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This is more along the lines of what I am working on. The bitrate mod that they did should be good for most. But I am diving deep into the fw, Still a good time away until my end shows any gains. But like I said a few posts ago the more I find the more excited I get. I can look at the mjpeg encoder cpp and see if things can me modded to allow a higher frame size. But again thats just adding to the list of things. But at least things have moved up! Maybe samsung will have an official word the more news of these mods get better known

The second image is incredible. P.s. now think about what could be recovered if the bits were 10 instead of 8, with that high bit rate!

Hope these images sit within reason... May need to convert the H265 4k to something like a CineForm / ProRes / DNxHR 2K. These codecs might actually edit / process quicker than H265 and/or H264; particularly ProRes. The grade is a single node: Shadows at 50. (Kinda pushing it far... But, not too much to create halos.) Highlights down to -25. Midtone Detail is set to 40. (Kind of far here, too.) Saturation at 70. (Need the extra with raised shadows IMO) I threw in a simple curves adjustment, particularly aimed at the midtones. 1. Data Levels. 2. DaVinci Grade. 3. Video Levels.

Even before this hack, the shadows could be brought up quite a bit. Even in higher contrast situations than this. When you set the PP levels to 16-235 it actually shows, that the contrast here it no so harsh. What I'm really interested in is testing these new things against the old things in the same conditions.

But that's your choice to make isn't it ? The real takeaway is.... Don't plan for anything that you can't buy today and have in your own hands to test for your own needs. Don't plant to shoot with anything you haven't tested and can't get your hands on. Then you'll never be disappointed by a product being delayed. Yeah they shipped a camera that said RAW on the box and enabled it a month later (the 4K). Pretty sure they hardly had actually shipped any actual bodies but it was poor form. JB I agree and around this time of year with NAB everyone's always like...whooo wait and see what XXXX will show up and do and it STILL hasn't happened because no one's even touched their very first camera. Who else TODAY does an internally recording uncompressed RAW / ProRes / DNx camera with such high DR ? No one has actually matched it ! STILL !! That camera was launched in 2012. They even added features they didn't really plan to ever add. When they made the first camera, they were just like, let's see if anyone buys this.....They dind't know it would be as successful as it became. They started a whole new division. The Ursa is a great evolution. Look at how far they've come with the form factor. They have done their own EVF....They've continued to add functionality, and they've still not really crippled any of their cameras for the sake of other tiers. That's impressive for a small company in such a short amount of time. Look at the Cion. They even are rumoured to use the same 4K sensor. And they supposedly had the better form factor. All the reviews were, Oh this is what BM should have done yet it's failed almost as miserably as Dalsa did. Why ? I mean yeah BM are infuriating with the way they operate but I don't see anyone else coming close to doing what they are doing. JB

This looks like the best image you can get under 10K without buying into Red's ecosystem. This, coming from a former Red owner and operator - and I sold that once I saw how the very first blackmagic camera handled low-light noise. The Rolling Shutter, oh so what. Hey look, I'd rather have a company that tries to do something really amazing and fall short, rather than a company that intentionally cripples cameras to sell you the next model 6 months later, or are trying to protect their tiered market strategies. There is no false advertising or bait and switch. Because you technically didn't buy anything. It was a pre-order. And BM was upfront about the issue and now they're releasing the camera. They're actually pretty damn responsive without the attitude (RED). Yeah there was a delay - like other small companies in any industry. That's what happens when a company is driven by innovation and don't have billion dollar resources. A world without RED and Blackmagic would be immensely damaging to the independent film community. They've changed the market for the better. The crazy sense of entitlement, construing this as some unethical business practice is hilarious. "I will never again buy a blackmagic product" - Ok, enjoy your hacked 5D or franken dslr, or whatever you shoot with. Because blackmagic doesn't owe you anything. If you sat in front of your computer hitting refresh for the past six months, you have every right to be angry. But not at blackmagic. You sad, sad little man. I hope everybody cancels their pre-orders, so please! Keep complaining.

Oh my god, the news on this thread is so exciting - I can't express it in ASCII/UNICODE. How awesome, you guys made my week! 'm a lurker who finally signed up here, just to post a reply: So, I'm a 'prosumer' camera user who purchased my NX500 around christmas (the 'big gift from family') based on the specs & price. My idea was to shoot unattended from an unattended tripod, then crop (& potentially stabilize handheld footage) from 4K to FHD in post. Sadly, once I started using the camera I was pretty disappointed. The 15-minute/4GB limit (still an issue @ 4K if I understand correctly?), and for me especially the lack of manual video white balance control in the NX500 made my results horrible, even worse than my cheap old Panasonic TM-90 (which I know well and still love). This 'forced auto' white balance on the NX500 is killing me! It's tolerable outdoors but absolutely horrible indoors, resulting in unusable orange-on-yellow garbage that's pretty much uncorrectable since the auto-white-balancer is constantly shifting the white balance around... (It seems like such a deal-killer, could I be missing something here?) Having spent the evening reading this thread (I should have taken notes!), I was wondering if anyone has tried running the NX1's .BIN apps on the NX500 camera yet? 'IF' the NX1 video capture app could be made to run on the NX500 that would give us it's manual white balance control (among other things) and to me that would be HUGE. I didn't return the NX500 because it's supposedly a quasi-open-source device and I was hoping something exactly like this would break open. (Plus the fact that raising kids I can't justify spending more... anyway...) Then when Samsung discontinued the product and left us in the lurch, just looking at it sitting on my shelf was kind of depressing. It looked like a device with great potential, intentionally hamstrung for marketing purposes that was going to be a dead-end and a big wasted investment. I was left monitoring developments by searching for 'NX500 firmware' every few weeks... And now these developments... I am super excited and want to contribute however I can. Actually I'm a career software developer with over 30 years of experience. Haven't done much low level hacking lately but know (some) Linux / (a lot of) C++ down to binary optimization (mostly windows) / etc and could probably do some heavy lifting, time-permitting... Not much image processing background, but I think I understand at least the basics. So, from my N00B perspective, and not wanting to brick my (now increasingly valuable!) NX500, I'd like to help (in descending order priority) 1) figure out how to get the camera to boot from the SD card, 2) get the camera to run NX1 firmware (more on this in a moment), and 3) remove the 15-minute 4K video recording time. On the NX1 firm(ish)ware on the NX500 proposed project, the core question seems to be whether the camera is running the same FPGA or if Samsung fabbed different ASIC's for the different cameras. Information seems conflicting on this, with FCC screenshots indicating they're different chips but FFMPEG reporting the same compression engine metadata. So which is it? It seems there's a good argument for both approaches (transistors are cheap vs. FPGA implementation battery run-time might be bad) If anyone can clarify this it seems this would determine whether this NX1 firmware on NX500 project is viable... OR am I missing something here? Admit I've had a few beers tonight... On the 15-minute 4K time limit, it seems like the idea posted earlier of pre-allocating the MP4 files on the SD card is a viable pathway, since probably closing / flushing / opening a new file while straming is problematic and why the limit exists. (Samsung - you could have just supported NTFS, duh!) Or we could somehow just hook the '15-minute-limit-reached' event and re-initiate recording, it wouldn't kill me to lose a few frames (hundreds of frames is more likely :-p). Or at least if the camera could beep a few times to let me know it's stopped recording, that would be a big improvement. Or we could implement NTFS as a supported filesystem, that would be awesome!) One last thing, SAMSUNG - IF YOU ARE READING THIS: Look, you kinda screwed your customers by discontinuing your product line. Sure there are business realities, but I think your sales could have been 50X if you had just completely open-sourced the firmware... Seriously, this hardware has awesome specs and enthusiasts could have made this the cult camera of all time if you had just forked over the crown jewels... (Probably IP licensing issues aside) You could still do that and help compensate your shafted customers. Or at least get your devs to push one more release out, removing all these silly caps. If you're exiting the market, you're not cannibalizing higher-end or newer products! All this being said, I want to end by thanking the guys who have contributed to unlocking the potential this camera holds. Set up a paypal, I'll contribute as well as code! I'm looking forward to seeing how this develops and to contributing as I can. ... Interesting, it looks like the price of this discontinued camera is going UP! If this pans out, folks might want to stock up on Samy cameras before they're gone... ;-)

One can just hope they see what the community has done knowing that the nx was at end of life I probley just bought one of the last ones that were at adorama has 1.32 firmware on it. Make them rethink the choice and maybe come back with the rumored lx version. I think it was called. But now that I have one the discovery and research time into firmware is going to go up. And as much as things moved the last week I think things will happen much quicker than with the other cameras that have been modded. Good bye sleep haha

I think Arri Alexa is the way to go, you just hire one of those peruvian sherpas.

@SMGJohn I've seen your video before . I like the look a lot. What's with the blockiness on the shot of the helicopter alone in the sky? Even back when NoamKroll reviewed the NX1, it was pretty obvious that the camera could have some good information if you protected the highlights and underexposed slightly. That's a camera characteristic that should be independent of the codec. While you could raise shadows before and see some detail, you'd see a lot of smearing because of the coding trees. Now that the bitrate is higher, from what I understand, HEVC will dynamically end up making smaller coding trees to produce more data without the smearing. (I hate that it's now inaccurate to say macroblocking!). Thus the information is now less blocky and more deliverable.

@SMGJohn that's not how rolling shutter works and nx1/nx500 have a separate hevc cpu (block).

Will this update actually affect anyone drastically? No. Have even one of the complainers even pre ordered an Ursa Mini 4.6k? Probably not. If I;d have pre ordered I'd either cancel my order or continue with it based on whether the new news affected me. None of the resellers are taking full payment - most don;t even charge a card until they have stock. We're lucky BM cameras even exist. if you want similar images you need to invest in a RED Scarlet W, pay 3-4x as much, and no doubt have to wait for firmware fixes. these are not consumer products. They're professional ones with consumer pricetags. That's the main flaw with BM - their pricing allows entry for consumers who have the time to make things into a soap opera rather than actually using the things they already have. I hope the bmmcc has the gs enabled either on shipping or later. if it doesn't I'll not order one. if it does, I'll wait for samples to be made available and decide from there.

Premiere doesn't like the default "data levels" of the H265 "fish tank" file. There is actually more dynamic range available in the shadows than what has been posted. In fact, DaVinci Resolve really brings the image to life if you input the file utilizing "data levels." Maybe I don't know Premiere well enough. Or, I'm just frustrated with Adobe? Have never seen/graded NX1 footage before. Really excited to see this development take place and also frustrated to think how much tech is in the NX1 / NX500. Why is this tech being laid to rest by the manufacturer. Strange times, right! From what I gather, this new bitrate is producing a natural response from the lens-sensor-processor-codec combination. It looks like it was shot at about 1600 ISO. Professionally speaking, this new bitrate may enable a new standard for accurately capturing an image without having to deal with random processing variations in the shadows/midtones/highlights. Hopefully, right. Personally, I used to have quite a lot of issues with the GH4; specifically with regards to the lens-sensor-processing-codec algorithm. Eventually, I just went back to 1080 P DNG. I'm impressed with render times with H265. First time for exporting an H265 image. Woohoo! DaVinci is exporting this 4k footage at nearly the same rate as the BMPCC 1080 DNG. It's possibly 1 - 2 frames faster with 1080 DNG pushed to the max 13 stops of DR and a light application of noise reduction. Then again, it's also only 1 - 2 frames behind 1080 DNG without the noise reduction. Kind of a nice balance, one with a serious bump in native image resolution. Does the footage need noise reduction? That's kind of what I'm thinking about here. It might actually need a fine layer of grain placed on top to reach a truly great image. But, who sees that stuff anyway? Based on what others have written, over the past few pages, in regards to how h265 transcodes an image, I see the noise floor appear and also slightly disappear in this footage. It's nothing serious. IMO, I'm over analyzing the image. I feel that this was shot with contrasty glass set to a 5.6 in a room that reads somewhere closer to a T2.8 at ISO 800 on a LOG picture profile. Quite frankly, this combination is a challenge for any camera, especially when shooting with standard picture profiles, right? Anyway, thanks for posting the "fish tank" video. Also, it's not just the bit rate that's gone up, it's the heart rate too! I think the heart rate is closer to 100 BPM! LOL Cheers,

I don't understand why Samsung didn't implement these changes to start with. I can understand why Sony and Panasonic hobble their consumer models as to not compete with their PRO camera lines, but Samsung had nothing to lose. They could have made the NX1 into an absolute monster, and even charged another $1000.

According to the rumor, the specs for the camera changed a year or so ago, based on something video related, so I wouldn't be surprised if they implemented some of the ML tricks into their official firmware. It would make the most sense, since a lot of it is already there. If they did come out with official Canon Raw, that would a genius move.

rumors have been trending in this direction for awhile... for the sake of discussion: if this is true, what features exactly are going to distinguish a 5d4 from the 1dxii for video? what is it that makes this new camera "better for filmmakers"? • 10 bit? - lol doubt it • flippy screen? - id love to see that but canon has been uptight about their weatherproofing standards, dont think thatll be on this camera • clog? - i hope this feature makes it, and although i wouldnt bet on it being there, what ELSE is going to make this new body better for video than the 1dxii? idk lol these are rhetorical questions what do you guys think?? btw im starting a new rumors website where all the rumors are "true" heres my rating system im still perfecting it KR5 - Truthy KR4 - TRUE???? KR3 - Most likely expected to be true prolly sort of but yes KR2 - TRU TRU TRUE!!!!!!! KR1 - Literally information from the future my website uses zero point energy

The higher bitrate has definitely seemed to help quite a lot, I also noticed less banding in blue sky with -10 contrast in GammeDR with 1.40 after they increased bitrate, which means banding issue can indeed be fixed with higher bitrate, now imagine what it would look like with 200mbps+ bitrate, the higher bitrate usually has quite a lot to say but I am still in favour of using the MJPEG codec in the camera over the HEVC one, the MJPEG is far less CPU intensive compared to the HEVC which is extremely CPU intensive, and the NOISE grain in the pathetic 480p MJPEG mode seems to have more details than the 2160p HEVC with 3200ISO does. Now you might be asking why the hell would anyone want to use MJPEG over HEVC and the answer simply is that MJPEG is better at retaining finer details in images than the HEVC is and this is JPEG stills we are talking about, well somewhat. HEVC will still try to destroy details in images even at insanely high bitrates, its just how the codec works sadly whereas MJPEG will have better details at higher bitrates and this still is true with Canon old ancient cine line which shoots with MJPEG codecs and 4k, there is just more info in the images and they can be pushed around more. Sadly the Motion JPEG 2000 is not available in the camera as far as I can tell, if there was a way to implement that it would be king of king cameras, there probably would be no need for raw video, with high enough bitrate the MJPEG2000 is quite a beastly codec supporting RGB444 and even RGBA4444

I bought one for $1500 and it was a great investment. I use the 10-bit 422 out with my Shogun. Great image, great camera. For the price - pretty impressive. Considering the FS5 is 3-4x the price, the F3 image is on-par, if not better, and easier to use. Of course, the FS5 has 4k, but not super great 4k. The PL mount is great, thought there's not a lot of affordable PL glass out there (unless you count $5k/lens as affordable), but I have Nikon and EF adapters. I use Nikon mostly with AI glass - but I think the F3 particularly shines with a set of CP2s or Ultra Primes on it (see if you can get a budget to hire them ;))

Sony should start making their cameras with optional heatsink+quiet fan attachments accessories. Seriously, we would rather have that than an unpredictable camera. And maybe the processing unit can be clocked faster for less rolling shutter.

This lens is fantastic. First impressions are in fact - despite the difference in focal length - that I like the results better than my Sigma 18-35 Art. The Zeiss is tac sharp in a very filmic way and the contrast and colors are awesome. So now I have gone for more Zeiss, as I just bought a Vari Sonar 28-70mm T* F3.5-4.5. Should arrive within a week, - I´m excited.

No one seemed to have graded the video footage from Vasile so I decided to have a go and oh boy its glorious, the image has a very analogue feel to it at least in my opinion, I have tried to push the colours very far, much further than I normally would with the regular NX1 footage to see what happens, the NX1 suffers from colour bleeding at times specially when there is strong colour light on a scene like concerts etc. In this footage I did not notice any so that in itself is pretty glorious. Everyones favourite, the Vasile Frame EOSHD GammaDR2LOG LUT Applied Quick Grade with VisionColor's Impulz LUT - Tetrachrome 400 and high colour saturation A more colourful frame

Theories about the codecs are all to prove, only certainty is that the best results is take the raw.

Ok, so now I'm a sad foolish idiot. Glad you guys got that out of your systems. Does that mean you can focus on the topic title again?

GH4 and G7 native iso is obviously iso200 in video like in photos. I recommend iso200 for video, iso200 for JPG photos and iso100 for RAW photos if there is enough light.

I think 4K 24p Super 35 -> to the ultimate 1080p in post for $1k is a pretty good deal to be honest.

This looks like a great camera to pick up B-Roll, cramped locations, run/gun, especially when you can't fit/get/get away with a focus puller. Or even a Director's viewfinder; the sensor size is close enough to all the other close-enough cinema 35mm. Great for DP, scouting locations too. Some of you have ridiculous expectations. It's a $1K camera. Obviously it's going to involve compromises. Those drawbacks might not work for your project, but that's on you if you somehow expected a perfect camera for $1K. "How could it not have X, how could it not have Y" ... because these aren't professional cinema cameras. It's a consumer camera that has some pro features. Don't get it backwards. If it isn't your perfect camera out-of-box, and you're not willing to tinker with it or work around it's issues, then get one that does. But the 4K quality, low-light and usable video autofocus will give it a place in the market. I certainly am looking to add it to my bag. There are only three other cameras who have all those features: Canon C300 ii ($16K), the upcoming Canon 1DXII ($6K), and the Sony A7Rii ($3K). And those cameras have their own issues. It's valuable to talk about the limitations, no question. But the pissing and moaning? Lord. Nobody's forcing you to do anything. There will probably be some talented folks who will shoot a feature film with just this, and it'll look great, because they'll know how to work around its limitations. Ever since the Canon 5K Mark II came out, there's been a terrific growth of indie filmmaking, because people are willing to manipulate these non-pro video machines to effectively tell stories. And big ups to people who actually shot with this...a lot of great, usable footage. Exciting.

beautiful images there. Love that little puppydog I can't help but wonder whether it might have been the variable ND throttle device that might have been causing some of the colour problems. I highly doubt fotodiox are using top quality glass - I've yet to find a flawless product of theirs where there hasn't been at least one major pitfall to the design - usually due to keeping costs down. did you do any tests with the nd throttle not in the signal chain?

please stop thinking i don't think h265 has trouble at higher bitrates compared to h264. this is heavily dependend on the encoder used. and we are talking about hardware encoders, not software encoders that have been optimized for 10 years. i highly doubt the NX1/NX500 would have better quality with h264 at the same bitrate. and furthermore if there's no h264 encoding chip on the board there's no chance to do it anyways. at 4k resolution no one should be using h264, IMHO (this was a post based on personal experience and my own opinion)

I recently got the VS-2 Fine HD for my Samsung NX1. Since your G7 is also a 4K camera, you may find that using focus peaking on external monitors is inaccurate. The VS-2 Fine HD is 1920x1200 resolution and seems to be about as accurate as the focus peaking on my camera. But to answer your question, the VS-2 FineHD has false color which makes getting proper exposure quick and easy. If yo don't need recording, get a good monitor instead and spend that money you saved on lights. A quick explanation of false color:

I'm also curious to see how the higher bitrate behaves with 1080@120fps.

No, the G series use the Contax G mount, it's got a much smaller flange distance - similar to a Canon screw mount, and certainly a smaller diameter too. I would assume, but cannot say for sure, that they are completely different designs and unlikely to share the desirable characteristics of the C/Y Zeiss glass being discussed here. Not to say that they aren't lovely in of themselves, but not glass that would match.

My advice is to take as many pictures as you can, as these will be timeless & you'll always have them to pull out to show your kids/grand kids etc... Whatever resolution you film something in now, I guarantee you that in 20yrs or so time, you'll show some friends (or whoever) & start by saying "Look sorry guys, but this was filmed in HD/2K/4K (8-bit). Yeah, I know, but its all that was available back then!" Nothing is future proof, as things are changing all the time. The trip is the most important thing, so take something you can just whip out of your bag & quickly take something. The one thing you don't want to do is spend all your time filming etc. and then miss enjoying the holiday - not sure what your Brother is like, but my guess is that he'll get really pissed off with you in the end.

It's a good point .... People are focusing on image specs... But it could mean histograms, scopes, peaking etc

Nice Trailer!

@levisdavis are you posting your graded version anywhere? I'm curious to see how much you could recover. Also, any tips on getting Resolve not to crash (it crashes a lot on my computer, which I admit is not the most powerful)?

The F5 is surprisingly affordable, even brand new at the moment. I think the advent of the Varicam LT, as well as whatever NAB will bring will probably put a bit of pressure on the F5. The F5 is a truly awesome camera - I think it's almost the perfect mid-range owner/operator camera when you consider it's wealth of features, image, 4k ability, ISO performance, lens mount adaptability etc. etc. Will be interesting to see how the LT goes in the market though.

Hey Mattias, do you still have your Nikon D750? I'd love to see a comparison between the D750 and the 5D III. Nikon Flat versus 5D III RAW. Does that massive leap in bitrate grant you a huge advantage in the final image?

Thanks I would appreciate if you could look into the MJPEG codec, its quite an interesting thing they added for low fi video.

Effing gorgeous... The lenses look okay too...haha. I assume this is with the NX1?

Having the absolute best image quality/dollar is also their thing. All the ripping would be cool, but it just falls flat when their is no competition. Its easy for BMD to say, "Ok, go and buy one of the other super small 60p Raw shooting cameras with 13 stops for a thousand dollars....." One can say Sony this and Samsung that, but at the end of the day, their by now old BMCC still runs circles and then stops and murder anything Panasony has tried to release the last couple of years. If we look at just the image. Canon is sort of in the same league with some help from hackers. So is Bolex but they only have one model.

http://***URL removed***/forums/post/57461650 By the way, I'd like to ask you all to NOT name the bitrate and let everyone download the file if they want to know it. It would be an interesting thing to see how long you can keep it under wraps and only discuss "around it" but without naming it explicitly. I have no way to enforce this [oops, I just realized I do :-) and you know it too] but I do ask you to play by this rule, at least until I am back.

Hello, Few days ago I made a free set of LUTs to convert LOG profiles to standard (Rec.709) and standard profiles to generic LOG. This library of conversion LUTs includes : Alexa Log-C to Rec.709 BMDFilm BMCC to Rec.709 BMDFilm BMPC to Rec.709 BMDFilm BMPCC to Rec.709 BMDFilm URSA to Rec.709 Canon C-Log to Rec.709 Generic LOG to Rec.709 Generic Rec.709 to LOG GoPro Protune to Video Panasonic Cine-D to Rec.709 Panasonic V-Log to Rec.709 REDLog to Rec.709 REDLogFilm to Rec.709 Sony S-Log2 to Rec.709 Sony S-Log3 to Rec.709 Technicolor CineStyle to Rec.709 I'm open to all feedbacks for improvements and new profiles. Hope it will be useful Download (ZIP 10MB) : http://lut.lu/conversion

Put some Raw DNGs in the footage download thread so people that are interested can play around. I shot them to test and stretch the DR. One ETTR. one with a few highlights blown and one with a lot of them blown. This image is from the last one. The highlight recovery brought back most of the window.

I guess you could argue that if they never actually shipped anything....And if there was something else that compared with the very first camera they made.... JB

Here is some 5D Mark III Raw that show its Dynamic Range. In the shot I closed the blinds behind me so the window infront is basically the only light source. So yeah, very much backlit. Same in camera settings on all, exposed with ND. In my examples I set the highlights and shadows the same on all, then I boosted the mids as far as I thought was somewhat usable. I used highlight recovery for the clips with blown highlights. No grading. (Please note that resolve interoperates WB wrong, so set it manually.) Number 1: ETTR, no highlights blown at all. Before After Number 2: ETTR Medium, some blown highlights outside, great job by the recovery. Before After Number 3: ETTR Low, Blew almost the entire window. Before After (look at them clouds returning ) The files: http://www.filedropper.com/justdngs Dropped a LUT on the last one just to give an idea. Not adjusted.

Hey guys...I just wanted to mention that the video below that was discussed in the last few pages is mine, and that the skin tones could look really good from this camera, but the combination of makeup, a mixture of lighting and the wrong color temperature produces some unpleasing results for sure. This was more of a project to really work and test the hardware, and to be honest, I messed up a lot. It was just too much operating the camera, mixing audio from my belt, moving around and adjusting lights, dumping footage, and directing talent in a limited window of time. The quality this unit produces for $1K is astonishing. I like some of the skin tones in that footage - which I will update with more later/tomorrow - but it's easy to throw them off with the slightest production error.

Moderate bitrate internally. 4K. Decent AF in comparison to the 1D2. No C-log. And of course... 8-bit. (however the XC-10 has it.) I'm pretty much sold on the 14-bit raw image coming out of mark 3 & I don't understand why they don't take that and run with it.

I would love it if they put out an interchangeable lens xc10 with the EF-M mount. C-mount lenses with 4K log... Sure they have, you are correct, but they have made small, incremental steps toward building a mirrorless system. With Sony's success in that market, it would be stupid of Canon not to try and get some of that market share.

Mercer, Danco, you two have banding and roughness...

Don't worry, the 6K 18 stops with global shutter cam will be announced at NAB.