EphraimP

Wow, that's earlier than expected. Looking forward to a post on how you like working with it.

Download the C70 footage Trankilstef linked to and play with it yourself. It's the same footage that's graded in the video you apparently don't link. I screwed around with it a bit and found it's very flexible and the coded isn't too hard on the machine. I didn't find that the original LOG footage had a cheap DSLR look. Maybe you just object to the way some people have been grading it.

It might not get a big discount yet, sure. I'm not expecting that. More like a bit off or a deal with accessories thrown in, something like that. I've been shooting at a pretty frantic pace lately, launching a new video production business, and I've been in plenty of situations where I've wished for some of the pro features on this thing. Still would prefer a full on C-body, but I can justify a $6K investment in a new camera right now, not a $12K one. Still, I don't think there's anything on the market that can touch its feature set for the price. Sony better introduce their FX6 soon if they want to take a bite out of Canon's lunch.

I agree. I will say, though, that the cheap little Tilta clamp-on mini matte box can work with a VND. The lens adapters for it do have threads, but they are recessed. The trick is that you have to us an extension ring to get most VNDs, which are have a thicker outer diameter than the lens adapter can accommodate, to fit. And, of course, unless you want to thread the adapter on and off each time you change lenses you'll have to buy separate lens adapters and extension rings for each lens you commonly use. That will cost less than a C70, but it's still a bit annoying.

So true. Screwing around with VNDs and lens hoods/clamp on matte boxes is a PITA. But unless you've got internal ND control, a VND is a must in a fast-moving doc style shooting situation. Just another reason why the C70 is an attractive option for a low-budget pro shooter, if you can swallow the Canon pill.

How's it working?

Unfortunately, last week I returned that drive to shoot on it again, before I realized the problem. I could load the files onto one of my Atomos drives and do as you suggest.

I'm hoping someone with more in-depth knowledge of ProRes files can help me. I have an unexpected problem with some important interview files I shot a few weeks ago using a Ninja V monitor on my X-T3 and X-T4. During a car ride interview to our main location, one of my two Ninjas stopped working, the screen went totally black. After dealing with that, I used my other Ninja, which seemed to be working fine, on my X-T3 to record some walking interview footage and some locked off interview footage, as well as some b-roll. Everything seemed to be fine, and when I got home I backup up to several drives, one of which I sent to a produce for a doc project. I had also tried to upload footage to the doc director via Dropbox and Google Drive for quick delivery but had trouble doing that due to the file sizes and my crappy internet upload speed. Now I'm going to cut together a separate short piece from the footage, and certain files won't open. When I try to play them with Pot Player, I get a notice that "the file exists, but does not seem to have any video." When I try to import them to Premiere, I get the message that "File importer detected an inconsistency in the file structure" of the files in question. "Reading and writing this file's metadata has been disabled." When I check file properties, I see that the files that won't open do contain substantial data, so I assume my clips can be saved. Here's the thing, this problem appears to be random. I can open one file normally and the next one in the recording sequence gives me that error. Then, the one after that opens ok. I don't remember having this problem when I first checked on them. I have no idea how to disable or enable metadata. Thanks in advance for any help!

AngloSaxonic?! That's a new one. Actually, I'm Anglo Norman... A history joke for all you fans of William the Conqueror out there. I live in the Pacific Northwest of 'Merica, land of the (nothing is for) free, home of the brave (shopper who goes to the store on Black Friday). In America, anything you can think of is for sale on Black Friday. People have literally gotten killed in stampedes to get into stores the second they open. It's insanity. Of course, I wouldn't think of going into a store on that day. But everything is for sale online anyway. I think I found the tripod at B&H.

🤣😂 I don't know. I did get some good film making deals year. Couple hundo off a Manfrotto Nitrotech fluidhead and sticks. Some other stuff too, probably. Maybe.

Trigger finger is itching. I keep telling myself to wait for Black Friday/Cyber Monday madness to see if a C70 deal materializes. Besides, the camera won't be shipping until then anyway. So, here's the big question... Will the pre-order list be so big that these are hard to get for a period of time after release, or will Canon release enough so that there will be availability in early Dec?

I am 100 percent with you here! It was a matter of miscommunication, because you mentioned a small video camera on this thread about a dinky hybrid. I so agree with what you're looking for, especially because Meike has just a great set of cheep cine lenses, both in X-mount and in EF for those like me who have the Metabones speedbooster and can get "that full frame look" on a crop sensor. The only problem, in my case at least, is that if they bring something like this to market in 6-8 months, it will be too late. The fires in the American Pacific Northwest have created a HUGE documentary opportunity. I'm sitting here in the middle of the fires scrambling to put projects together. I've already filmed in the fire zones for more than three days and interviewed residents who were burned out, or partially burned, including a very respected, well known author. I'm negotiating with a producer right now on a multi-year project and I need a C70 cam, if not a C300, asap! If the producer won't directly buy me one but puts enough in the budget to cover my needs, I will likely look to buy a C70 around Black Friday/Cyber Monday if there are good deals. I'm reasonably happy with the image out of my T3 and T4, especially using a Ninja to record ProRes. But having pro specs like VND and included XLR would be so helpful to my filming workflow. And I can't wait to start filming until something better Fuji comes along.

That sounds like a great camera. I'd buy one. I've been wanting something like it for a while. HOWEVER... how is any of this going to make a camera SMALLER than the T3? Since this is a thread about the sure to be dinky X-S10, I naturally thought that's what you were talking about. A C70 equivalent X-series camera would surely be bigger than the X-T series. It'd have to be to get the feature you (and I) want. The C70 is a chunky monkey for hybrid style camera. Which is fine. I think some folks go waaaay overboard on camera size.

How much smaller than an X-T3 do you need?

Yes please. I could give a rat's ass about weddings. I am, however, interested in the C70. I'll likely buy if I can't get the producer of a doc project I'm starting to fork over for one. I wish there were rumors of what the mythical XH-2 will be like. If it were as Fuji version of this one I'd be all over it.

I'm no professional colorist. I do, however, shoot a lot of footage with my X-T3 and T4 using a Ninja V. I do feel that the ProRes 422 grades better than the internal backups. I hosed the white balance on an interior shot this weekend, but because I was shooting ProRes I was able to heavily push the temp and tint sliders in Lumetri to dial the color back without the image breaking apart. And here's another thing. To get 10-bit out of the Fujis, you've got to shoot HEVC. I would soooo much rather worry about storing chunky ProRes files than editing a mess of H.265 files. And my computer isn't old or slow, either. I built a 16-core Ryzen 9 machine with an RTX 2080 Super and multiple NVMe drives, so it's a reasonably capable machine. Also, as I've said before, I personally enjoy the benefits of using a larger monitor than the backscreen of the camera to help check focus and framing, and for all of the tools I get that the camera doesn't have. Heck, on Sunday I had my monitor boomed off to the left side of my T4 with a magic arm instead of on top on a ball head. I found I could use the arm as a grip, which widened my posture and made my shoots a little bit more stable. Nothing to do with color grading, I know. But there you go.

Plus, the more filters you stack, the more you risk the possibility of miss-threading one while working fast and then having to spend half an hour trying to wrench them apart or damaging the outside of them with pliers. Don't ask me how I know.

The value of internal ND for run and gun documentary film making cannot be overstated, imho. Just Monday I was shooting doc footage in communities ravaged wildfire. Having to constantly clean the VND, swap it between lenses, fight with its compatibility with different lens hoods, and realize I don't yet have a step up ring for a new lens I wanted to use. Talk about a PITA when I'm constantly moving and trying to get critical shots. I'd say internal ND is worth close to a grand, easy. A good VND is several hundred bucks; you probably need at least two to cover the range you want, and are you going to buy multiple copies so you don't always have to swap between lenses? I didn't realize that C-series bodies don't have an electronic level. That's a huge bummer.

This is an interesting unit, but after doing multiple streams as a solo operator with 3 cameras on the ATEM Pro, I've gotta say that little screen is window dressing, not something that is very useful. Even using a 5 inch monitor as my multiview monitor when I didn't have a large one along, I've found that I couldn't always tell if the cameras were tack sharp or the framing was perfect. If you had operators on all your cams who you could trust to nail focus/framing, then that little screen might help you decide what camera to select. A 15-inch monitor is about the smallest that I've found to be actually useful, and even then I'm often swapping the multi-cam view to a full screen view of a particular camera if I need to check it for focus/exposure/framing. I like that the ATEM has dedicated buttons for it don't select which camera you're cutting to. I do like the button separation for the cameras. There have definitely been times that I've cut to the wrong camera because they are all in a line an I'm typically looking at the multiview or a specific camera that I'm using to do a rack focus or a pan. On the other hand, the dedicated buttons on the ATEM for sound, PiP, greens screen effects, recording, ect, are a help, not a hindrance. I'll sell you a Pro... so I can get the Pro ISO. Seriously though, BTM_Pix is right about the ISO being very tempting for someone considering the Pro. In terms of other hardware you want to get with an ATEM, unless you're going the bonded cellular route, you'll need a small ethernet switch with at least three ports: one for ethernet in, one for your computer and one for the ATEM. A hardwired connection really is a must, unless you're plugging directly into the computer with USB to use as a web cam for Zoom. Using the the USB web cam route for Facebook/YouTube is not a good idea at all. Both networks have issues recognizing the ATEM as a web camera, so then you'd have to use OBS or another such program, which negates all of the benefits of the ATEM series being an actual hardware encoder. Like I said above, you really will want a decent sized monitor, unless you're only using one camera. On field, if you don't have a lot of table space, you might want to mount the monitor on a light stand. You'll need one that's 1,000-2,000 nits, or get a massive sun hood. For sound, you can go SooC if you've got good mics on them. Since I stream concerts, I have the sound board give me audio into a MixPre 3 II, which I send into camera A so I don't have to worry about audio delay. Both the ATEM and the MixPre can delay audio, but why deal with it when you don't have to? In terms of how to get your unique link the league can sell, an easy option is to use an unlisted YouTube stream. I've done that for two virtual fundraiser concerts. If the league has e-commerce functionality on its website, you won't need a third-party solution for tickets. The league can sell virtual tickets. Once a buyer purchases one, the league can email them the link, or notify them a link will be sent to them sometime before game time. If you set up the stream as an unlisted stream you can then house it permanently on YouTube as unlisted and keep selling tickets to people who didn't see it live but want to watch it later. Or, you can decide to make it public after the fact.

It is a bit of a head scratcher. They probably will, in time. And it will cost... Yeah, but if you don't like shooting on gimbals all the time and prefer the cine-handheld style then the C300 still wins. It's a horses for courses type situation. About RAW on the C70, Canon has signaled that if they get enough pressure from consumers they are open to putting it in. Maybe as an over HDMI function?

How many people actually shoot video on hybrid cams using the EVF? I totally understand a side-mounted EVF for shoulder mount cams, but have never seen anyone shoot video from the traditional photographer's position.

Gotcha. Critical reading skills and all that. I've seen a lot of marketing material positioning the C70 to be a b-cam/gimbal cam/drone cam to support c500/300 A cams. Though being able to sync two wedding would probably be great, how many wedding shooters can afford $11k+ for a two camera package? I think a C500/C70 package is the ultimate low(-ish) budget cinema/doc package. All the benefits of a FF cine camera for your A cam and a gimbal/high frame rate b-cam that cuts perfectly and has best-in-class autofocus capacity. Now, if I could find someone to give me about $25k to buy/rig these out... 😉

Once you have a cage/clamp, the micro HDMI is no problem. I wouldn't let one stop me from buying a camera as good at the T3. Honestly, I think every camera used for video should have a cage.

My newer Ninja V shipped with the Zilr cable. Unfortunately, because I didn't have a cage/clamp for my X-T4, I bent that sucker in about a week. I have two Cromo branded cables by Lindy that work great and were super cheap. Amazon no longer carries them. I also have a Ugreen cable as a spare. Whatever you buy, buy at least two.

You mean the C300 II sensor, right? It's Dual Gain like the C300, and as one of the posts above shows, it blows the C200 out of the water in terms of dynamic range/underexposure recovery. Pretty much. Rumor is that it will have the C70 form factor and no raw. If it has 10 bit 422 codecs, that will be more attractive than raw plus 8 bit for a lot of people.