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RIP, EOS R. Read the article

@Andrew Reid think i found it

I don't think the P4K sharpens in-camera. Post-blurring might help make it look more vintage but also just using vintage/lower res lenses does the trick of not making it feel too sharp. Here's a test shot with a CCTV lens, Fujian 24/1.4.

Specs mean little. I can tell you that the EOS R is a great camera. After comparing to the top contenders from Sony and Nikon, it is the most organic/filmic of the lot. You need to stop thinking in terms of specs and start evaluating on the the basis of image quality, easy of use, reliability etc... As for what will be released... word on the street is a 26MP sensor based camera.

The shame about this really is that in the BM camera control spec, you can have access to a pretty full range of colour correction tools for lift/gamma/gain, contrast, gamma, offsets etc. to create in camera looks in real time. There are quite a few full on CCU controllers for the Ursa that use this capability and although it is still in the spec for the Pocket 4K, the commands are ignored by the camera when you send them. Hopefully they might switch it on in a future update. How dare you. My people will be in touch with your people over this scurrilous accusation

Well sure, I think to stand a chance, the PK4 has to be shot in 1080p. I really believe that is why Arri never really wanted to go all the way to 4K on the Alexa is because it would have been too sharp. And I think the new Arri's have lost their signature look to be honest. I really have never like the Red output as of late. Too good. Even the original Red One looks better than the Red One Mysterium X. Same camera, so called better sensor, and it was DR and noise wise, but not looks wise. More resolution is not Always a good thing for a film look. But for Music videos, Doc, Interviews the PK4 is a Lot better than the OG BMPCC. And lets be honest that is where your money is if you are trying to make a buck. The PK4 is a great camera, it is, maybe amazing, but not for a grungy looking old school look. Nothing wrong with that. You can't have everything in one camera. The old no perfect camera thing. But 98% of the people will never know it. So the camera is a winner IF you can get one of them LoL. But sure I hope we all learn something here in this thread. Knowledge is a good thing. And maybe I will be proven wrong. Has happened a couple of times LoL. ? I am sure this can be done pretty close. Look how good @icarrere did with his GH5. There are parts in it where you could believe it was shot on the old BMPCC. He did a good job giving it an old time look. But it IS in 1080p. Probably one reason it looks so good, ehh to some bad LoL.

No they Use to do a thing or two right. That is the problem. The 5D mk III was the last FF camera they made that was a real effort. Class leading on the video side. They have lost most of the Pro C market now. They are just sliding down into the shitter as far as I am concerned. They have went from the best you can do mindset, to lets just push the shit out the door mindset. To me they are not the leader of anything anymore. Even the L lenses are mostly crap for the video side. EF-S lenses work better overall. They have become a 1990's company.

Wait & see, unless I missed something all the rumors said was 26MP & no touchbar. But Canon isn’t silly, they know how to segment and are not going to give a lower end model better (video) specs than the R. The 26MP is probably the same 26MP sensor as in the 6D2 (just like the 30MP on the R echoes the 5DIV). So what does this indicate? Probably no 4K! Or maybe 4K with no DPAF (a la M50) Other possible limitations could be: No touchbar, no flip-out screen, no top LCD, no C-Log, no ALL-I codec, no 10-bit out, less AF points, less DR.. etc Again I highly doubt the RP will have anything better for video than the R. Canon are just applying the same formula & release strategy than their 6D, 5D, 1DX2 FF models imo: mid market first, then lower end, then pro. Plenty to hate about Canon but nobody is going to end up crying.. you guys sure like to jump the gun!

LOL! And at every corner you get robbed!

If Andrew is right Canon Needs to go out of business. Why the hell did they even bring the EOS-R out? Boy they sure are a goofball company as of late. The whole board of directors must all be 90 years old or better. If you have bought a Canon 6D mk II or an EOS-R you have just been screwed if true.

No, the adjustment is just in the rails part so that you can re-adjust the height of the lens support. This is a similarish one on my BMP4K. With the tripod plate on the bottom, the lens support centre column forms another contact point so when you align it you can settle down on a surface like it is here. It all depends on the lenses you put on it but with something like this PL prime you obviously need that adjustment to get the camera up higher but with a longer tripod plate on the base it becomes stable enough to set down.

It almost looks like Panasonic is ensuring that once the GH6 is released, professional videographers will finally be able to figure out the advantages of the M43 system over FF.

I am saving up for a Arri Alexa. I have $133.00 now, so on my way. Thanks for your kind words.

Why is it 'so bad' ?

Professionals do not change gear easily, or at will. Equipment is a very serious commitment and investment. That is why Canonikon are still at the top. Unfortunately, in our profession, you always have to buy something, and that something, usually is very expensive. I mean, some professionals buy pen and paper, and we have to buy 2000$ lenses and microphones. It's all good..

Wow this guy seems to be getting a pretty impressive look out of the little thing now with the new firmware. I really like what he did with it..

Sorry to hear things weren't going well for you. We all have times like that, and it's great that you actually did something about it, which is more than most do (or can manage to do) under those circumstances. If there's anything we can do to help, just ask!

+1 - Just use Resolve's integrated conversions. @blafarm @famoss In fact, there's a big difference between using the conversions in Resolve and a LUT: If you use a LUT and the conversion clips any parts of the signal (highlights or shadows) then they're clipped forever and nothing you do after the LUT can get them back. If you use Resolves conversions (either in the Clip properties or via the Colour Space Transform plugin) the clipped values are retained within Resolve (as super-whites or super-blacks) and if you adjust the image after the conversion then you can get them back into the normal range without damaging them. The internet talks a lot about LUTs but that's mainly because the people doing all the talking are selling...... LUTs. I don't know how the other NLEs work, but I'd imagine they work similarly. If you have to use a LUT then you can lower the contrast before the LUT to get the output from the LUT within range, but this defeats the purpose of using a LUT in the first place (because your inputs to the LUT now don't match how the camera encoded them) and you may as well just apply contrast or curves to get the look you want and ignore the LUT.

I totally agree on calling out BS, so here goes - your post is BS. You're right that it's optimised for lower bitrates, but the advantages remain at higher ones. This paper shows the objective (Peak Signal-to-Noise ratios) and subjective (blind test) comparison of the two: https://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=7254155 The graphs in the paper test bitrates on UHD 60Hz up to 38Mbps H.264 and 18Mbps HEVC (broadcast bitrates) and they conclude: And what about higher bitrates? This paper here shows the relatively quality of the two at higher bitrates - up to about 250Mbps: https://pdfs.semanticscholar.org/b0bc/9342d1031250db0c7e2aabd2eeed51beef2e.pdf Figure 3 shows that the 50% saving seems to extend up to around 6Mbps H264 (where the equivalent HEVC is about 3Mbps) but after that point there is a knee in the HEVC curve. Figure 4 shows that the HEVC bitrate required to match the H264 goes above 50% up to the point where 40Mbps H264 requires about 30Mbps HEVC. Figure 5 shows that the HEVC bitrate required to match the H264 goes back closer to 50% where 250Mbps H264 requires about 120Mbps HEVC, and for another clip 200Mbps H264 requires about 110Mbps HEVC. Fact-checking the internet is fun, but it helps if you actually know the facts when you do it. Yeah, some higher bitrates would have been nice. I came late to the GH5 party so I don't know what the original specs were or what people thought of them, but they did introduce the 400Mbps and 5K Open Gate modes in firmware updates, so maybe there will be updates for this too? I guess time will tell.

We talk about earning money making films, but there isn't a thread for it, so I thought I'd start one. Contribute anything you think is useful! Levi Allen just posted his year-in-review video and it's got a bunch of useful content that might be valuable to people. For those of you who don't know Levi, he runs a one-person production company and runs a 100k follower YT channel (that's taken 8 years to grow) that he hasn't monetised. He talks a lot in this video about building his business and some strategies he's implementing, how to balance passion projects with client work, and reflecting on his journey so far. It's good content for anyone just starting their own production company or looking to do that. There's an index available so you can skip around easily, but he's a great communicator so it's a good listen. One of the things I thought was interesting was that he hasn't bought new filming equipment in the last year (although he did spend over $10K on new editing gear!).

Well people can whine, hate, cry, scratch their heads all they want at Canon, they remain the number one camera company in the world so they must be doing a thing or two right! Other than brand recognition, color science, DPAF, UI etc.. they entice users through their lens system and there are plenty of people that still want access to that L series and probably soon the evolution which is RF. Canons objective is to sell their lenses (which are also the most sold in the world) and so indeed a lower end model is a quick priority after putting out the mid-range model.. With that perspective, I don’t really see what the big fuss is about: Canon are putting out a lower end model follow-up. The higher-end model could be the ticket though, rumors are saying SD+CFast & joystick return.. so an improved FF 4K60p 1DX2 with C-log, 10-bit & no crop could be that no compromise Canon camera videographers have been waiting for. Start saving though

To add to what @Michi just wrote... after spending some years reading this site, I think the most logical approach for many forum users here is to go and buy a cinema camera and use the right tool for the job.

As good as the image is on the EOS R, I just don't see how it's a practical camera with that big crop and slow readout, unless you're on a planned shoot where you purposely take the required lenses. I won't take this product line seriously until they remove the crop and also improve the battery life.

The Canon 6D Mark II caps out at 1080p / 60 on video. *Surely* Canon wouldn't release an enthusiast camera in 2019 that only recorded 1080p...would they? Although, Canon recently released the M50 and it only does 4K @ 23.97, has terrible rolling shutter, a big crop, and AF doesn't work very well in 4K... I have a bunch of Canon glass and would love for them to introduce a good camera for video. With their recent track record, I can't say that I am optimistic We already have the A7III, Z6, S1, and the others above the EOS R & RP in price and the Sony A6400 / 6500, & Fuji below them in price. It might make sense for Canon to introduce the R & RP cameras, with those features, at those prices in isolation, but there is some pretty stiff competition out there...

No doubt if you are in the Canon system it pays to stay there. And who doesn't like Canon CS. But man there comes a point of how many times can you get screwed and still like it. That is the point. There apparently is Never going to be an end to it. Jesus.

I hate to say it but the image quality looks pretty good. Too bad they dropped the ball on AF etc... There’s no reason Panasonic could not have made this camera killer. At any rate, the competition is certainly hotting up!

Hey don’t shoot the messenger! I’m just telling you what I believe is the most likely scenario from Canon, not what I’d personally want. If you are looking for something better than EOS R then quite obviously IMO you gotta wait.. for the higher end model.

Yeah about as good as setting it all up and finding out your battery is dead with no extras. Been there, done that.

Its just a pity that after doing all that titting about to balance it that I realised I hadn't brought any memory cards with me.

More likely to be closer to a 6DII if shares the sensor based there...

Sensor design:

Oh it is the best thing since sex if you are pretty good at it. Just like in Photos. But for average scenes I doubt it is worth the effort for the average person. Most cameras in the past few years have gotten really pretty damn good with WB and with the rise in DR also it is becoming a lot easier to get it right, even on auto in camera. I meant look at Smartphones. They have become just about Dummy Proof. Video was I was young was a real ball buster to use. Even TV stations had a hard time hiring people smart enough on the tech side to even run the station. But back then almost all of it was vacuum tube based, even the cameras. And they drifted all over the place. I remember often the tech just coming over and hitting the equipment with his first and fixing a lot of problems LoL. We weren't Allowed to hit it ?. Now, that would be less of a problem. I am sure it is still complex, but I bet it screws up a lot less than it did then, just like new cameras are a lot more reliable from catastrophic results. I don't see using Raw much in my future. Too lazy, and can't afford the computer power, storage space to do it right. ? But if you can do all the above why not. It is what separates the men from the boys. The reason there is good footage and great footage. I truly believe most people ought to hone their editing, grading skills than worrying about new cameras. And editing, Grading skills really don't cost any, or very little money to improve. An old C100 or a BMCC shot and edited well would probably be as good if not better than the new ones..

I highly doubt anyone will be able to tell BRAW footage from 1:1 RAW - you will hit the basic limitations of the sensor, ADC etc before you hit the limits of the codec. RAW is pretty easy to handle esp in Resolve and in many ways easier than high compression internal camera codecs like H.264. Storage requirements are obviously a lot bigger but storage media is not a huge cost these days. I agree that shooting RAW on a camera like the P4k does not unleash hidden image quality that will turn you average looking footage into cinematic nirvana. RAW is just another codec - I've been using it for as long as I've been using a digital stills camera. It's nicer and more flexible to work with than jpeg but it's not a miracle codec.

True that. Canon still knows how to deliver the secret sauce. I went the Sony way and even though it felt good on paper, I realized it lacked something (at least for me).

This Camvate one is OK and great value for £35. Takes standard Manfrotto QR plates (they do an Arca Swiss version as well) to swap the cameras and has adjustable rail height for the lens support. https://www.amazon.co.uk/dp/B0749MLGHG

That's what it is. Had to deal a lot with getting rid of the negative effects of internal sharpening on the GH5, but if you want to really get rid of these you either blur actual detail or even produce other artifacts. My next project will be entirely shot in RAW. So no more issues with that just creamy footage.

In ProRes it clearly does - even when turned off, you can easily spot sharpening halos around high contrast edges such as trees, lanterns, roofs etc... Also there's noise reduction and other filtering going on using ProRes which causes a low contrast texture loss (which is not as extreme as on Panasonic GHxx, Fuji X-Tx or Sony A7SIII or A7RIII). With the Pocket 4K Blackmagic finally went the route basically every other prosumer camera went: a full blown processing pipeline. Thankfully these problems completely disappear using RAW when sharpening set to 0 in Resolve. That's why the Pocket 4K is claimed to be a videoish looking camera - which at least when using ProRes is true.

Go get a room, man! But seriously, after so much love that you are showing to this little thing, how come you can't justify 350$ to buy one? This is just a small amount for anywhere in the western world. It can be something silly l, like 2-4 times on a restaurant (depending the country, and the restaurant, of course!). It is 400$ here, by the way. The EU premium..

Kinda reminds me about the RAW update for the NX1. ?

Well BMD themselves sure never made that happen with the clips they supplied. That to me was pretty surprising. They did pretty well with the look that most seem to get out of it. Now I was not expecting a preset on the PK4 to look just like a OG BMPCC LoL, but it appears the reason there isn't one is it is not easy to accomplish I guess. Maybe you will make history and be Famous on here like @BTM_Pix

Tony Northrup with a dose of cold water....

Very nice! We already know - she's becoming a rapper! Step One: get that million dollar contract Step Two: we'll all be waiting for your hot track ???

Looks wonderful, I always thought it was a bit unnatural to be surrounded by a million people you don't know everyday, though everyone likes different things. What do you do for a living out there?

Opps I'm wrong, bummer.

Thanks. Will post here next week.

Youtube video is online, just watch it. There you can see the impact of grading. https://youtu.be/uNX40awuymY Ciao!

Is hard to say what VLog will do on this sensor. If it's the Sony IMX410 like many believe it is, neither the A7-III or Z6 get more than 12 stops in video out of it. The IMX410 is believed by some to be used in the Sony Venice too....but that camera is "allowed" to record 15+ stops. Its all in the sensor feature licensing contracts and the negotiations that go into the contracts of sale. Sony licenses read out modes and frame rates and bit depths seperately. That's how they price the sensor....on the market value of your feature choices. Its not a "1 simple price, you get the whole thing deal". You pay for what you want and you are legally blocked from using what you didnt pay for.

The fine gentlemen are wrong. I could select 4K60p in the internal codec menus and record to SD card, at 150mbit

Nice piece. Oh and the cheque is in the post for this plug Mind you, I hope the notes he was taking were along the lines of "lets track this maverick down and license it" rather than "lets track this cheeky bastard down and sue him" !

Seriously this is great for them. I love Puerto Rico, a beautiful underrated island. Unlike many Caribbean places, the island is quite big with a lot of diversity. Not much tourism beyond San Juan and a few stupid places. You can totally find beautiful pristine beaches with 3 people standing there. There are jungle, coast, mountain, lakes, surf spots, rivers, etc. The food is delicious and the criminality is not bad for the region. As a US territory, it has the best of both world: the relative good infrastructure and service of a developed country (highway, stores, emergency services) and the exoticism of a tropical island. No need to deal with customs, immigration and shipping tax. The island is very well connected by airlines with plenty of cheap flights that deserved many cities in the east coast (Atlanta, Charlotte, Miami, NYC, etc.). Hell, I would go there to if could. They got plenty of tax incentive for their business and they probably got this mansion on the beach for the price of a 2 bedrooms in a major US city. I did this short video showing the island lat time I visited, super cool place