Adrian Sierkowski

Generally they aren't convertible to PL but you may want to talk to Duclos lenses they'd know better: https://www.ducloslenses.com/

It's a BNCR mount and if memory serves you can't convert that to PL https://en.wikipedia.org/wiki/BNCR_mount

It's pretty amazing for Canon to unlock RAW on a camera for this price. The same would be said if Sony did it on the FS5 or something similar. Blackmagic (which i spent the last 2 days with in RAW) doing it isn't really the same deal-- as it's not the same kind of company as Sony/Canon/Panasonic who have thrived on segmenting their products with "raw' or any flavor only being a recent (ish) adoption in their flagships. It's the same kind of kudos Red got by including prores when that's something Arri has always had.

Biggest problems I had was changing noise pattern and over-heating pixels when the thing was running for a long time.

Anytime Samuel.

Here's something to understand, things hyped on youtube or elsewhere are really not indicative of the industry as a whole. Youtube exists to make money for people, to get exposure, and so the people on there will do what they do in an attempt to get viewers-- and it's not as though it's in any way peer reviewed. You can say whatever you want to say about a camera thereon. If you want a good idea of what types of cameras are being used in the wild, you need to get onto sets and see what, how, and why they are using x or y system. You can then extrapolate that info (especially the whys) to new cameras which come out and reason your way into where it might fit later on. There is no guarantee this will be correct, every purchase is a rick-- trying to do business is a risk. You have to choose your own risks to take and sometimes you'll be wrong very wrong, but you stick through and work through the repercussions as they come out. Canon's return policy doesn't matter, what matters is the seller's return policy-- e.g. BH or Amazon or Adorama or whomever. I'll give you an example of risk. When my dad died I sold the house we co-owned because without his disability, and being in college, I couldn't afford it. I had a big wad of cash (income) i wanted to drop down for tax reasons, and having money at the time, I figured I could and should buy a camera. I had the option of a used S16mm camera or pre-ordering a new "RED" one camera (M sensor!). I chose the S16mm because I figured it was a proven system from a proven company. That camera eventually turned a profit and made me a much better DoP, but I didn't no make too much money at all. Had I bought a Red, I'd probably own a yacht by now given the market conditions I was in at the time. But I didn't. For a long time I regretted that, but that was silly of me to do because I was still working and paying bills. In you case, you eventually have to choose the risk to take, if you can't, then you'll loose. No matter which risk you take, it won't be the be all end all, but you eventually have to make your choice and work through the repercussions there-to (and not making a choice is in and of itself making a choice and you can miss out on something good). As for the C200 proper. I'm sure it will find it's place, like all the other "C" cameras and every camera has. It might not be as used as the C300mkII or whatever other new camera comes out, much like the Ursa v1 4K isn't used as much as the Mini Pro, or for a more recent example, the Micro Cinema Camera -v- the Pocket 4K (I am sure the pocket 4K will be used a lot more), but that isn't to say it won't be an item productions will lean on. As to the people here, many, I would assume, work in commercial, music video, and narrative which has never really embraced the C series cameras at all instead being dominated by Arri and Red, and to a lesser extent Sony. For most people here we use those cameras because of the whole ecosystem of rental houses and support that have grown around them and that momentum is hard to sway. The "C" cameras have always been more relegated to Documentary, ENG, Reality, and Corporate--- basically things for broadcast with quick turn around and deadlines as well as very specific post set ups which will run for a series of shows from a production company. Once they have settled on a camera system, it is often very hard to change those post things over and there is little time to re-learn and re-train on new cameras (and some smaller production companies may own all their own kit for the run of the show). So as the C200 is basically brand new, there is no way of knowing if it'll be incorporated into those situations yet (broadcast) but you can be fairly certain it will find a spot in the industrial/corporate world since it, like many of the "prosumer" cameras before it, comes in at a not awful price point. And all of this really isn't the issue; because it really doesn't matter what some other people do, what matters is what you choose to do and how you figure to present that. I don't think anyone can really honestly tell you the "right" thing to do because you'll have to analyze your own situation, market conditions, and formulate a plan to get you from where you are to where you want to be in that industry. This is a lot more than which camera to buy, but also what kind of profits I need to turn, what expansion plans I have, what is my debt ratio I'm comfortable with, what costs do I have to keep in mind and what is the primary type of shoot I am going to be 1) working in relatively soon and 2) planning to move into and thereby how does this particular system (camera, support, AKS, post ect) slot me into that next level. It has very little to do with the technical capabilities of the camera, but the business model around it and the person behind it. As for the forum universe? Who cares. I don't even own a camera, and that certainly isolates me, any more, from the indy world of film production as a whole which is really getting filled with owner ops. It really doesn't matter. And if anything it would be a benefit to have one person with a C200 on the forum to help all of those who come along later and teach all of us about the camera if you choose to get it (much like Tyler and his "pocket love")

You don't even need to gel it blue; you can cool it in camera if you wanted, or do it in post. If you just want EVERYTHING blue-ish, you can set your white balance to say 2700K.

It would be high and at an angle and yes light the over all scene, and to some extent the actors, The back-lighting acts to separate them as well as highlight the atmosphere, and then you can bring in another source-- whatever you can get away with, hell, even a small battery powered LED cheap-o light, right off of frame to give them some definition. I don't think space-lights would work as well as they aren't as large/soft/ as a large frame, so they fall-off won't be as good, but you could probably get away with it a bit if you had to.

It is a bit curious they haven't listed the base ISO yet; 400 (maybe 500?) isn't unreasonable as a base perhaps with a 1600 / 2000 "dual" base?

I'm really worried about missing out on it or anything; it'll eventually be in stock when I go to buy it and I'm not about to plop down and lock up any cash until some more information comes out. Not to mention the bad taste I have last time I've pre-ordered from BH and Adorama only to have cancelled, but still getting charged and the item shipped and then costing me more to ship it back to them.

I just hope you can "hot swap" external bricks with the camera defaulting to the internal battery via a plate, like the pocket and the cinema and production. If i pick this up for my birthday (also september) i'd be using a battery plate for it, but chances are i'lll give it a month or two to see how it plays out.

Sorry, Phil, we can only tell those secrets to other pros and sound grips.

That's what I'd consider doing-- Or using an 8 by of lite-grid up high with the Jem-Ball behind it just out of frame.

I'd look into getting a 6500 honda with 60a bates and then running as much LED as you can as it'll be the most efficient. A bunch of Aperatures bounced into a 12x ultra bounce or something for the "ambience" and some strong kickers and atmosphere.

Sure you will; as a B cam/rigged cam, and wireless would be nice. And even for an EVF you have. already on other cameras and want to bring this out. Seriously, it's not like it's a major ask to have given an sdi or mini sdi port. What would it have really added cost wise? It would just help differentiate it more from the GH series.

SDI is kinda a requirement to fit it into most workflows.. Yeah you can do a converter, but eh? And yeah an SDI Monitor may be expensive, unless, you know, you buy the black-magic recorders with SDI on them. Actually I wonder if those cross-convert. HDMI is really a crap connector, and I think most people would've happily paid a few hundred more for a better connector which would probably cost pennies to implement.

Yes, they do.

So far my big complaint is 4/3rds sensor and looks rather pain to get a HDMI locked cable in there.

I think the biggest issue of having it at home are the private companies providing the pipping to distribute, i don't know anyone who could afford a private data-line with enough throughput to handle running a media server at home. Lord knows I have enough trouble even watching Netflix in 1080p sometimes.

God help us all. It's like this all over again: If you're in the valley sometime looking for a beer/coffee/etc, drop me a message. And please drive on the appropriate side of the road! And god help you if you try to pull one of these on the 101 or 405:

I really doubt Russia or China would ever do something sans-censorship. Your best bet might be New Zealand which is where, I believe, the "Mega" servers had to relocate to in the whole "kim dot come" thing. https://en.wikipedia.org/wiki/Kim_Dotcom

I do think youtube is the primary monetize-er, though, not that i actually follow those type things.

I think a lot of that depends on the particulars of the project at hand and all the other people there as well as the budget. If we have what we need, then there's a lot less worry then if we need to figure out how to cover a scene without the right lighting or ability to light. A lot also comes down to the producers and directors you're working with and how well you seem to get along, it can sometimes be adversarial and there is no getting around the politics of filmmaking. Personally, Sometimes. It's not a restless sleeplessness, more that I'll get an idea and then a chain of ides which'll keep me up thinking them through. I tend not to look at movies for inspiration, and I tend not to like "reference films," personally, but of course there are many times when that's the form of communication with the director, and so you do have to watch them all. I never stop thinking about the film(s) I have in varying stages, but I tend to focus most on the one next at hand. It's not an all day everday kind of thing as life on the whole throws things which distract you but I'll be the most "in tune" with whatever film is next, until and unless something more pressing appears which requires more immediate attention. Generally I'm much more concerned with speaking with the director on the script, story and their ideas of how they want to convey it. Giving them my own ideas which might be better (or worse!) and figuring out the over-all plan for the movie and what the movie is trying to say. I'm concerned about the budget, how much we have to play with, and then I'll start thinking about the locations, and what challenges they'll bring. They'll be testing, if need be, especially if doing something new, or something you haven't done in awhile, to make sure it fits into the whole pipeline through post, lots of conversations with production design, wardrobe, makeup, gaffers, camera ops if needed, and the key grip and the ad and everyone else as we get closer to shooting, what issues the locations will bring up etc. Even when I'm not 'officially prepping,' e..g off of the clock, (ha!) i'm looking into things which have been brought up which I don't have as good a handle on as I should, or new things. Examples recently were Rat-Packs / DMX as I had a few shows which used them, and I didn't really understand them, so I went deep into reading all I could about them in my off time.. Just now I finished reading a script for a project I haven't even been hired on yet, and I'm starting to think about how I would approach some of the car stuff at night, where might we use a cool drone (and can we do a day for night on a drone? and VFX in car head-lights?) I might make some doodles of my thoughts and the printed copy of my script is covered in green ink all over with notes, ideas, lights we might need, lenses I'd like, diffusion filters I think would work, aspect ratios, as well as my own inner dialogues-- writing out with arrows my thought processes. And I haven't been officially hired! and may not be. Tomorrow I go to a prep meeting for a short I'm working the end of the month. We've done over-heads and shot lists already, had the talk on budget and things we'll need, but tomorrow we'll talk scheduling (as there's a conflict) so tomorrow I'll be going over everything we're doing end of the month with the AD, director, producer, trying to figure that all out-- but I'm sure i'll also be thinking about what I want to make for dinner. Is my Fiance ok, I hope she's not mad I'm taking longer than I said I would (she won't be), oh my god I need to get gas in the car and I'm on the west-side and it costs too much here etc.

There're around. I don't recall the names/models off of the top of my head, but a quick google search produces these: https://www.amazon.com/Full-Spectrum-Fluorescent-Lamps-PHILIPS-950/dp/B0009INXIO granted, those are T8 and not T12 (normal Kino) but still, seemingly nice and high CRI lights. As these are all 90+ CRI you could use them for film: https://www.bulbs.com/90+/Fluorescent_Bulbs/results.aspx You really won't get super high Lumen for a typical tube w/o over-driving it as you do with a Kino.

They (and a few others) just use a better chemistry for the coatings on the inside which is what actually fluoresces. GE and Phillips also make high CRI tubes (or at least used to) which were comparable to Kino quality without the price. Also Kino tubes are designed to be run in "overdrive" e.g. they overpower them a bit for output and color fidelity (hence why a Kino won't look as good in a non-kino ballasted situation, such as my kitchen where I have K32 tubes). Almost all non-tungsten light has a green spike, including HMI and LED, it all just depends on how broad, strong, and where in the green color spectrum the spike is as to how it'll read on a camera/film.