C70. When is this bad boy going to start shipping?

[Ben_Ericson]

I guess I'm leaning towards the Delkin cards.

I notice the top handle on the C70 feels rather brittle and unpleasant to the touch. I should still have a Rode Video Mic Pro laying around somewhere which I haven't used since my DSLR days. That may be a good fit for the camera to go straight on the hot shoe and perhaps a top handle isn't needed.

I've been rocking that setup for handheld stuff. I also own the Rode Video Mic Pro.

The top handle and the charger are probably the two cheapest feeling / looking parts of the setup. Does anyone happen to know if the OG C100 or C200 top handle would fit?

https://www.bhphotovideo.com/c/produ...QaAlTAEALw_wcB

[Run&Gun]

The only PL mount lenses I own are Arri Ultra Primes which are pretty lightweight at about 2.2 lbs each so they shouldn't need lens support. All of my Canon cinema lenses are EF mount, though according to Run&Gun I can remove the EF mount on my 17-120 and there's PL mount hidden in there or something, but I haven't tried it.

I don't think I know any C70 PL mount adapter owners. That's what DVXuser is for!

Yeah, SmallRig has a lot of things that Wooden Camera has at half or a third of the price and SmallRig's stuff is good. I just bought a C300 Mark III and accessorizing that and trying to decide between some Smallrig items and Wooden Camera items. $1600 for the C300 Mark III PL mount is going to hurt. That's even more money than Arri's PL mount.

It's not hidden, the factory mount has to be replaced. I bought the Abel Cine/IBE Optics swappable mount system for the 17-120. They remove the factory mount and replace it with the IBE system that is a "base" PL mount. Then to change to different mounts(EF, FZ, Nikon, etc.) you simply remove the inner ring/portion of the PL mount(4 captive screws) and pop on the other mount. It secures with a 1/4-1/3 turn and it rock sold on the lens, being as it is essentially PL mount(back of the lens and front of the adapter). The nice thing about the AC/IBE system, it maintains all of the electronic contacts for PL(Arri LDS and i/data) and EF. It takes about 30 seconds to change. Even though I probably use my 17-120 as a PL lens about 90% of the time, the swappable mount system was worth every penny to be able to use it natively on my C300 and clients, as well. I've even rented it out in EF configuration to a friend with an Fs7/II, because he didn't have a PL adapter for the camera, only EF.

[Eric Coughlin]

Now that I'll have PL-mounts for my C300 Mark III and C70, it may make sense to use the 17-120 with PL mount. But, since my other Canon cinema lenses are EF mount, it could be more of a hassle to change the camera mount in order to change lenses. Considering the 17-120 is generally recommended to have lens support regardless of the lens mount, I feel like there isn't necessarily an advantage to using PL mount. So it seems to just be a matter of using whatever mount you are most commonly using on the camera.

The RF mount setup seems kind of cool in that it looks really easy to change from EF to PL with adapters. I just worry about some adapters lacking rigidness.

I'm seeing Metabones has an RF to PL adapter as well which has five good reviews on B&H, the only adapter on there with good reviews. Though some of the reviews said it's not fully rigid without additional support, which sounds like a pain. Vocas, Kipon, and Fotodiox also have adapters as well as a few other companies. Vocas tends to make good gear.

The Metabones one says "Infinity Focus Maintained," while Wooden Camera has shims available to adjust flange distance. Does this mean the Metabones flange cannot be adjusted and that could cause issues? I don't have a good understanding of flange distance and shims.

Even though I probably use my 17-120 as a PL lens about 90% of the time, the swappable mount system was worth every penny to be able to use it natively on my C300 and clients, as well.

Wait a second, you mount the 17-120 natively on your clients? Which hole do you mount it to? I wouldn't trust clients with lenses because if they mount it to the wrong hole you'll end up with crappy footage.

[Eric Coughlin]

It'd be interesting to put the Canon 50 f/1.0 on the full frame adapter on the C70 and get an f/.7 aperture.

[Run&Gun]

Now that I'll have PL-mounts for my C300 Mark III and C70, it may make sense to use the 17-120 with PL mount. But, since my other Canon cinema lenses are EF mount, it could be more of a hassle to change the camera mount in order to change lenses. Considering the 17-120 is generally recommended to have lens support regardless of the lens mount, I feel like there isn't necessarily an advantage to using PL mount. So it seems to just be a matter of using whatever mount you are most commonly using on the camera.

The RF mount setup seems kind of cool in that it looks really easy to change from EF to PL with adapters. I just worry about some adapters lacking rigidness.

I'm seeing Metabones has an RF to PL adapter as well which has five good reviews on B&H, the only adapter on there with good reviews. Though some of the reviews said it's not fully rigid without additional support, which sounds like a pain. Vocas, Kipon, and Fotodiox also have adapters as well as a few other companies. Vocas tends to make good gear.

The Metabones one says "Infinity Focus Maintained," while Wooden Camera has shims available to adjust flange distance. Does this mean the Metabones flange cannot be adjusted and that could cause issues? I don't have a good understanding of flange distance and shims.




Wait a second, you mount the 17-120 natively on your clients? Which hole do you mount it to? I wouldn't trust clients with lenses because if they mount it to the wrong hole you'll end up with crappy footage.

I still feel there is an advantage to PL with that lens, even though I support it in PL and EF. It's such a pain to mount it to my 300, which is just the standard EF(non-locking mount), because I have to completely support it with one hand while securing it(adding second iris rod[can't clear the rod on the grip side of the lens when attaching], clamping it down, adding lens support then screwing the support foot into the lens and then securing all of it), because it "flexes" the mount otherwise. When it's PL, it just slide straight into the mount, like a B4 lens, and it's strong/solid enough I feel safe in nut fully supporting the lens for the few moments it takes to secure the lens support to it.

Well, if they like Mapplethorp...

And if they've had a colonoscopy in the last 24 hours, you can usually avoid the crappy footage.

[Eric Coughlin]

Does anyone know if the C70 or C300 Mark III have mic power output through the 1/8" port? The C300 Mark II doesn't have that so I'm guessing they don't.

What is a good mic to plug into that port for an on-camera mic? I like to leave my XLRs free for other tasks. I've been using the Audio Technica AT897 plugged into my C300 Mark II 1/8" port which I like because it has 1600 hours of battery life on a single AA battery, there is no on/off switch so the mic seems to magically turn itself on when the camera is using it and then turn itself off when the camera is not using it, which is great, because it means using the mic is very little hassle in day to day shooting as I just need to replace the battery once every few months and I never have to worry about having forgotten to turn it on.

A lot of mics you have to turn on and off like the Rode Videomic Pro I have, and the battery life tends to be closer to 50 hours. The only real downside of the Audio Technica is that it is rather long, so if I could find a shorter option with a long battery life that automatically turns itself on and off, that would be ideal.

[Clermond]

Does anyone know if the C70 or C300 Mark III have mic power output through the 1/8" port? The C300 Mark II doesn't have that so I'm guessing they don't.

What is a good mic to plug into that port for an on-camera mic? I like to leave my XLRs free for other tasks. I've been using the Audio Technica AT897 plugged into my C300 Mark II 1/8" port which I like because it has 1600 hours of battery life on a single AA battery, there is no on/off switch so the mic seems to magically turn itself on when the camera is using it and then turn itself off when the camera is not using it, which is great, because it means using the mic is very little hassle in day to day shooting as I just need to replace the battery once every few months and I never have to worry about having forgotten to turn it on.

A lot of mics you have to turn on and off like the Rode Videomic Pro I have, and the battery life tends to be closer to 50 hours. The only real downside of the Audio Technica is that it is rather long, so if I could find a shorter option with a long battery life that automatically turns itself on and off, that would be ideal.

If you need phantom power by a battery all these lenses will be long.
You might have look at the ME66/K6 combo. It's long too but it has a very high sensitivity.
I bought a second one recently used for 250€

[Eric Coughlin]

ME K6 has 150 hour battery which is not as good as the Audio Technica at 1600 hours.

[Run&Gun]

ME66/K6 was the first boom mic I bought about 20 years ago. It would be RIDICULOUSLY long to put on a small camera like a C300 or even smaller camera like a C70.

[puredrifting]

ME66/K6 was the first boom mic I bought about 20 years ago. It would be RIDICULOUSLY long to put on a small camera like a C300 or even smaller camera like a C70.

Not to mention it's a really, really bad sounding microphone. I have the ME64, 66 and 67 and when I pull the kit out and try it through my Sound Devices Recorder,
they sound terrible, even compared to much cheaper modern mics like my AT-875r. Nobody should be using this mic in 2021, it's old tech and has not aged well, unlike the 416.