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  1. It really depends on what you will be shooting. You haven't said. Personal stuff? Commercial work? If so, what kind? Narrative, corporate, documentary, etc? That will determine what you should get. While I like the BMPCC 6K's image, I would never use it on a corporate shoot for example. For narrative projects, perhaps (again depends on the project). Same with the RED Komodo. For doc and corporate shoots, I would use Sony or Canon as they are more robust and reliable. I would always prefer to have two cameras instead of one, but I wouldn't mix brands, as matching them in post will be a nightmare. Budget is another thing to consider. What is your budget? For $10K, I would get a Sony FX6 and a Sony A7S3 for example. I think that's a great combo for many types of shooting scenarios. Both are full frame, easy to match, etc. My 2 cents with the little info you provided.
  2. While I agree with the sentiment of your post, it's important to point out that higher end cameras don't mess with the signal as much as consumer cameras do. Stuff like NR, sharpening, etc. Some that cannot be turned off, even when shooting "RAW". And this can be very important, as that determines your starting point.
  3. Same can be said about "Proud Mary", link below. Of course these are extreme examples, with multi-million dollar budgets that allow for big productions with very expensive lenses, rigs, lighting, crews, etc. Then you have access to the best coloring and grading in post. So while it's true that it can show what the Sony sensor can do, for people here, they won't be able to get there so easily. And that's when a larger camera like the FX6/FX9 will help, with more flexibility, more I/O, etc. I think the key is to focus on flexibility when you are a one man band or a small crew. Which camera will offer you the most flexibility and make it easier to get the end results you seek. Yes they can all get there, but choose a realistic path (e.g. not the "Possession of Hannah Grace" or "Proud Mary" paths), and that will lead to the best camera choice for you personally. https://britishcinematographer.co.uk/dan-laustsen-dff-asc-proud-mary/
  4. We'll see, I guess. H.264 was adopted a lot faster however. BTW, the FX6 doesn't do H.265, only the A7S3.
  5. In many ways, it seems like the wrong time upgrade to a 4K camera now and a more powerful computer. Canon is moving to RF, and for sure in 2021 will have better RF C90/etc, and Apple is making a huge hit with their new processors that just came out. A month ago I was ready to get a loaded Mac Pro and the C300MKIII, but now I'm not so sure. I may rent for any projects that need the 4K until next summer perhaps. Those Apple chips I had doubts about, but they are ridiculous it seems. Hmm..
  6. Need to upgrade to a 4K camera from my trusty C100MKII, and am a bit confused on codecs used and where things are headed. I understand HEVC/H.265 and how it's a better distribution codec as it has similar quality to H.264 but at lower bitrates (smaller files), but what I don't understand is why some cameras like the new R5 and A7SIII use it, while the C300MKIII for example does not. And what does the future hold? I ask because I will also need to upgrade my computer, and seems this H.265 is to be a pain to play back and edit on, requiring hardware decoding/acceleration, like the new Apple M1 chips have, the iPhones, iPads, etc., but none of the big name NVIDIA or AMD GPU cards have (at least not for 4:2:2 10bit H.265). What's the deal here? Are cinema cameras like the C300MKIII designed with the assumption that the "more pro" user is not as concerned with storage, so the smaller files/bitstreams allowed by H.265 are not as important in a workflow as they may be to a "less pro" user using a DSLR/prosumer camera like the R5 (or A7SIII)? Otherwise why not have it? It's not like the C300MKIII and the R5 were released years apart. I don't get it - I'm missing someting. Confused...
  7. Never owned anything Sony when it comes to cameras, but this could be a first. The Canon C70 looks nice, but at that small size and low weight it needs IBIS IMHO. That's my biggest concern with the C70 - handheld footage and no IBIS. The Sony A7S3 checks all the marks.
  8. True. Wishful thinking on my part. Perhaps there is room for something between the C70 and the C300MKIII. Just not a fan of the C70’s form factor.
  9. Agreed. This thread is mostly about codecs, but to me the ergonomics are just as important. Having named it the C70, that leaves some hope that perhaps they will have a C100MKIII at some point, full XLR, BNC?, larger/modular form factor/ etc. for $2K more. Dunno. Many are saying this IS the C100MKIII, but then they would have called it that no?
  10. Still using my C100MK2, in fact just wrapping up a corporate promo video this week, but need to go to 4K soon, so the C70 vs. C300M3 has got me thinking. While I do like the smaller form factor of the C70 (and of course the price), the one thing I do wonder is if a camera so small and light without proper IBIS will be more difficult to handhold and stabilize than a C300MK3. Weight gives better stability when handheld, but size does too, as it's easier to brace a larger camera (for me anyways). Any thoughts on this? Another thing I noticed that makes me a bit nervous are the exposed audio controls. The cinema cameras so far have a small plastic door to cover them. With the LCD open on the C70, can be possibly easier to change the input gain on the audio by mistake.
  11. Quick question. There's a setting (see screenshot attached) on my NINJA V which allows adjusting for any audio delay that the camera may have over HDMI to the NINJA. I'm using the C100MKII, and was wondering from people here if they know what the delay is for this camera. I know from reading, that some DSLR cameras, like Sonys or Panasonics may have 2-3 frames of delay, but not sure of the C100MKII. I of course tried it, and I can't objectively tell of any delay. So I had my Audio Delay setting at 0 on the NINJA. But then I though to go all the way to 5 and even 10 to see what the result would be, and the result is the same - no delay. So out of curiosity, I have 2 questions: 1. C100MKII owners that use the NINJA V, and delay you notice? 2. If no delay, like I'm subjectively seeing, then wouldn't setting it to 5 or 10 frames make it actually have the audio be 5 or 10 frames *before* the video? Curious about this. I tested with the onboard mic as well as a Sennheiser 416 XLR mic I'm planning to use. Again, comparing audio from internal cards to external NINJA files, I don't notice delay, no matter the setting.
  12. Yes, this is the key point (at least up to 30fps, not sure if you can record HQ external 60/120fps unlimited. So the only question I have is, as I've said above - is this intentional crippling by Canon for internal recording, or is the heat buildup happening just from the cards being in there and/or written to? If not, then a firmware should in theory fix this limit.
  13. I'm confused 🙂 Which video - I just looked and couldn't find him talking abbot that. Then the video after your reply, says it's indeed HQ out to Ninja (or no-HQ if you choose). So the only limitation seems to be it's HQ only up to 30fps? But yeah, my point is if it can do this externally, then a firmware should fix it internally too. Unless the fact that there are no cards is cooling the camera so much, something that's hard to believe, no?
  14. So then if it can record externally 4K30 HQ for 4 hours (with cards removed and whatever) does this mean there could be a firmware update to fix the internal recording. I guess I don't get why it would work for 4 hours externals to the Ninja, but overheat like crazy with the cards inside, unless not having cards is cooling it? Seems Canon will come out with a firmware to not cripple internal recording then?
  15. Not sure if anyone brought this video up, but somewhat interesting. https://www.canonwatch.com/canon-eos-r5-records-4-hours-4khq-at-30p-video-externally-with-some-simple-tricks/?fbclid=IwAR27M-11lKCRpAOQBV_4L9-Gi7W9nCTXPEyGsUMLKVdd_lzNK0cRuAxJtUI Not sure what to make of it. And does anyone know, is Canon sending HQ to the Ninja or line-skipped non-HQ, and how to tell? Ninja encodes in ProRes, how does one know?
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