I'm shooting a doc that requires some stealth and bought an HF G40 specifically for this job (I used to have an HV40 which I loved for this kind of shooting)..

I'm not comfortable with auto exposure in general, especially on this camera, so I set the CUSTOM button to Manual. But try as I may I can't get it to work. I've read the on-line manual and have set everything accordingly, but when I press the button nothing happens.

Is there something I'm missing?

Not very stealthy. Anyway, if it's like the XA20 G30, and I think it is, to summarize the manual, camera on M you hit FUNC>rec. Programs>gives you five settings: P, Tv, Av, M and scene. P is the default and you can pretty much think of it as auto, Tv is manual shutter, Av is manual aperture and M is full manual. Press those buttons and it takes you to the manual settings. If your camera is stuck on P, the camera could be faulty.

Not sure what button you mean, but I'm guessing you mean the Custom button just behind the Custom Dial? If so, it changes the dial function between shutter, iris and gain, it does not turn manual exposure on or off. It's as Rainer says, so to get the camera into Manual mode just follow his instructions.

I always have the Custom Button on my HF-G30 set for adjusting AGC Limit, but checking this through, the same applies when assigning the Custom Button and Dial to adjust the settings in Tv/Av modes. You have to select the corresponding mode in Func > Rec. Programs first. Otherwise pressing the Custom button will do nothing. If however you assign the Custom button for AGC Limit or (+/-) Exposure (i.e. 'Exposure Compensation') - which you can do by holding down the Custom button until the options appear - then it's just a matter of selecting the assigned function (using the Custom Dial), pressing the Custom button again to exit and adjusting the respective settings with the Custom Dial as they appear on-screen.

What I like about controlling AGC Limit in this way is that you don't have to press the Custom button each time - the value is always displayed on screen and the setting is preserved after powering off and on again. The only thing you have to be careful with is accidentally nudging the Custom Dial. By contrast, the (+/-) Exposure function setting reverts back to default (0) when the camcorder turns off, which can be a pain when set in 'Auto Power Off' mode (i.e. camcorder automatically turns off after 5 minutes of inactivity).

On the HF-G10 I recall there was an another power-saving 'Standby' option (a 'sleep-mode' effectively) that could be set to postpone 'Auto Power Off' for up to 20 mins of inactivity. Really useful feature. Wish they hadn't dropped it on the HF-G30.

I always have the Custom Button on my HF-G30 set for adjusting AGC Limit, but checking this through, the same applies when assigning the Custom Button and Dial to adjust the settings in Tv/Av modesBut that's still auto, which the OP doesn't like.

When set to Manual, once the shutter and gain are set the dial becomes the iris control, making exposure adjustments very simple and quick. All the adjustments stay as set through as many re-boots as you like and the only time the Custom button needs to be pressed is if a change to shutter or gain is required.

But that's still auto, which the OP doesn't like.


Dave, I wasn't suggesting the OP use Tv/Av for exposure, or indeed (+/-) Exposure, which can be applied in any of the Auto (Program, Av, Tv) modes. I was just pointing out that the Tv and Av modes, like Manual (exposure), need to be set in the Rec.Program menu before the settings can be adjusted via the Custom Button and Dial. Whereas (+/-) Exposure and AGC Limit can be assigned and adjusted with the Custom Button and Dial without going into the menu.

When set to Manual, once the shutter and gain are set the dial becomes the iris control, making exposure adjustments very simple and quick. All the adjustments stay as set through as many re-boots as you like and the only time the Custom button needs to be pressed is if a change to shutter or gain is required.

Yes, (+/-) Exposure is the only one of assignable functions that reverts to default when the camcorder powers off. My assigning the Custom Button/Dial to AGC Limit is because I mostly shoot in Program exposure mode and I assign one of the other buttons for (+/-) Exposure.

Thanks for the responses. I did figure all of the above out, but am not happy that it doesn't work as well as it did with the HV40. With that camera you could zoom in, let auto exposure set the camera, then switch to Manual and it would hold that exposure. With this camera you need to reset everything once you enter Manual. Not great for fast shooting.

Also, the HV40, a ten+ year old camera that recorded on DV tape, was sharper, and the white balance (I always used the Daylight preset outdoors for example) was spot on. With the G40 the image has a magenta cast unless you perform a manual WB (which is 5400k in direct sun, not 5600), even then it's not always perfect. Also not good.

It surprises, and disappoints, me that Canon chose to screw with something that worked so well. I shot a half hour doc with the HV40 that was broadcast on the BBC (I lied about the camera I used - sometimes you gotta cheat a little).

I make my living with documentaries, have been since the early 70's. Occasionally a consumer-looking camera is essential. Sony just announced a new camcorder that would obviously be an improvement, but it won't be available till after this project, so I'm stuck with the G40...

BTW: I'm shooting at 59.94p, AVCHD, which is noticeably better than my usual 29,97...

Steve

I used to have the HF G30 and used it to record a bird at the nest site last year but was surprised that to my eyes the old HV30 which I used 7yrs ago on the same nest site looked better than the newer camera hence this year I used the HV40 enough said.

As we used to say in the 60's and 70's - Bummer...

Forgot to add, I'm really sorry my HV40 died (under adverse circumstances I might also add). Great camera, it will be missed. The G40 is a surprisingly weak replacement.

Thanks for the responses. I did figure all of the above out, but am not happy that it doesn't work as well as it did with the HV40. With that camera you could zoom in, let auto exposure set the camera, then switch to Manual and it would hold that exposure. With this camera you need to reset everything once you enter Manual. Not great for fast shooting.

You can do just the same thing using the '(+/-) Exposure' function - under 'Exposure Compensation' p65 in the HF-G40 manual, p66 in the HF-G30 manual. Just open up the '(+/-)' Exposure function (I have it assigned to a button), touch the M symbol to switch from Auto to Manual (not be confused with full Manual exposure mode) and presto, exposure locked.

Also, the HV40, a ten+ year old camera that recorded on DV tape, was sharper, and the white balance (I always used the Daylight preset outdoors for example) was spot on. With the G40 the image has a magenta cast unless you perform a manual WB (which is 5400k in direct sun, not 5600), even then it's not always perfect. Also not good.

Yeah, AWB on the HF-G30 frustrates the heck out of me, and when I tested out an HF-G40 it was no different. AWB was much better on the HF-G10 in my opinion - faster to adapt and less prone to casts. But that's about the only thing that does frustrate me - well that and the omission of the 'Standby/Quick Start' feature that I mentioned above.

Thanks Bryan, that's good to know. I'll try it today. The manual isn't very intuitive, but hardly any are these days...

BTW, the magenta cast isn't all that difficult to dial out in post, BUT it never seems to look as good as the old images straight out of the HV40. I've also compared the G40 to my LS300 and BMD Pocket cameras and, try as I will, can't get as clean color.

Since the cast is somewhat predictable, I'd experiment with color filters (probably a very slight green to start) to dial it out, if I had the time, which I don't. I start shooting with this camera for real a week from today...

My recommendation for daylight is 5400 K, although sometimes 5200 K is better. For interiors the auto seems to work okay, but, like auto-anything, is prone to change just when you don't want it to. So I'll shoot all my tungsten interiors with the tungsten preset, or do a manual WB if I have the time.

As you undoubtedly know, auto-focus sucks, but that's okay, I like manual anyway.

Another day of testing to try your suggestion...

Unfortunately that option apparently isn't available when shooting WDR which I prefer.

Also, I'm a little freaked out by the "Task in Progress" warning every time I shut the camera down, no matter how long it's been since I've shot the last clip (like an hour). I understand the buffer explanation, but does that warning ever go away?

Steve
Just get another HV40 there cheap enough on ebay

Ian: Don't think I haven't thought about it, but tape is a problem now, at least here. Besides the JVC LS300, two BMD Pockets cams and a Micro, I also still have a C100 (which I lent to my AC a year ago and don't care if I ever get back). Anyway, everything I do is card-based, so that's why I was waiting for an appropriate HV40 replacement.

As a side note, I seldom use the LCD, and one positive is the G40's EVF isn't bad, it's certainly better than the C100.

As a matter of fact. in the past two days I've finally dialed in the look and handling to get what I need from the G40. As I said above, 59.94P was the picture answer, combined with setting up a custom WB for daylight, either with the manual WB or using the K option. 5400K. For anything else I can get away with the shade or tungsten preset and tweak it in post.

Because I prefer WDR, I've opted for leaving exposure on manual and dialing it (iris) in as I go. It's a little sluggish, but I've always done that with the C100 and LS300, so no big deal.

I'm going to be shooting in the tropics, on Kauai, so I've dialed the chroma up to +2. Testing that here in Monterey forests gives me the rich saturated greens and vibrant skin tones I want. I probably wouldn't want that if I was shooting in a homeless shelter again, but it's good for the islands.

I've found that I can depend on auto focus (with the response dialed up to fast) most of the time. But I have the lowest button (4) on the back assigned to Focus if it's faltering, so I can change quickly (again, with the focus ring adjusted to fast). The button above it (3) I've assigned to WB for the same reason.

In a pinch I can set the camera to P or TV with the top button (1) on the LCD and let the camera handle the exposure (but not the WB, that stays manual). The button below (2) on the LCD is assigned to Stabilization. I'll mostly handhold with a custom grip I made, so I can quickly switch between Dynamic if I'm using the long end of the lens, and Standard. And of course I can turn it off if I'm on a tripod.

So the next few days I'll wander around town and get tuned in to using this thing. I've always told cinema students that it's like athletics - the best camera in the world isn't worth s**t if you don't practice using it.

I forgot to add that when I was researching reviews of this camera online, many people said it was great right out of the box. Wrong! This camera, more than any I've ever owned (and I've owned more than you want to know), needs a lot of testing teasing and TLC before it's anywhere near useable in a professional environment.

It's a consumer camera, not an Amira, or even an LS300. Get used to it and you might even get to love it. One thing you might want to keep in mind is although the 60fps might look better on playback the maximum bitrate per frame is actually higher at 30fps. Unless you need the slo-mo there's not much use for 60fps in deliverables, is there? Plus at 30fps you have identical dual card recording.

As far as the "Task in progress" warning goes, mine (HF G30) does it too, it causes no problems, it's just part ot the shut down routine.

Re. the auto focus, I found Instant AF to be too fast, finding AF more accurate. Not that I use it much, preferring manual focus.

Rainer, you have got me interested now. When I asked about bit rates a long while ago, namely, if I shoot 50fps at 35mbps and edit at 25p, will the overall bit rate be less than the 25p 24mbps before render. I was thinking that if I throw away half the frames I would also throw away half the bits, but at the time the consensus was that 50p reduced to 25p will still be 35mbps. Was I right? Just curious, I have no use for 50p, the only reason I tried it was for the higher bitrate.

Hi Dave, My thinking is close to your initial view - you can't throw away half the frames and keep all the data. I don't think you can access and reassemble a data stream to produce half the number of frames initially recorded, so regardless of codec if you're rendering at a half the framerate it's a question of either discarding half the frames or combining them, in which case there always will be other compromises. Intra frame compression and smaller changes between frames at 50p does mean that 50p delivered at 50p doesn't need twice the bitrate of 25p to achieve the same quality, but that's a different argument.

Hi Rainer

The argument put forward was that, as the frames were recorded at 35mbps, they would always be 35mbps however many you throw away. I just accepted it and didn't think of it any more until you just mentioned it. To me it's academic anyway since I don't shoot 50p, but it's nice to find somone else who thinks the same way as me about it. It would be pleasing to get a definitive answer though.

That's enough of that, we don't want to hijack Steve's thread, do we.

One thing you might want to keep in mind is although the 60fps might look better on playback the maximum bitrate per frame is actually higher at 30fps.

What I was noticing at 29.97 is that there's noticeable judder (and surprisingly, some motion blur - the two don't usually happen together). When I changed to 59.97 the judder went away.

Coming from film I used to always shoot at 24fps (23.97) until I realized some video cameras don't handle it well, so I switched to 29.976. That's the impression I'm getting from this camera at 29.97. Admittedly I haven't tried 29.97 again since forever abandoning the P setting and using either TV or Manual exposure, where I can be sure the shutter is always at 1/60... So I'll try that again today.

As for it being a consumer camera, I totally agree. However, the HV40 was a consumer camera too, and as I said above, I was able to use it professionally with success. In fact I often intercut it with much higher end cameras.

the only thing I find with the hv40 is the viewfinder been fixed is a pain when its bright when you can't use the screen.

Have you thought of an external recorder like the DN60 Steve, Don't think people or in fact Canon now how good the HV camera's are and to this day too

Ian: I only use the LCD for the menu and setup, and actually find the EVF pretty decent for a camera in this category... People complain that it's too small, but as a matter of fact it's not much smaller the the viewable image in my Gratical EVF, which cost $2,000 all by itself.

I tested 29.97 and, keeping the shutter at 1/60 using either manual exposure or TV, the judder I experienced using the P setting is nonexistent. That's good because I really prefer the look.

Also, I mostly handhold, so never use an external recorder, even with larger cameras. In fact my primary reason for buying the G40 for this particular job is that I need to be discreet, and look like a typical tourist in shorts and a crisp new Hawaiian shirt with fish-belly white legs and arms (I'm actually tan, but you get the idea).

BTW, I wrote the below in another thread, but want everyone to know how much I appreciate this forum since I probably won't be back in this particular section for a while...

Thanks everyone for all the help I've received setting up this camera. Being old school, I'm not very comfortable with too many auto options, and tend to get confused by things that should be easier, not more difficult... I was never able to take a decent photograph with a Kodak Instamatic...

I'm packing up and getting ready to go.

Wait, we didn't talk about audio ! Just kidding.

Only thing I was going to comment on was your preference for WDR mode. Can't say I was enamoured with it when I checked out the HF-G40. Definitely exhibits increased noise levels in the shadows and the type of blotchy noise you see when gain is cranked up in low light situations - rather more difficult to treat selectively in post. The image is also softer than in Normal mode with a certain loss in fine detail that cannot be adequately recovered by sharpening in post, and attempting to do so only amplifies the noise. If it's the softer/flatter filmic look that appeals to you, I'd be more inclined to go with Cinema mode (Filter 1 configured to taste), which does preserve detail well, is much cleaner (than WDR) in the shadows and offers more latitude for grading, in my opinion. You would also be able to use the (+/-) Exposure function. Or else shoot Normal mode with reduced Contrast and Sharpness (Func > Image Effects). Frankly, I can get a better looking 'pseudo WDR look' manipulating the shadows and highlights with the log wheels in DaVinci Resolve.

What I did note comparing matched sample clips shot in Normal mode on the HF-G40 and HF-G30 (with identical settings) was that dynamic range was definitely improved on the HF-G40, as it was on the HF-G30 relative to the HF-G10/20. 'Highlight Priority' mode on the HF-G40 also looked like it could be useful for 'highlight protection' in some high contrast situations, but not as a 'look' in itself, which is how Canon seem to promote it.

Anyhow, have a great trip, I'm sure the HF-G40 will serve you well.

Hey Brian... Not quite gone yet. I haven't noticed a lot of noise or macro blocking with WDR. I'll check it again today. There was just something I didn't like about the normal setting, it looked too vacant and "videoy" to me compared to other Canon cameras I've owned.

And, yes audio - I bought one of those hot-shoe Canon mics and it works really well - basically the same as on the HV40 - which was the only mic I used on LOOKING FOR AN AUDIENCE, the doc I mentioned above, even for the VOs.

I'm also taking my Tascam and 416 for the important stuff like interviews (I can probably use the Tascam as a pre-amp too, and cable it into the G40, but probably won't)....

Hey Brian... Not quite gone yet. I haven't noticed a lot of noise or macro blocking with WDR.

No macroblocking per se, just noise. Here's an example I have to hand:

https://i.imgur.com/X3Y7WQv.png

(Click on + cursor to magnify)

Frame grabs from clips shot in Normal, WDR and Highlight Priority mode. This was from the first set of samples I shot in the camera store (Lozeau, Montreal). It was a bit rushed; there was another customer (with cash at the ready) interested in the HF-G40, so I didn't really have time to properly frame match the shots. But you can see the higher noise levels in WDR mode on the green wall and underside of the umbrella on the left. I couldn't be doing with that. Those are are YUV Histograms on the right side of the images by the way, the top histogram of each set being the luma.


I bought one of those hot-shoe Canon mics and it works really well - basically the same as on the HV40 - which was the only mic I used on LOOKING FOR AN AUDIENCE, the doc I mentioned above, even for the VOs.

If you mean, as I assume, the Canon DM-100 (which replaced the original DM-50 for the HV cams), I have one and still use it a lot for run-and-gun. I commented on it recently:

http://www.dvinfo.net/forum/all-things-audio/534499-rode-videomic-pro-vs-rode-stereo-videomic-pro-weddings.html#post1936571

What's nice also is that the 120o Stereo pick-up pattern is such that, in a pinch, you can record usable behind-camera narrative/dialogue provided you hold the camera fairly close. Not much help for tripod work though. More recently I've taken to using a lavalier and Zoom H1 for recording 'live' behind camera dialogue.

Also the DM-100 disables the Low Cut filter option on the HF-G30/40 that is otherwise available for externally connected mics and the mic itself has no Low Cut filter, so you are at the mercy of what physical wind protection is afforded by the stock furry wind cover, which is not much. I actually have a custom Rycote Windjammer for the DM-100 that came about when I inquired when there was one for this particular model; there was a windjammer for the DM-50 that was designed to fit over the two-part stock foam windscreen, but there is no foam windscreen for the DM-100. The prototype they came up with for me to test was comprised of an inner sleeve of low density reticulated foam (as used in the Softie windjammers) and a lined fur that fitted over that covering the entire microphone. Quite a bulky combination, but the wind isolation is excellent. Unfortunately Rycote decided not to put it into production as they thought there wouldn't be the demand at a viable price point. The only other custom wind cover for the DM-100 I'm aware of was produced by Windcutter who sadly ceased business due family bereavement.

Bryan: I'm in Kauai, and it is extremely windy, up to 35 knots at times. I've used the furry windscreen that came with the mic, and surprisingly it's pretty good. I think they (Canon) must have done something to improve it because it fits well and there are no open sections (as I've seen commented on elsewhere). As a matter of fact, the wind cut is almost, that's ALMOST, as good as when I use the 416 in a Zeppelin...

The camera's working well, and I'm comfortable dialing in exposure even though I've taken your advice and switched to standard gamma from WDR...

I find the EVF to be very good, contrary to what some people have said. But then those people probably never looked through the finder at the ground glass screen on an Eclair ACL or Aaton.

I found the furry that came with the DM-100 to be absolutely useless in wind above a zephyr on my Canon Legria HF200.

I bought two foam covers on eBay and cut and joined them with PVA glue to fit the slightly odd shape of the mic. I then made a furry with some teddy bear material from the local fabric shop and put it over the foam. It now stands up to the toughest punishment from the wind.

Maybe not pretty, but effective.

Bryan: I'm in Kauai, and it is extremely windy, up to 35 knots at times. I've used the furry windscreen that came with the mic, and surprisingly it's pretty good. I think they (Canon) must have done something to improve it because it fits well and there are no open sections (as I've seen commented on elsewhere). As a matter of fact, the wind cut is almost, that's ALMOST, as good as when I use the 416 in a Zeppelin...

The DM-100 has been around for a good many years now (2008 I think, when they first introduced the Mini Advanced Shoe on the HF-10/100 camcorders) - I guess it's possible, but seems unlikely that they woke up to the need for a better fit after all this time. Maybe (since they probably outsource the manufacturing) you got lucky with a production batch that fits more snugly. All I can say is the stock fur I have does not seal well around the mount - when stretched over that short rear section of the microphone tube, it leaves a gap in the fur opening that allows wind to enter. I found that fitting an elasticated hair scrunchy to close down the gap helps a bit. In my experience it fairs a bit better when facing into a prevailing wind and in Shotgun mode - I have some footage shot on a boat trip across a lake where it performed surprisingly well. But in blustery conditions, where gusts are blowing in from all directions, I find it to be pretty useless (lots of wind rumble), especially when tripod mounted - handheld you can shield it a bit from rear winds if you hold it down low and close to your body, looking down at the LCD screen.

But hey, if it's holding up for you under the conditions you describe (35 knots, that's nigh on 40 MPH), that's great. I'm just surprised.

I found the furry that came with the DM-100 to be absolutely useless in wind above a zephyr on my Canon Legria HF200.

I bought two foam covers on eBay and cut and joined them with PVA glue to fit the slightly odd shape of the mic. I then made a furry with some teddy bear material from the local fabric shop and put it over the foam. It now stands up to the toughest punishment from the wind.

Maybe not pretty, but effective.

Hey Tim, yes I remember you posting pics of your DIY windmuff when we discussed the DM-100 a couple of years back. Here are a couple of frame grabs from a video I did for Rycote in the course of our dialogue about the custom windjammer. I had an HF-G10 then.

https://imgur.com/MQeS8P1

https://imgur.com/KCpB5a7

Like I said, this was a prototype. The inner sleeve of foam shown in the second image quite didn't cover the rear end of the microphone tube, so I shaped a piece of foam from an HVAC filter to cap it - that was the closest I could find in the hardware stores to the low density reticulated foam Rycote used. Aquarium filter foam would have been another option. I also contemplated putting another piece of synthetic fur over that foam cap, as the aperture closes down with a draw string, but it works just as well without it. The only practical downside is that the fur encapsulates the entire microphone, shock mount and all, so I have to open it up to access the Stereo/Shotgun selection switch and it's a bit awkward turning the lock-down knob when attaching and removing the DM-100 with the windjammer fitted.

Quite bulky isn't it, and with that thick foam core probably even bigger than yours....yours is definitely more hairy though ;>)

I have the Stormchaser model from (now defunct) The Wincutter. Their approach was similar, a foam tube at the front and a short tube at the back, but two shaped pieces of foam cut to fit the holes in the shock mount pillar and held in place by the fur. Better than the supplied fur, but still not good in crosswinds.

Depending on the position of the hot shoe on the camera, due to the short pillar, fur can be seen in the frame at minimum zoom ( I was trying it on an HF S100 which has the shoe well forward) and yes, it also makes it difficult to access the mike switch. By the time the fur is cut to avoid intrusion, the thing is much less effective. I guess it's why Rycote didn't go ahead.

Logically, the only solution is a custom made job to suit the camera being used.

Well that looks much more professional and tidy than mine Bryan. I must admit that I am always on a constrained budget and was able to make mine for about fifteen dollars. The foam was two microphone foams from eBay and the material was a sunk cost as I had bought it for my Rode Video Mic.

I find the switch is sufficiently accessible and usually set it before affixing the mic to the camera. It is easy to forget it is there though. On the Canon Legria HF200 the Advanced Mini Shoe is at the rear of the camera, so all that fur never gets in shot.

. By the time the fur is cut to avoid intrusion, the thing is much less effective. I guess it's why Rycote didn't go ahead.

That was the reasoning for the draw-string closure, that it could be easily loosened to access the shotgun/stereo switch, in addition to making it easier to fit the fur over the bulky foam sleeve. The greater issue was incomplete coverage of that short rear stub of 'active' microphone tube with the ultra-low density foam foam, and the production costs involved in solving that. They just felt that it wasn't viable economically, given the likely low demand and what people might be prepared to pay for it. In addition, they were embroiled in the launch of the Cyclone range and really didn't have the time to spend on developing it further. Anyhow, my modification - the piece of HVAC foam cut to cover that rear section - works well. Some consideration was given to a more conventional Windjammer with a layer of higher density foam incorporated in the fur lining, as some of their Mini Windjammer's have, but it would likely have been much less effective. Creating adequate dead-air space between the fur and capsules is a major factor.

It really isn't a practical proposition. Beside the practicality of getting adequate cover to effectively cut wind noise, there is also the problem of the different hot shoe positioning on the camera models. From the fur-in-frame problem of the HF S100, shoe well forward, to it hitting my head on the HF G30 which has the shoe near the back (as you well know!), remember I use the EVF almost always, it just doesn't work for me. Maybe if there was a pillar extension.................

I have got round these sort of problems in the past using the relatively cheap Smallrig components. These are available from Amazon in the UK.

Even cheaper can be making a bracket to shift the position of the microphone using aluminium strip off-cuts, with a purchased cold shoe - I am fortunate that I always have a range of these bits available. Otherwise, again ithe UK, B&Q or Screwfix have a range of Al extrusions in stock.

Those sort of DIY things won't work for the DM-100, it's a dedicated hot shoe mike.

As I mentioned in the other thread I referred to above, there is now a battery powered, wired 'cold shoe' incarnation of the DM-100 - the DM-E1:

http://www.dvinfo.net/forum/all-things-audio/534499-rode-videomic-pro-vs-rode-stereo-videomic-pro-weddings.html#post1936571

https://www.bhphotovideo.com/c/product/1225879-REG/canon_1429c001_dm_1_directional_microphone.html

Appears to be aimed at Canon EOS shooters - why does everything have to be DSLR driven these days ? (Yes, I know, it's the future)

Looks to be the same basic tube design as the DM-100 (length 130mm) but with the tube brought further forward on the mount. It also comes with a stock fur windshield. If it's the same one as supplied with the DM-100 I'm wondering now if Canon did make some modifications to the design for better compatibility with both models. Is that maybe why Steve finds the fur supplied with his newly purchased DM-100 fits well with no gaps. Pure speculation.

I would also assume that this model functions like any other external microphone and allows the Low Cut filter option to be selected on the HF-G30/40. Again, needs verification.

Just wondered if anybody else using this camera notice's that on a sunny day it doesn't matter how you set the white balance all the footage seems to be on the reddish side, I tried today lovely sunny day setting it manual with a white paper or using the sunny preset and it still came out reddish yes I can correct it in post but it would be nice not to and shoot it correct out of camera, only had the camera a week so it could be me but just wondering if anybody else has found this .

Anyone got info on the wide dr setting against the normal settings, is cinema mode better than the rest? Tests showing me wide dr cleaner but not used at low light yet. Using it as a safety net wide at weddings and matches the 6d ii and c100 quite well. Any tips on white balance, kelvin 5200 looks the best outside and 2700 indoors.

Three pics which one best?

On my monitor, the mid image ("standard") is perhaps the poorest.

The main difference I see is in the laundry basket. The other two (cinema and wdr) are better, and close to each other.

cheers don

Quite honestly, were it not for the laundry basket, I'd say 'Standard' (Normal) looks the best on balance. Yes, Wide DR gives some extra dynamic range, but it's at the expense of a softer image (lower local contrast) and increased noise levels - look at the black t shirt on the clothes line, and that's in open daylight. Cinema Mode also a bit softer and lacks contrast - needs to be added in post, IMHO.

Cinema Mode also a bit softer and lacks contrast - needs to be added in post, IMHO. Yes it does. It produces the flattest image, especially when Contrast and Color Depth are set to -2 and is much better for those like me who prefer to tweak in post. The result is more detail at both ends, but especially in the highlights and it does away with burnt out highlights at 100% zebra. Completed, it gives the appearance of a higher dynamic range.The alternative is to shoot Manual Mode and drop the exposure a bit from the zebra point, but even after post that gives an overall flatter look. Earlier in the year I did some side-by-side tests to see for myself what the differences are and which I prefer to use.

Personally I don't like Cinema Mode without work in post, I agree with you Bryan that it is a little too flat. The other thing to note is, CM restricts fps to 25 (presumably 24 your side of the pond), so over and undercrank and 35mbps can't be used.

It boils down to having a limited number of bits available for the image, and how you want to allocate them to the brightness range of the subject, how much you want to give to shadow and highlight detail.

Used wide dr past two weddings as a safety shot in church and held up nice and coloured well to c100 ii and 6d iis.

I'm sure wedding videography does benefit from the extra dynamic range that Wide DR brings - shooting interiors (churches, receptions) and exteriors (under pagodas and the like) where you having to cope with a lot of back-light, with little or no opportunity for staged supplementary lighting. Did you shoot the weddings with Wide DR on the C100 ii also ?

I was just saying that of the three frame shots you posted that were shot in broad daylight I thought, on balance, Standard Mode looked the best - better 'definition' ('clarity', local contrast) and less noise than Wide DR. Examining the histograms it looked to me also that those were not taken from the original clips straight out of the camera and that you had made some levels adjustments in post ? Normally, with 'Standard' mode it's possible to recover more detail from near-blown highlights in the 'super-white' domain using 'pull-down' techniques in post, but in those images the highlights were well and truly 'hard-clipped'. Also were the same camera exposure settings used in all three modes ?

The other thing to note is, CM restricts fps to 25 (presumably 24 your side of the pond), so over and undercrank and 35mbps can't be used.

No Dave, on the Vixia models the full range of frame rates available in Normal (Standard) mode are also available in Cinema Mode, namely:

AVCHD: 23.98p, 29.97PF, 59.94i, and 59.94p (when 28Mbps selected)

MP4: 23.98p, 29.97p and 59.94p (when 35Mbps selected)

I'm surprised you can't shoot Cinema Mode in 50p on the Legria HFG30/40's

Really? Not that I have tried, the manual is pretty clear.

Guess I should have double checked...'cos the Manual is right and I'm wrong.

If you select 59.94p (35Mbps) in mp4 format in Standard (Normal) mode and switch to Cinema Mode it changes to 29.97p.

If you select 59.94p (28Mbps) in AVCHD format in Standard (Normal) mode and switch to Cinema Mode it changes to 59.94i.

So no 59.94p in Cinema Mode but you do at least have the options of 23.98p and 29.97p in mp4 format and 23.98p, 29.97PF, 59.94i in AVCHD format.

Shows how much I use Cinema Mode.