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Netflix approves cameras based on a list of must-have features that make their job much easier. Famously, their list doesn't include most Arri cameras because they aren't technically 4K. Other than that, it's a good way to tell what cameras have all the features that bigger productions need...

They don't make flash memory (they get it from big suppliers like Lexar), but they do sell certified memory for specific applications. They are very popular with the video and motion picture crowd because their modules are high quality and always work as advertised. I started using their...

Henry's carries Angelbird, but they don't list SD cards. I bet if you asked them they would add the listing. They've done that for me before when I asked about a product that they don't list, from a manufacturer that they carry.

The designs aren't "old," they came out just a few years ago. They are old-style designs in a way, since they don't use aspheres or ultra-expensive glass. That's not a bad thing, especially for relatively slow lenses.

The classical application is so that the camera operator can tell where the boom mic is, and keep it as close too the top edge of the frame without being visible.

4K60P over-crank is a useful thing. You can use it to stabilize hand-held inserts and cutaways, as well as other MOS shots. I wish Canon would offer it, but it's not a deal-breaker in most cases. It just requires some extra planning so that you have an over-crank-capable camera around when you...

The Alexa 65 has an even larger sensor (around 5cm wide). The FF (really "VV" for Vistavision) competitor to the C700, and to the Venice , is the just-announced Alexa LF. Will shows use this format? It depends on the look that the director/cinematographer want, and how far the budget can...

Makes sense. The Sony Venice FF cinema camera is getting a lot of positive buzz. Canon needs to play in that field.

Rokinon/Samyang/(whatever other names they use) sell wider lenses in EOS-M mount. Those are the same lenses they sell in M4/3 mount. The angle-of-view difference between the 4/3 and (cropped) APS-C should be minimal in 16:9 video mode.

The EF-M 11-22MM is a native EOS-M lens. Look it up. It's also 1/3 the price of the Panasonic lens you mention. I think a cheap 4K EOS-M can be useful as a crash cam or second/third/fourth cam. There are other options, but they either have lower quality, or cost a lot more.

I'm not sure the crop is a huge problem, given that you can run a zoom that starts at 11mm. I never go wider than 16 in APS-C video, and 11 is (approximately) the same angle-of-view with the crop. I wonder if these will get used as crash cams. They will be almost as cheap as GoPros or the new...

My guess is that the C300 will get the C200's awesome RAW codec. ...and yes, it really is a great CODEC for many types of narrative work: it's very small for RAW, and it doesn't require an external recorder. Sure, it's a bit much for quick jobs, but it's really the best thing for shows that...

The reason why the 1.2 is slow to focus is because it is unit-focusing. That means all the glass moves back and forth. That's a lot of weight to move. An AF-optimized design would use a light "focusing group."

4096x2160 is the sensor resolution used. The footage can then get cropped to 3840x2160 for UHD (and scaled-down to 1920x1080 for regular HD). Alternatively, the full 4096 can be used, and the horizontal res can be cropped for 1.85 (standard cinema) or various "flat" widescreen aspect ratios...

DCI 4K is not an output format. It's meant to be cropped to UHD (16:9), or anamorphic, or 1.85, etc. No need for any of that here, these are consumer camcorders. 16:9 is what consumers have at home on their televisions (and other screens).

I absolutely love the Canon EF-M 28mm f/3.5 Macro. This lens should be just as good (although a little bigger) for those who use the EF-S mount.

My biggest (and only) gripe is the lack of interchangeable screens, but I wasn't given that option to choose that, ironically.

I feel you would especially appreciate the book I suggested, given your background. I've gone through your suggested exercise with the 5DIII and again with the 5DS. No need to do it a third time. You can, eventually, get some sharp shots using a fuzzy screen and estimating the middle distance...

It's a question of cost. The latch mechanism is cheap enough, but the screen itself has to be aligned within a few microns. That's tough to do in a high-volume camera. The same logic goes for "98%" screen coverage. It gives them a 2% leeway, which saves a lot of adjustment on the production...

No you can not. There's an optical reason why a focusing screen that is optimized for slower lenses can not be focused critically with faster lenses. The short version is that the screen itself only show f:2.8 (or 4.0) DoF at best. Any number of basic optical texts explain this. I'm sorry if...