EphraimP

Makes me wanna puke. Hate weddings and most of the above. Even this summer with jobs significantly down, I rejected all weddings jobs I was offered. I need a 4-5 years brake for the ones I did a few years back!
Please do a wedding thread and talk there. 
This is a C70 Canon camera thread. Let's talk hardware.

Surely you meant HOURS not days? Otherwise CAD$3800 is waaaaaaaaaaaaaay undercharging!

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. 

Okay - I'm gonna say it...
Can we please move this thread back on topic? 😉

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.

Thanks for the input.
yeah, i shoot interiors and dealing with white balance is one of the major challenges. And the thought of dealing with h.265 is a bit daunting (although I would probably transcode first).
Thanks again.

You can see how easily a camera can justify having a price an extra two grand higher (convenience factor + quality VND cost + spares + adapters) just simply by having internal NDs, let alone any other additional feature in the C70!
 

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.

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. 

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. 

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.

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.

External RAW via HDMI doesn’t interest me, personally. But it might be a great value add incase you want to squeeze out those extra stops of DR and match C300 Mark 3. 

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.

That comment aged badly!
 

That's "F2.8 equivalent" by the usual Super 35mm standard. 

S35 F2.8 DoF is plenty fast enough for shallow DoF for many filmmaking purposes. 

Man, I've been shooting full frame glass on crop sensor bodies since the 30D (up through the 70D and 80D). Now, between my Metabones and Vizelex nd throttle I can either get that full frame FoV with increased aperture or boost my focal length with VND behind the glass. 
If the X-H2, when it finally comes out, is closer to a cine Super 35 cine camera than a full frame hybrid, I personally will be in heaven and snatch one right up.

Yeah, definitely not a fan of the color grade. Who wants their kids to have gray skin tones? 

Just keep on using them! But buy one more extra lenses: on the wide end (such as Tokina 11-20mm f2.8), to keep your covered for the smaller APS-C/MFT sensors. 

Really don't get all the complaints about non-FF cameras, just because of the lenses they own currently. It is one of the easiest problems to solve!

I can speak to the Metabones adapter and a few  non IS EF lenses. I've use mine over the past few weeks with the 17-40L, 70-200 f2.8 (non-IS) and the 50 1.4. I didn't have receive any error messages about IBIS from the T4 when using these lenses  and was able to toggle Boost on and off. So I've assumed that IBIS was working with them. I just played around with the 17-40 and looked at footage I shot the other day with the 70-200, and it definitely seems like the IBIS is working. 
I have a 180 L Macro I can play with at some point, and I have a dumb Vizlex VND adapter I can put on and see if it makes any difference with IBIS and EF lenses, but probably not today.  Slammed with work projects and freelance stuff right now... a good place to be.
I'm happy with the Metabones speedbooster so far. I need to figure out an EF lens with good native autofocus that would fill a hole in my lens collection to buy and test with the Metabones. A  prime in the 50 to 80 range would be the ticket, I'm just not sure which lenses to look at here that aren't L-series. All my personal EF glass is L-Series, but I don't necessarily want to spend a grand+ right now on an adapted lens.

Still working on getting familiar with the metabones adapter. I used it to get a little b-roll for a mini-doc on Tuesday. I just received an EF 50mm F1.4 that I bought for my daughter's birthday (she picked up my 80D when I got the T4) and I'll throw it on the T4 and maybe my T3 for some quick tests before I give it to her.
On the overheating side, I used the T4 for the doc shoot Tuesday, recording internal at 1080 and externally at 4k DCI. I typically do that so I have backup files that don't take up as much storage space - post-production is all in 1080. We recorded interview footage for about an hour, doing 5 to 15 minute takes, with b-roll recording before and after. The T4 definitely got warm to the touch but it never overheated or gave me any problems. We were outdoors in temps up into the mid 90s F/30s C, in the shade as much as possible. That's encouraging to me, because that's my typical shooting scenario. 
With even the new A7S III having some reports of overheating already, I think the T4 will meet my needs. Overall, it's a good package and with a Metabone and a Ninja V is up there with the new full frame offerings in terms of performance for the price (unless you want RAW) with a lot more flexibility.

I have a couple of these out in the woods right now:
https://www.reconyx.com/product/XR6-UltraFire-High-Output-Covert-IR
A client I'm working with on a series of social media shorts sent these to me just for fun. He's using them on another project, a long-form doc on forest recovering from wildfires that has funding from Nat Geo. I suspect the images is about as good as you can get out of a trail cam.

They all suck.  😉 Get a DXA-Micro Pro or a recorder like the MixPre 3.
Actually, the only camera in the review I have experience with are the X-T3 (my daily driver). It sounds like all of them but the Sony are pretty usable. I'm definitely impressed by Canon's improvement. My 80D's preamp is useless. Still, I love the ability an external preamp gives me to XLR microphones and multiple mics (boom plus lav usually).