They're the ONLY manufacturer that has a great lens lineup specifically made for Super35mm. Even though Canon has tons of Super35mm/APS-C cameras, their professional lens lineup for the system is sad. Even their fastest/best lens for the system (the 17-55mm f2.8) vignettes at DCI 4k.
But, if Canon can bring out a C100III with the 4K 10-bit 422 up to 60fps that the C200 didn't have (and leave that a raw camera), a EOS 1R with the same codec and no crop in full-frame, plus a 6-8k C300III (as a way to differentiate it as high-end), then they would once again have the best top to bottom lineup. 

I haven’t been this excited about a camera launch in a long time. I’ve been hoping for a full frame camera with GH5 specs for awhile. Hoping the XLR adapter is compatible and maybe has a surprise or two like internal NDs... 
I’m  a bit worried now that maybe their “Without Compromise” is really for photos and they may only offer 10-bit via HDMI.
though the EVA-1 update gives me hope that this will have 10-bit H265 internal. Perhaps raw out in the future like the Nikon. 

If they could also get the dynamic range up to 13-stops or so, this would be an instant buy. I keep thinking they might as well make the GH5 the ultimate MFT video camera - as a B-Cam to the EVA1 or just as the best video journalist, low budget doc filmmaker, or one-man band filmmaker camera. 
Just add internal NDs and better pre-amps with the XLR adapter and a 4" screen, along with the GH5s low light ability. Then throw in what you mentioned and it would be the perfect small profile doc camera. Also the best place to be the first manufacturer to get 6k and 8k in a mirrorless model (though I don't think this is necessary right now - more of a GH7 thing). 
If you want photos, buy the G9-line or the new full frame line. 

Very disappointing as I thought for sure it would have an electronic ND for video. That would be the one feature that would have set it apart.
I think you’ll see M43 be the area where features will be offered a year or two before full frame cameras (due to less processing power needed for smaller sensor). The GH5 has features that still have not been replicated in the full frame world (4K 60p, 10-bit All-I, etc) - and that’s been out for more than two years. Funny that it seems Panasonic will be the one to change that. 
The GH6 will be the big test. I’m guessing it will have 6k or 8k, 120fps 4K, and internal NDs - maybe even updated XLR functions. Hopefully GH5s low light capabilities too. 
They might as well make it the ultimate indie doc camera (like an XC-15 with MFT Mount and all the big features). Those features paired with their new 10-25mm f1.7 could be the ultimate journalist, doc filmmaker camera.