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Let's see what you colourists are made of. JB

Really you just have to look how many comments there are on dpreview for this one rumour to realise how popular this thing will be. People don't seem to realise that though this camera may not be the best option for a very niche set of people, if it is priced well, it will be seen as the be all and end all for the majority of people (including vloggers) who are the largest subset of sales. 10bit and no crop is only important to a minority of people. The truth is that the flippy screen, autofocus, color, ergos and touch interface is a lot more important for your run of the mill consumer. Canon knows what's important to the majority of the people. I used to own a 200d (base model dslr) and a a6500. The 200d had a magnificent touch interface like a smartphone. The a6500 felt like it was from the 80s using the interface. Same goes with fuji. For a beginner to intermediate that's what's important, not 10 bit, no crop. I think canon's strategy is correct in that if you truly want good image quality out of a camera you should get a dedicated video camera. Despite everything sony gives you, the image is quite poor when compared to professional cinema cameras (heck, even the pocket cinema camera). I know, I have seen it projected multiple times on the big screen. What people fail to mention is that yes you may have 4k but the motion cadence, color and highlight roll-off is horrendous. The motion cadence in particular you can't get a feel of until you see it projected. The c300 at 1080p to this date still looks better and you will be able to get it cheaper than a new a7siii. Even if you are doing docs or small productions, the c300 is still better owing to ergonomics. If you need something small, this canon mirrorless is good enough given the ease of use it will afford you. I think canon are still the innovators where it matters.

I wouldn't hold my breath. Canon slapped a 8-bit 4:2:0 codec in their $7,500 C200.. no way they're going 10-bit on their entry MILC. That's not the Canon way.

Nikon Z7 has it for breakfast. About the only improvement over the 5D Mark IV seems to be substituting MJPEG for H.264. Not that it was overdue or anything! https://www.eoshd.com/2018/09/here-are-the-official-video-specs-of-the-canon-eos-r-full-frame-mirrorless/ About only thing I can hope for is that the 4K is somehow full frame and not a crop but I honestly just think it is a 5D Mark IV in a mirrorless body, looking at the specs sheet, rather than anything really new.

2030? Someone is feeling optimistic. That is only twelve years away!

Is it just me that can't download "Models Walking at Night" clip? I'm interested because of exclusive usage of Olympus 12-100 in it... but that clip always answer "The URL is invalid or expired..."

Ok, I wanted to see how organic/filmic I could get this footage without going too vintage. I was going for something filmic while still modern. What do you folks think? Ignore the low resolution image below... it's actually at 1080p and looks much better. Not sure why YouTube always show these awful looking placeholder images?

For me, Panasonic has listened to what people have asked for and consistently developed their cameras in a meaningful direction.

Here is a Nikkor f8 prime to keep you happy 800mm f8.0 Ais -460mm long and 3.3 kgs an ideal lens

The stupid thing about cannibalizing their pro video line is that, even if they put almost every feature into a smaller mirrorless camera, a large segment of that pro line market will still buy the cinema cameras anyway. I can't tell you how many people I know that own C200's or whatever that don't really do anything with it that they couldn't also do with the 1D X or the 5D mk IV (assuming they insist on staying in the Canon family.) They own them as much for the "prestige" or credibility as much as the functionality. It's about ego and image, not practicality and quality for a lot of people. It's like projects I've helped on where they insisted on renting a RED camera and lenses, spending as much on that as they would've spent on buying a GH5, Sony A7Sii or comparable camera that they could've used on their next project. Tons of indie films that never make money and hardly get seen do this, and for no reason. I'm guilty of it myself, on a smaller scale. I love my LS300 but I don't really need it anymore since I've got a GH5 and G85. However on certain projects I bring it when I have a feeling that the client will look poorly on me using what looks like normal cameras instead of a more professional looking one. And while the LS300 doesn't have the greatest build quality, once you rig it up with monitors and stuff it looks a lot more professional than my GH5 set up.

It could be said that mirrorless cameras don't actually cannibalize pro video camera sales. Sony don't seem to think so. Neither do Panasonic. Canon clearly has a different opinion. But if you look at their Cinema EOS cameras at the moment, they're not even that hot either. I think Canon is behaving tired, almost. Depressed, even. They need new top-management. The current bunch are just too elderly and too risk averse to truly allow creative freedom across each product line.

Nah its accurate. Believe me. Im a Sony fanboy and Fuji shooter. I review all of them. If I review a Sony all is well. If I review a Fuji I get attacked by Sony Fanboys. If I review a Pentax or Nikon I'm attacked by Sony and Fuji Fanboys. If I review a Canon... all hell breaks loose since even Sony Walkman fanboys attack. I base this on receiving and reading 26 090 comments over the last couple of years. Just visit any forum and see for yourself. For example checkout the thread about the EOS-R on EOSHD. After my 6Dmkii review I had to block some really vicious people that weren't attacking just me but also people commenting on the video. And not about specs. We are talking threats and in general things that would lead to a punch in the face irl. The weirdest thing was they weren't all anonymous. They actually used their business accounts...freelancers, production house employees using their official accounts...

I used QCTools to check 10bit quantisation, I can confirm it's true 10bit colour.

I think you'd be suprised how many Canon and Nikon fanboys are glad with these new cameras that aren't that radically different so they can ease into it. They've always been 'no matter what'-sheeple (I can't believe people kept buying them throughout the years, they kept doing the basics right, but failed to innovate in any significant way just giving it their minimum effort). That's the only thing they've ever known. So I think Sony still needs to worry regarding the whole Game of Thrones. It's gonna get messy. Now it's all damage control with the announcements. But they might feel cornered and start swinging. Better get my popcorn out and keep shooting with Panasonic and Blackmagic cameras.

480Mbit is similar to MJPEG. It's inefficient. Per frame, no quality increase over the 120Mbit IPB.

NX1 is actually more advanced with H.265, 6K readout, 1080/120fps and it is 5 years old.

I've seen those shots before i bought it, but thank you! I was just asking if is there possible.

Heh, I can only assume mine is still calibrated. I lost my Spyder in a move, so not sure what everyone else see's how mine looks either! That can be a real problem LoL.But yeah it looks like something you would do on my screen. I like it.

I partly agree, but you buy an expensive full frame camera to shoot full frame don't you... Pay the same money, and do it on the Z6. Pay Canon and you get 1.75x crop. It's not acceptable. And I don't care about 10bit nearly as much as I care about the wide angle of my $2000 lens. I agree. But the EOS R is a $4000+ investment for most people, certainly not a 200D or a beginner to intermediate camera. Probably $2000+ for the body and the same again for new lenses. I have directly compared dedicated video cameras like the C300 and C500 (I own one) to my mirrorless cameras. Even the Samsung NX1's 4K is better than the C300, more cinematic, less moire and aliasing, just as good colour. https://www.eoshd.com/2015/02/samsung-nx1-vs-canon-c300/ Or you could get a Sony. I preferred the A7S II over the FS5. A7 III is even better. Or a Nikon. Or a Panasonic. Or a Fuji. Or an Olympus. Or a Blackmagic. If someone is in the market for a pro video camera then they wouldn't be evaluating the EOS R at all or any of the other full frame mirrorless cameras, so it's an unrelated argument anyway. Most people do not actually choose a C300 for the best image. They just don't realise you can add NDs, larger battery and a pro audio interface to a mirrorless camera And want to look "PRO". I don't think the ALL-I 400Mbit 4K on the GH5 is "quite poor". And the audience will notice the full frame look of a Sony A7 III before the notice codec subtleties. The main issue is people can't fcking grade it! I am curious what stuff you've watched from the camera and how well it was shot and graded.

Looks stunning!

I agree. Grading went wrong - in many directions. Somebody tried denoising the ISO3200 footage? Works extremely well and looks way better than anything I could even achieve on my GH5 using ISO1600 actually... Download here: https://drive.google.com/open?id=1wUgDW2keiCEiEKb9F3kSLOr6Pwm5u7uq (used Neatvideo (70% opacity) and grading in Davinci Resolve) BTW: walking-night footage is available now!

Ouch... is all I can say.

New one;

Yeah it's easy to understand the frustration.. as from the looks of it I fear there will be no IBIS, no Log, no 10-bit..etc and then we got the elephant in the room: 4K crop. 1.74x is not Super35 and if Andrew is right and it's 1.9x well that's just micro 4/3 territory and who buys FF camera/lenses for that kind of crop? Not me. The 2012 1DC only had a 1.3x 4K crop. It would just be plain wrong to have to deal with +1.74x crop six years later. I'd rather just cop a 1DC. Sony set the bar high with A73 at $2K and now Nikon just upped to the ante with 10-bit out & 8K Timelapse. Canon shooters are expecting better video specs at end 2018. We'll get a clearer picture on Wednesday i guess.

My grade on it.

Ok, I'm sold. No artificial sharpening, looks way smoother than in the vimeo clips Amazing level of detail for a 4K sensor. Great colors. Great dynamic range. Rolling shutter seems low. (where's the chroma noise from the vimeo clips?) Here's a BMD Pocket 4K Color Science 4 to Rec709 conversion + curve screenshot

I think maybe 192 is right because we had some flicker from practicals but I don't think 215 sounds right for day. JB

I agree, in this declining market it is madness to see three new mounts pop up in as many weeks! LOL! Maybe with new epic pixel shift tech to market it as "higher resolution"? :-P But yeah, that is a no go. However I'd still like to see the GH5S sensor in a cheaper body.

Just a quick grade. I like a slightly low con look Right is with the 4k pocket lut and left is my grade. Loving the colour from the camera!

A teeny teeny tiny percentage of big budget feature films are shot on vistavision sized sensors.

Cool, getting on my apron so I can get to butchering?

Simple solution: Tentacle Sync E

Tell that to some other brands.. ?

What's your take on this? Alexa seems to have a distinct bias towards cyan.

You've given the marketing department a tough task - selling a photo-oriented camera with a 10 megapixel sensor!

I’m not bagging on Fuji, as this announcement sounds better than both Nikon & Canon’s upcoming cameras... at least to me... But @Django is correct it is 1.7... to be more precise 1.755... because although it’s advertised as 1.17 crop... that crop is already from a cropped 1.5 APS-C sensor... 1.17 X 1.5 = 1.755. Nonetheless... lets not jump the gun and speculate too much on what may be or not.... let’s see what they will put out with the XT3.

Wow those videos are looking great. Man I am glad I can't afford to make all these decisions on which one to buy LoL.

Full frame is pretty special but it’s just another format. S35mm is still king for Hollywood narratives and a lot of Hollywood DPs supposedly own Fuji as their personal cameras. In the end, who cares? John Brawley has already proven that a S16 sensor camera can be used in 1080p ProRes on a network television show. All of this other resolution and spec nonsense is propagated by manufacturers at an attempt to gain an extra percent of market share for their stock holders. Pick a camera you like the image from, or the specs that get you hot under the collar and work on your craft and create.

I can't remember exactly, maybe 18 months ago Panasonic said all the 2020 Olympus was going to be shot in 8K. I think this camera is the camera they have been developing that long and more to shoot it with. And it is not going to be a 2500 dollar camera. It will be a 25 Thousand dollar camera or more. I am afraid people are hoping for something that is not going to happen, at least not on the cheap. But I guess we will find out soon enough.

Clearly this is a stills orientated camera - move along now.....

What are you guys filming that makes S35 so redundant? I think it's a great format, you can have smaller, lighter lenses, but still get very shallow DOF.

That's the thing. We're paying for FULL FRAME lenses. A very nice one, in the case of that groundbreaking 28-70mm F2.0 (Although I am 99% sure Sigma is working on one as well, for EF, Nikon and Sony E mount). What's the point if we can't use them? May as well put a Speed Booster on it and use something else. Do Canon want to sell their mirrorless lenses, or not? I really thought the high-end full frame mirrorless would be when they woke up to what modern video users need. Apparently not. They are still more interested in segmenting the stills and video market with a big wall. Who is going to want to shoot 1.75x crop (worse if you calculate diagonal as well), with no IBIS, on a $2k+ zoom that has no wide angle end? Especially when you can choose a Nikon Z7, Z6, A7 III, A7R III or wait for the upcoming Panasonic monster cam.

I would kind of be amazed if it doesn't have 10bit with HDMI out. Both the Nikon Z6 and Z7 have 10 bit out. You know Canon and Nikon have moles in each others company's. I can't believe Canon would let Nikon outdo them with that spec. Now with no IBIS stated that sounds crazy in this day and age if true. That would be almost a given if they want to go for the Vlogger crowd. At least it has a flippy screen. ?

finally found some z6 footage. Only looked on my laptop so far. It doesn't have a lot of magic, (in fact the 1080 looked nicer to me than the 4K), but it doesn't have anything that screams terrible. I always found the d5300 vid looked miles better underexposed a bit. Curious about shadow noise

Yes they are official. Sorry to disappoint you. https://drive.google.com/open?id=1CAZOijAyrUJcOMWNHbjFpGq2CznrIAoN

In my eyes the bodies aren't the problem, it's the glass. Take your typical higher end zoom kit common amoung those that shoot stills and video. Panasonic 12-35mm f/2.8 II $1000 Panasonic 35-100mm f/2.8 II $1100 Sony FE 24-70mm f/2.8 GM $2200 Sony FE 70-200mm f/2.8 GM OSS $2600 FF. is over twice as much. The sad thing is, I don't think this is something your average person looks into when choosing a system.

I like the pictures. A lot. This camera will probably replace the micro cinema camera for me as it’s not much bigger and is much easier to work with. I didn’t feel as strongly about the 4K production camera / Ursa because they were limited, principally by dynamic range. I have a deep affection for the 4.6K sensor and have shot nearly daily withnit since before it was launched. I know it very well. This pocket camera will integrate and sit very nicely alongside the 4.6K. It’s already a closer match than the micro for me without having really tested it in an A/B scenario. I was a little worried about it having less DR Than the 4.6K but I think the other clips show some great examples of what this sensor can do. “Nature” was incredibly tricky material to shoot as anyone who’s been in that situation before would know and it was unfair to see it being derided. Those that did so only reveal their own inadequate understanding of what those shots reveal. I can think of a million other scenarios I would have rather done but these sequences were specifically produced to illuminate what the camera can do in specific situations. What im almost more excited about is the unification that Gen 4 brings. As I mentioned earlier, it’s pretty much the same people at BMD that brought you the first camera working on this camera. They’ve learned a lot (and so have I) and I think Gen 4 is really strong. I wish this and extended video would get rolled out wide already as I think half the issue I see with users of BMD products is a lack of knowledge in grading. Now BMD do have perhaps the greatest colour correction tool on the market BUT they don’t make it easy to get to a great result without a little arcane knowledge. Even I often run into issues when working by myself and I see extended video being a great step in addressing that shortcoming. There’s no point in talking about how great you can make images shot RAW if you don’t know how to do it and can’t easily or intuitively find a way to do so. With regards to the 4k Pocket. Its a genuine low light contender. I was really impressed at what a useable picture it produces with little lighting. I’m laughing at those that said it’s overlit. I mean a 500w chimera dimmed to almost nothing so the background lighting would still show though the tinted hotel windows is very very low light, much lower levels than the idiots demanding I walk out on the street and light by sodium were demanding. Again, I laugh when I see comments about how noisy ISO3200 is but I’m guessing those users aren’t aware how much image processing their cameras are doing at high ISOs. BMD allow you as the user to choose your poison. A very very underrated feature. And like colour correction it’s almost too powerful because users haven’t been instructed to change their expectations, nor how to add noise reduction or sharpening so they can season to taste. The best testbfootage will be friends users so the sooner they ship the cameras the better. Hopefully Gen 4 means there will be less hysteria about its performance and a few will realise there’s no point comparing it to a GHx or a Sony and learn to get the most from what it is good at. JB

Imo, The Z6 is the most underrated camera this year. And its not even out yet..

And generally less vignetting and better edge resolution than the F1.8. lens.

Unfortunately my best video can never be released publicly due to a fall out between myself and the band, but that didn't stop me from completing the video and showcasing it for my skills. Shot on hacked GH2 (Flowmotion) with a set of vintage Nikon AI/AIS lenses. No budget, simple gear and a couple of friends. PW: MyVersion