EphraimP

21 minutes ago, Oliver Daniel said:

Just had an email to say my C70 will be delivered by tomorrow! 

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

On 11/5/2020 at 2:28 PM, BenEricson said:

Man, I just don't see it. I love the specs, but a lot of this footage just reminds me of cheap DSLR footage with a poor attempt at a "film look." 

The C300ii or older canon footage, (pre DGO sensor,) looks dynamic and beautiful with very accurate and balanced color.

I do believe that you can a get a more neutral / classic look with this camera, but curious why a lot of the videos have a similar look. Maybe trying to grade a C-LOG2 file from scratch? 

I've heard multiple people mention they love the IQ and the reviewer above is raving about it. The specs and size are great, and the images have a low noise floor, but do these images really knock people off their feet? All the praise over these images makes it sounds like we're all talking about the Komodo or something.

https://vimeo.com/472141764 / More C70

https://youtu.be/ohTfU1trOIo / Random C300 Mk2 video

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. 

6 minutes ago, IronFilm said:

I'd be very surprised if a camera this popular will get a big price discount on sale so early on. Wait until 2021, at least. 

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.  

8 hours ago, fuzzynormal said:

When you have the luxury of time to set up your shots.  Run and gun doc filming needs proper exposures at a moments notice, usually through various light levels WHILE FILMING.  I hate the variable ND affects the IQ, but I use them anyway because they're a valuable tool.

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.

6 hours ago, androidlad said:

X-T3 V4 firmware download:

https://fujifilm-x.com/global/support/download/firmware/cameras/x-t3/

How's it working?

22 minutes ago, Geoff CB said:

If you have the original drive with footage on it put it back in the recorder and record a new clip. Then try and pull the files again.

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!

22 minutes ago, Kisaha said:

In the AngloSaxonic world, I remember BF was a huge deal though. Where do you live?

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.

6 minutes ago, Kisaha said:

What BlackFriday? This ain't a phone?!

🤣😂

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?

10 hours ago, Kisaha said:

Ι am not searching for the smaller camera, I have the NX500 and NX3000(Samsung cameras!) that are very small for what I use them for. For pro work the NX1 has the best ergonomics ever in my opinion. The X-T bodies never were convinient for me. I believe we have plenty of good hybrids, the next market war will be in cheap-ish, and "good enough" small video cameras, Fuji HAS to compete in this and they certainly have NOTHING to loose, or a bigger and more expensive cinema series to protect.

If you put everything the X-T4 has, into a bigger body with all the "pro" features we need for video, it will be enough to cut sales from C70 and FS cameras, but we need reliable and non overheated bodies, unlimited video recording, with ND, XLR and other I/O (I am not sure if SDI is needed here, definitely some sort of TC) and a better grip with a big battery. A reliable video tool, a workhorse without any compromises in ergonomics and codecs (no, raw it is not a neccessity here!).

There is obviously a market here, dominated by Canon/Sony for very long, I believe Fuji can, and should undercut them in price and improve their ecosystem.

Obviously they are fighting with Panasonic for the top-bottom of the market (if that makes any sense!), and they both had 4% sales last year, Fuji with just a few bodies and Panasonic with a lot more and all over the place, with a couple of careful body releases and a few more specialized video lenses (even a specialized 16-70mm 4f PZ, one) can easily dominate the dedicated video camera low end market, which is quite big. 

We still searching for the new C100, the C70 can be it, but still a bit expensive, Canon seems to do all the right things lately, they even offer their own speedboosters (I would never expect that Canon even cares for such things, and suddenly they offer vND adapter, and speedboosters!), there is still a market at the 3 - 5000euros up for grabs, I believe Fuji can delived one even as little as 3.500euros, and then we are talking!

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. 

13 minutes ago, Kisaha said:

Video camera, C70/XC style. ND/XLR, grip, battery life, unlimited recording, no overheating e.t.c

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.  

57 minutes ago, Kisaha said:

Still waiting for a small video camera to happen!

Fuji deserves it, we may deserve it.

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

1 hour ago, Mmmbeats said:

Okay - I'm gonna say it...

Can we please move this thread back on topic? 😉

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.

23 minutes ago, herein2020 said:

I agree, a lot that can go wrong...lets not forget trying to find a piece of dust or dirt amongst all those layers of glass. The current ND filter adds a slight shift to green, but it's fixable in post, the image is also a bit softer but it works for the cinematic look.

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.

42 minutes ago, independent said:

And internal NDs aren't absolutely necessary, but It certainly sucks to fiddle with screw-on filters, fight image degradation with variable NDs, or spend thousands on matte boxes and filters. 

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? 

36 minutes ago, herein2020 said:

Am I the only one who misses the electronic level found in most MILCs and DSLRs? I don't understand why it is missing from the C200 and I would assume it is also missing from the C70. I religiously use the level in my GH5 to double check my gimbal horizon and when setting up on a tripod especially since I offer real estate video tours where a level horizon is critical. 

It's so annoying to pay $5500+ for a body and not get this basic functionality.

I didn't realize that C-series bodies don't have an electronic level. That's a huge bummer.

On 9/27/2020 at 6:48 AM, BTM_Pix said:

Feelworld have announced an interesting alternative to the ATEM Mini.

https://feelworld.ltd/products/feelworld-livepro-l1-multi-format-video-mixer-switcher-4-x-hdmi-inputs-real-time-live-streaming?gclid=EAIaIQobChMIusbQwLeJ7AIVUBHgCh2oNwhUEAEYASAAEgIrMvD_BwE

Its the same $299 price as the ATEM Mini but its slightly smaller and has an integral screen.

 

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. 

On 9/27/2020 at 7:07 AM, Kisaha said:

great info!

I would expect more people are going "streaming" these days, especially in this forum, and we will see more hardware solutions soon.

This Feelworld maybe more available as well, than the ATEM, the pro though, is very very tempting..

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. 

2 minutes ago, Andrew Reid said:

I am wondering why the put the best chip and image in the stills camera.

Full frame.

8K.

RAW.

So why not put that in the more expensive model as well?

It is a bit of a head scratcher. They probably will, in time. And it will cost...

Just now, Video Hummus said:

If you don’t need RAW and were shopping for the C300 Mark 3 then you could get two of these and sync them up for the same price. They work better on a gimbal as well. Seems good to me.

I’m still flipping between this or a R5. The RF glass prices are butt hurting.

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?

38 minutes ago, Trek of Joy said:

Some of this is interesting, certainly the DGO sensor, smaller form factor and the OEM speedbooster - but not interesting enough to make me cancel my a7sIII order. The lack of an EVF in 2020 on a mirrorless camera is just a head scratcher. Adding a $1000 Zcam or some ancient Zacuto one is silly on a $5500 camera. WTF Canon?

Chris

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.

5 hours ago, Video Hummus said:

I’m referring to the still rumored C50.

The C70 has the C300 Mark 3 DGO sensor.

Gotcha. Critical reading skills and all that.

5 hours ago, Video Hummus said:

I think this camera is more aimed at solo shooter doing paid gigs like weddings, event shooting, small business commercial stuff, YouTube.

You timecode jam two of these at a wedding and shoot to your hearts content. If it took stills it would be my all in one. But lets see what they do with the IDX RF camera. Very likely could be a FF C70.

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... 😉

6 hours ago, Geoff CB said:

That Micro-HDMI is one of the main reasons I didn't buy a XT-3

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.

1 hour ago, Video Hummus said:

It’s all but confirmed to be C200 sensor so no crippled FF sensor or anything.

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.

20 minutes ago, IronFilm said:

People think there will be a C50??? What will that be, a C200 without raw?
 

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.