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Hey now, don't be so judgmental, some of us are poor Egyptians who can't afford more than one account for us!

Or we don't want to be limited to minuscule and rather bland selection of Canon-compatible IS lenses. There are dozens, maybe hundreds, of different aesthetics available from the different lens designs, materials, coatings, and manufacturers throughout the history of photography. I personally think that the ability of mirrorless to adapt every SLR lens ever made is potentially the biggest advantage of taking out the mirror. The fact that IBIS gives IS to every lens ever made is a real game changer for those who don't (or can't) always shoot on tripods or larger rigs.

FWIW, one of the favorite docs I shot was with a GM1 handheld. There's a lot of things to worry about with making movies. Sure, camera mass is one of them, but, to me, pretty inconsequential on the priority list.

Now, the Academy has been accused of a lot of things. Prejudices against black people. Prejudices against women. Their latest decision shows they're also seemingly prejudiced against cinematographers, film editors, short-film directors and make-up artists - all awards they have dumped to get the live TV ceremony under 3 hours. Or rather, to shove a few extra ad-breaks into the TV coverage. Read the full article

I want the new Canon BSI sensor. It’s about time they showed something new sensor wise.

Good thing it's not STFU?

I am sorry for people who bought EOS R, this one is basically the same, also with eye AF, and almost half the price.

Damn, not only does it have 4K DPAF.. but it does so with continuous eye-AF in video. ..something EOS R can't even do (Canon better add that in a future update!) No ALL-I codec, 10-bit out or Clog were to be expected.. but all in all not that much missing. Pretty sweet deal for $1000 cheaper than EOS R released only 4 months ago..

This has been my favorite one yet

no i work for a stone company, we did all the foyers, lifts, everything that was clad in stone. the kitchen sink cutouts and hot plate cutouts and the vanity bowl cutouts and the polishing of the undermount sinks and vanities was all done on a cnc i usually set up two kitchens or 4 vanities at a time. the highrise layout was the same for each floor. so you just doing alot of repetition something machines are great at. the lengths of kitchen bench tops and vanities were oversize by 100 mm and cut to size either at a later stage or on site. hey kaylee i didn't build that... honest, if i did it would have fallen down faster and not as straight ?

Hey, reckon on me, there are at least two dumbs then!

i killed a $250000 cnc machine once, work didn't like paying for the service guy to maintain the machine and he wasn't always as prompt as the boss would have liked. the service guys wife was dying from cancer at the time and he was a genuinely nice guy, i dont hold him responsible for being less than prompt in attendance. i had the aptitude for running it so i was one of three instructed on running it the two others left at some point and i ended up doing repairs as required. when i had an issue that hadn't arisen before i would ring him and he would sort me out over the phone most times. one time i got myself in over my head. this machine was dos based and i inadvertently deleted some files that were linked to the start up if i remember correctly the machine was dead for about a week and it took 3 days for the service guy to reinstall everything and get various things talking to each other again . i wasn't popular for awhile. still we all human mistakes happen the trick is not to have them happen often

Yes exactly, not sure how one can take the oscars seriously anymore after that "Black Panther" nomination..

FOV test on Terra 4K Open Gate to 16:9 master. Paired with the usual suspects:

I basically never use MLraw anymore, the 5Diii really only gets used for photos by me these days. Although I really love it, it's just not practical or suited to my needs so much. I'm probably going to get an E2 to go with my GH5 for the video stuff, they should be bringing a 4K Raw codec to the camera soon which will fill that raw hole . I just want a small, light camera that shoots good photos without much work SOOC, seems like RP could be that.

That’s true, I’ve always liked ProLost Flat and Marvels and even Technicolor was pretty good under the right circumstances. And of course I purchased EOSHD C-Log a while back for my old M10, so that will work too. Lots of options. You’d give up ML Raw for this camera?

Don’t forget about the a6400. Would be a fair comparison really

Smallrig do a half cage for it that has a locking grip for the HDMI cable. Alternatively, you can get this from Movcam that gives you a plug in full size HDMI and power barrel connector adapter that can also be secured into a cage.

You do know Canon is adding eye AF to the EOS R via firmware don’t you? I’m not knocking that the RP sounds like good value, but the EOS R has 10 bit out and CLog, magnesium alloy build and a larger battery. I feel the RP is a good option if money is an issue. However, barring that the R is still better overall. And well it should be, it cost substantial more.

They could also do with some BS (breathing smoothing)

6240(listed pixel width)/3840(UHD, I didn't see a 4K option) = 1.625. If the specs are correct, it should be almost identical to Canon APS C. Depends on the manufacture. I've had some off brand LP-E6 outperform the Canon battery and some that sucked.

From my experience, off-brand LP-E6s seem to last about 60% the time of the Canon batteries. Same for the LPE17s? Or do other manufacturer's batteries do a bit better?

Thanks. I wonder what the video performance will be on that battery, especially at 4k, with the screen on. It would surprise me if you could get longer than an hour on those battery specs.

Yeah crop doesn't really have to do with processing power, more so that Canon does 1:1 4K readouts no? Maybe some math expert can predict the crop now that we have final sensor specs?

Agreed that this is a great value. If the 4K crop is closer to 1.5x as expected, it even has a leg up vs the EOS R. Without the All-I, 10-bit HDMI out, and C-Log, the EOS R is still the better buy as a C200/300 B-Cam or professional mirrorless camera, but this would be a great enthusiast camera or travel camera. I don't vlog, but I can see vloggers digging it as well. Wouldn't be surprised if the marketing materials included a lot of vlogging images (and maybe why they included Eye-AF).

hmmm, no news on the crop?

If its a consumer grade camera that seems fair? Kinda strange to omit 30fps as I know a lot of normal consumers prefer it to 24p

Well EOS RP $1299 price just got confirmed. Looks like Canon is really looking to shake the FF market with this one! edit: price includes grip + EF adapter as well!

EOS R isn't presented by Canon as a DSLR substitute but rather an addition. That said quite a few 5D/6D series users are switching over. 1DX2 users no way, B-cam at best. The EVF? its a 3.69 million dot OLED.. best EVF I've ever used. No blackout either. Touch & Drag focus point selection is also brilliant, especially for a lefty like me. Makes joystick FP selection feel antiquated. Also love that all my FF Canon accessories (Speedlights etc) work seamlessly. Really missed solid flash performance on Fuji X series.

Yes the waweform has three options : Luma, RGB, parade. swit 55 parade.mov

I have this condition where I can't leave well enough alone... That's a really good idea for down the line when I've got a mostly-finished product! It's still early days. I looked into a lot of those systems when you mentioned it before. I checked out Movie Slate Pro and a handful of other apps. My app is primarily for personal use/just a fun project that will do a LOT of work for me in post. My idea is quite different, with a little bit of overlap of course. Thanks for all the advice!

Its a combo of compressed contrast because of higher halation than the Alexa (distinctly higher with LC1/4), and a missing top three stops. DD1 with light Olpf settings (5.2/20) is quite a close match (optical Olpf side-by-side coming) I shoot to 1080p, as that's all I need (a match to the classic); if you don't mind the data rates, 4K is worthwhile (most are shooting to 3.2k with Alexa Minis today, and some high end productions to Alexa 65/LF)

the boss bought the cnc for a high rise job that we had started, it was called q1 for awhile it was the tallest residential high rise in australia it literally ran 20-24 hours a day for nearly two years i think. i would load it up in the afternoon, even at night some times start it up and go home. come back the next morning and unload it. it even had a modem built in and was meant to ring a number when it was finished but that aspect never worked. it was pretty damn impressive, a few time it was my fault or another operators fault and occasionally it had its own issues.... i did feel bad when i screwed up, but i am confident that i made him more money than i cost him, i still work there part time whenever their busy i go down and do a couple of days work. they recently added a water jet, so i am keen to go and learn that as i have a couple of ideas for my anamorphic lens project that i want to try out :)

My first "jobs" were on student short films, or no budget web series, or similar such shoots. How confident was I? Very. As I'd been "DoP" or AC on numerous such shoots like those already, and I felt confident I could perform better than the average soundie I'd usually see on such levels of shoots!

Brandon Li is a famous travel film-maker who has made a number of viral travel films, with all of the special effects we associate with the genre. His latest project went beyond that and included actors, a storyline, dramatic tension, as well as being a travel film. Tom Antos interviewed him for a BTS look, and he talks about process, equipment, logistics, editing, the balance of control vs improvisation (there wasn't a script), and other interesting things, as well as showing some BTS footage. I think it's an interesting crossover between fully planned shoots and completely unplanned travel films. Here is the final film, and the BTS interview:

I've posted this before but this footage looks pretty good for low light:

Actually, no chance of being disappointed. Since buying my GH5 I haven't been genuinely interested in any of the newer releases. At least for my particular needs, nothing out there really comes close, and there isn't a lot with the GH5 where you think "gee, I really wish that it could..."

Nokishita has added 4K to the specs: EOS RP 26.2 Million Pixels Full Size Sensor Dual pixel CMOS AF DIGIC 8 4K video Continuous shooting performance: 5 frames / sec ISO sensitivity: 100 to 40000 (equivalent to extended ISO: 50, 51200, 102400) Organic EL EVF 3.0 type touch panel variable angle liquid crystal Dual Sensing IS DLO in camera, RAW development in camera, C-RAW compatible Size: 132.5 x 85.0 x 70.0 mm Weight: Approximately 440 g (body only), about 485 g (including batteries?) Kit lens: RF24 - 105 mm F4L IS USM (domestically RF 35 mm F 1.8 macro IS STM) EOS RP + EG-E1 extension grip

Yeah, I think that most of us have more than enough equipment for encounter with beauty! Maybe just not enough time, contacts, opportunities, will, imagination or something of your famous countryman message: "Stay foolish, stay hungry" (But I bet I'm not the only one here that patiently and eagerly expect born of your Ghost story from majestic camera obscura of your already legendary Canon 5DIII... Actually, meeting so often gladly with your passionate comments here, I'll surely feel and cheer your success partly as my own... Just go on till the end!) (BTW I shoot both with GH5 and GH5s so - keep eye on GHa lut In a meanwhile one more example of unpretentiously balanced, well done work for imo studying and enjoying - GH5s + SLR Magic Anamorph. lens and bit more graininess

Despite their terrible 4K Crop, Canon is definitely doing some interesting things. Seems like their EF to RF adapter with a variable ND will be shipping at the end of this month, so that could be a big game changer. I've always hated digital stabilization, but has anyone else used it in the EOS R? It is surprisingly good and I haven't noticed any of the warping effect that often plagues digital stabilization. Most excited for NAB 2019 to see if Canon can put some new energy into the wide open (and rather dull since the original Sony FS5) $3-$7k cinema camera market. C100 III or XC-style Super35 ILC? Hope so.

Gonna have to binge watch these sometime this week. Thanks for taking the time to do this, always cool to see actual on set work being done. How did you come to learn audio as well as you do?

Or get a tripod?! No C-LOG no problem. I've been using my own EOSHD C-LOG for years and works perfectly on the non-C-LOG Canons.

Fujifilm X-T3 crop factor: Sensor diagonal = 28.21 mm Crop factor = 43.27 : 28.21= 1.53 This is the true form factor.

About two months ago, I bought a bunch of filters to see if I could match the Olpf optically. I haven't had a chance to do a proper write up, but updated the Pdf - the closest one was Tiffen's Digital Diffusion 1. I had always thought Low Contrast 1/2 would be the match because of Jim Jannard's note about matching the Red to Alexa many years ago, but it wasn't even close (too strong). That said, LC did improve the falloff, to smooth out the stair stepped nature of the GH5's falloff, which was Alexa-like. The optimal stack I settled on was: Lens > Firecrest ND (Cancels out inverse sensor reflections) > Tiffen Low Contrast 1/8 > Tiffen Digital Diffusion 1 That said, I use 1/4, which gives a nice distinct diffusion and smooth falloff, but is decidedly stronger than the Alexa (lowering the contrast as well). LC 1/4 + DD1: This original Gunleik Groven test had also convinced me that Low Con 1/2 would be the ticket: Red 1MX Alexa And DD1 examples, from Tiffen:

Most here want their footage to look cinematic or filmic... I don't think the "real world" is either of those things. And I also feel most people want to look good on video... not ordinary... which of course the "real world" is. If you are trying to capture "real world"... well, don't worry about lighting... because no one has a gaffer following them around making sure they look good at every angle... and that the shadows hit their face just right. At least they don't in the "real world". Throw the rule of thirds... and every other rule out the window... the "real world" doesn't follow those rules. Gimbals... you don't need no stinking gimbals... "real world"! You'll save a bunch of time... your footage might end up looking a bit ordinary... a bit too "real world", but if that's the look your going for... good for you. However when I shoot I do want my subjects to look good. I definitely want the end product to look cinematic. I may fail in this effort more often than not... but I will continue to try to achieve the look.

Maybe they've deliberately chosen the 14th to announce it as its Valentines Day and they want to show some love to their customers. Or is it going to be a case of Roses are red, Violets are blue, Canon is Canon, No 4K for you.

Have to add this here because I think there's some confusion on crop factors, lens focal lengths and 4:3 shooting modes. First misconception I see is that "not having a 4:3 shooting mode means you are loosing resolution if you shoot 16:9 because you crop it later". You aren't, in fact. If you do the pixel math you'll find that either way, you are cropping the same amount to reach your desired aspect ratio, the only difference is one is being cropped by the camera to create the 4:3 and the other you are cropping in post. Though the BMPCC 4k doesn't yet have a 4:3 mode, you can still use 4:3 guides to help you see what you need to keep in frame ensuring you don't crop things incorrectly in post. In fact I'd say shooting in 16:9 is awesome because you can reframe things horizontaly if you need to. If you have an external monitor that can do 2x desqueeze (like this one here for $110 http://www.cinemartin.com/monitors/7inch/loyal/lt/) that's even better to use with those guides. Second misconception is that "anamorphic on full frame is worse compared to anamorphic on a crop sensor because you can't use wider lenses thus limiting your field of view". Your field of view on any given anamorphic is set based on the lens you choose. I'll give an example: The Kowa 8z clears full frame 2.4:1 with a 50mm lens. That same Kowa on a m43 sensor can be used with a 25mm lens. If you take into account the sensor's 2x crop factor, it has an equivalent field of view (assuming no speed booster is used). This means that the only difference between anamorphic on full frame and on crop sensors is what taking lenses you have or are willing to buy for the anamorphic. Some of the best 50mm 85mm, and 100mm vintage lenses can be had for less than $60, so this wouldn't be a barrier to me. Since the camera body is the most expensive part of the process, start there and you can get the rest to work with it. One final thing to add is a note on the nature of anamorphic footage and their added field of view. Tito Ferradans mentioned this once on a forum and it blew my mind! Anamorphic lenses squeeze vertical information into a smaller area that then gets decompressed later. This means that if you are shooting on a 2x anamorphic, your horizontal field of view is going to be 2x as much as a normal lens that focal length. To use my earlier example, a 2x Kowa 8z with a 50mm taking lens on a full frame actually has a horizontal field of view equal to a 25mm lens! Kind or crazy. So don't flip out if your anamorphic requires an 85mm lens to clear vignetting, you actually can see a lot more than you think. Hope this helps anyone who's trying to make a decision on what to get! Anamorphic lenses are about feeling more than they are logic. It's not logical to carry around a train of lenses, diopters, filters and single focus modules along with all the other film gear we use. There are so many modern lenses and cameras that you can point, shoot and get great results. Anamorphic is a decision to do something the hard way because of how it feels, both to us, and if we do it right, to our audience.

That looks destined for the Cinema line. They're not releasing a 10mp hybrid and they're certainly not releasing a 4k60p hybrid or something that does 12-bit internal given how conservative they are with 5d4 or EOS R video specs. Its a Cx00 sensor if anything. Chris

Yeah 10-bit out option is greyed out in FHD.. which makes recording with my Ninja Star kinda useless.. Hopefully Canon unlocks this with a firmware update. it's a very silly limitation.