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A little update in case it's of use for others: I found the touch tracking AF on the C80 to be quite good, and generally good enough to follow the trucks during the race (though not as solid as my FX6). That said, the biggest challenge was keeping an eye on framing and following the vehicles...

If you are comfortable in the Canon ecosystem there is an argument to be made for sticking within it. Especially for keeping the cost of upgrading as low as possible. This is doubly true regarding media. Lens and media purchases will easily double or triple what you spend on the camera body...

Interesting, Doug. I haven't seen all the shows in your A/A+ list, but of the ones I have seen I'd agree that they are in my top tier. Based on your takes I think you'll find The Wire to be another A/A+ show. As for your "skip" list, I enjoyed seasons 1 of Stranger Things and Westworld...

Tough crowd, @Doug Jensen ! I'm still torn on how I'd rank season 1 vs season 2, but I thought both were excellent. And amazing cinematography, as you noted. I'm curious to hear what show you'd give an "A" and what you'd give a "D", for reference here.

I'm not sure the station likes (or permits) people using personal gear of that value (likely for insurance reasons). All of us end up using smaller, cheaper personal items on occasional shoots but aside from a couple instances where I was filming B roll outside of normal work hours (and thus...

Thanks Rob! I just watched this the other day after you recommended the channel. It looks like the C80 might be up to the task, but as you note their scenario featured unobstructed views (which may be the case for us, as well—that remains to be seen). In any event, we're still hoping to do...

There seems to be growing consensus that the C70 is not to be trusted, while the C80 *might* be workable (and is a significant leap over the C70). I'm hoping we'll be able to do some testing in the coming weeks. Thanks very much for all who chimed in so far.

Thanks very much for the input everyone. Glad to hear the C80 (may) be up to the task, though we'll do our best to get some testing in beforehand. This is for public television, though, so there's not much budget for renting just to test things (even less so these days). Those decisions are...

We're hoping to test the cameras in advance of the shoot but it all depends on whether they're available for us to test. It's a busy shooting season where I work and other units are also booking these cameras for their shoots.

I have a shoot coming up in a few weeks with a C70 and a C80 at an off road style race. I've covered similar events with my FX6 and found that the touch tracking AF was basically flawless: I could select a vehicle on the LCD and basically be guaranteed it'd be in focus for the duration of the...

I finally got around to watching Season 1 of Severance and wow, that is some fantastic TV. Truly one of the few shows that not only lived up to the hype but exceeded it. Super smart, beautifully and intelligently shot, and compelling as hell. Time to dive into Season 2...

Thank you for such a detailed explanation, Chris! I'd never even considered the variable of the image circle and sensor size when taking into account the resolving power of those old B4 lenses. I really appreciate that. I don't have any old B4's or adapters lying around, but I'm tempted to try...

Great write up and demonstration—thanks for sharing! At least on YouTube the quality for such an extreme telephoto looks pretty damn reasonable. And am I correct in assuming that's a Standard Def B4 lens? Do you happen to know the focal length at the extremes of the wide and zoom?

Fantastic write up, Charles, and not something I have ever thought about in the world of production. This may be outside your wheelhouse, but do you know how this was handled before widely available LCD panels? Were they essentially doing the same thing but with CRT monitors?

This is literally what I thought as well.

"Bleak and slow" is a vibe that I can get on board with :cool:

Woah! That's high praise. I've been curious ever since listening to a podcast episode about some of the philosophical issues raised by the show. I'm currently enjoying three free months of Apple+ so I'll add this to the list. For anyone interested in it...

I can't speak to the F5, but in the FS7 and FS5 you could raise/lower the actual gain. I'm pretty sure the FS7 also had a Cine EI exposure mode as well, although I only used that camera once years ago. The FS5 only operated on the premise of actually changing the gain (i.e., there was no EI...

I believe the F55 had a different sensor from the F5, FS7, and FS5 (which all shared a sensor), which may explain the need to "overexpose" the latter but not the former. That said, unless I'm shooting at High ISO and want the cleanest image possible I've found no reason to expose the FX6 one...

Just had a chance to watch this—fantastic! Really funny and a great homage to noir tropes and styles. Well done, Charles! And thank you for sharing it here.