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Pfftttttttttttt........... ! Consoles drool. PCs rule. https://www.reddit.com/r/pcmasterrace/

Seems to know his way around a camera. But does he have enough experience reading spec sheets on forums to back it up?

Magic Lantern have hacked the Canon M50 today, in a surprise move, since it was previously thought Canon had blocked the M50 from loading any scripts. Features of the first version of Magic Lantern for the M50 dubbed "Hello World" include 6K RAW video (using pixel binning) and animated wallpapers. Read the full article

Yeah you don't pay close attention, that much is evident. Big grinding heavy element moving around and you don't notice?! Customers like you are the reason Canon wins and innovation fails every time. The focus on that one is even worse. It has the cheapest possible moving front element in some kind of plastic that extends very far outwards especially when macro focussing, prone to wobbly and damage. It makes the cheaper Canon EF 35mm F2.0 IS look positively space age. That does have internal focus, whereas Canon didn't think to add it on a mirrorless camera lens where it's most needed.

That was the main reason I bought it - just having a 5 inch screen up in the face makes focusing a breeze. I shoot a lot with the Sigma 18-35 at f/1.4 and the percentage of missed focus came down a lot after I started using this monitor. It also has peaking and all the assists + you can zoom in the picture during recording which comes in clutch if you're shooting an interview for example and just want to double triple check the focus after you already started recording.

TVC for Mc Donalds with the Bolex on the Terra 4K.

OOC = OUT OF CAMERA (what are you settings if your not going to do any color correction at all from the camera)

here's simple cheap music video: (shooting no more than 2 hours, and edit 2h) BMMCC - Tokina 11-16 , Sigma 18-35 , Vitrox EF.

Leica just published new firmware versions, 3.5 for Leica SL and 2.2 for Leica CL. Any test previously made with either camera and a Panasonic L-mount lens should be redone with this new firmware before drawing any conclusion.

thisbis rally simple, well explained technique that I’m sure will help a lot of people. Especially those in wedding films.

You were both a big fan of the R until now, bit of a u-turn if you ask me. Maybe get your facts right in future before advocating for one thing over the other?! It is true the 50mm F1.2L has grown in size at every generation. FD was smallest EF grew fat R is just ridiculous. And funnily enough the FD is my favourite for image quality and sharper than the EF version! That post frame on youtube really does sum it up. Awful cheap de-pad feel and too small. Stupid lack of dual card slots. Weird on/off dial in weird place wasting space on top of camera. And don't get me started on the m'fucking bar or complete lack of mode dial.

LOL, people are still think half a stop DR or Low light or more megapixel are going to make their work masterpieces. We have 6k sensor doing 4k images in $ 2000 camera and people are still wasting their times on these.

It's greyed out in the menus in stills mode. The only way to enable it is to assign a custom movie mode to C3 movie mode and then assign C3 to the record button. So you cannot shoot in 4K Canon LOG, in the same stills mode you are using for stills, unless it matches what you previously assigned to C3 movie mode. Do you really think this is ergonomic? There were people who used to shoot 720p in the 1080p era for various reasons (60p for example) and I certainly don't begrudge you your preferences, it's a personal matter... Right tool for your job is clearly 1080.... But you're kinda implying 4K isn't relevant in 2019 which is a bit tin-eared... the vast majority of us are interested in the highest possible cinematic image quality and resolution, and want to take advantage of technology. No rolling shutter? In 1080p it's still there and in 4K it's amongst worst on the market. Another FHD shooter. Not too demanding on the technology are you? KR's review can go to hell. The external movement is on the front element, reassessed in the barrel and exposed to dirt. My lens is brand new from Amazon. It is noisy. It is not internal focus. It is basically dated technology on the mechanical side and just not worth the £2200 it cost me. It's going back. Just to ensure you don't think I am doing an April fools Proof enough?

Not correct. LOG is available. Personally I shoot HD on all stills cameras (Sony, Fuji, etc) because of rolling shutter. The EOS-R has no RS in HD. So it is full frame for me. (4K on these consumer stills cameras doesn't make any sense for me for other reasons as well like file size, computer power and that no one can see the difference anyway. Not online and not on the big screen. So I dont bother, 4K better be on a real camera or not at all. But if one must have 4K I agree, framing would be difficult if one isn't quick enough.) Agreed. Never seen a camera with easier transitions between video and stills. Its one of the main reasons I pre-ordered one and later bought one for my employer as well. For me there was simply to many upsides. Biggest and most affordable lens line in history, top display, ergonomics, no RS, Full Frame video with C-log, Canon colors, 30mp stills, 8fps Raw continuous AF with a huge buffer, DPAF for stills (loved it since the 6Dmkii), good EVF, and more. All at a competitive price. I totally get why some choose an A7iii, Z6, S1, GH5, etc instead. We all have different needs. But trying to dismiss the R as being "bad" or calling anyone that find it useful a "fool" or "zombie" is just being totally naive, a fanboy or a troll.

Several problems there. Stills mode is full frame, you cannot accurately frame for 4K video in stills mode, unless you cripple stills mode to a low resolution APS-C mode. Canon LOG is unavailable when shooting video with the record button in a stills mode. A work-around is to set the record button up to trigger custom movie mode C3, but these preset settings may differ to the stills mode you're using in the moment. I have my C3 movie mode set up in Aperture priority but if I am in manual stills mode, bye bye exposure when I hit record (and a completely different FOV). Visa versa, C3 set to manual, what if I want aperture priority mode for both stills and video? I have to deep dive the menus and reset all my C3 settings? It's ABSURD. Switching to fully fledged video mode is a sub-menu job and if you don't assign your preferred video mode to C3, the record button in stills mode will shoot movies without Canon LOG. Compared to established non-crippled usability standards on the competition this is ridiculously bad. Dave Maze's cracked in first few weeks. It's delicate non-reinforced cheap plastic. It is not internal focus. I have the lens. You don't. If you had even even used one, you'll see (and hear) the grinding, heavy front element moving significantly forth and back as it focuses and you can even feel the weight of the glass shifting forward and backwards as you go about shooting. The lens is on loan and is going back, by the way. I have no interest in keeping it. So you're saying it's good for an extremely limited range of filmmaking then. It does have warping... all sorts of motion artefacts in fact. I also find that EIS can get confused by motion in the scene and move the entire frame according to a moving object in the shot! You will see how superior the E-M1X is when I review it this week sir.

Forget about it, it is not a great sensor. (as I believe it is the same sensor as in their studio cameras) Skip 4K, get an OG BMPCC or Micro Cinema Camera for your S16 lenses.

Eh it's average. If it's overcast then it's easily viewable, but in bright daylight sun blasting situation you need the sunhood and even with it, it's quite hard to see. I mean it's just 450 nits, a little more than my phone. For daylight I'd say you need at least 800 nits.

Their focus puller will weep

Zach, what the hell are you talking about?!

Similar architecture to the Sony-Fuji 100MP medium format sensor? Personally I don't need 100MP stills but the technology is interesting as is all forward progress, it leads to an interesting future and is better than staying the same, otherwise we'd all be shooting 720p and 8MP stills

Great. Sounds like an RX100 full-frame sensor. I wonder when people will say enough is enough. Weren’t people saying that with 4K?

I agree that it's not always helpful to get hung up on specs and that ease of use, reliability, feel, ergonomics are more important. Here's my opinion: the EOS R is a dog in this regard. It's not easy to use, it's not reliable and it's not got good ergonomics at all. The crop harms usability because all your videos end up looking different to stills, or you have to use a zoom to compensate for the different FOV, or step backwards yards and completely re-frame. So if you're doing a video/stills hybrid shoot, it's a poor choice. The rolling shutter is a problem for anything that isn't a static subject. Lack of effective 5 axis IBIS hurts it for hand-held video work and the digital version warps and crops even further, on top of more distortion from rolling shutter it is not very natural or organic. Reliability - that top LCD is a serious weak spot. Cracks very easily. The lenses have externally moving elements for focus on the most part - even the expensive 50mm F1.2L R. Dated and noisy, and weather sealing isn't up to professional standards. Switching quickly between video and stills mode is a fiddly chore and Dual Pixel AF is no longer the best especially with the 35mm F1.8 R and 50mm F1.2L R and their grinding moving front elements. Needs lenses with internal focus to work at its best and quietest, which it rarely does. Yes, the image in C-LOG is nice, colour science is good, as is white balance and the codec. Like you I prefer to have an image with no excess digital sharpening and don't mind soft, cinematic 4K that doesn't fatigue your eye when the picture moves. It doesn't lack for detail unless you're a pixel peeper using a chart and not watching the film or content. So the image isn't so much the problem - the rest is. But the E-M1X is a far superior hybrid camera.

I for one really missed the console fanboy wars of my youth between sega/nintendo and sony/microsoft and am overjoyed to see grown adults still acting the same as my 12-year old schoolmates, just about cameras instead of vidya games. Now may I interest you in a link to a youtube video of "Why Xbox 360 is the TRUE LEET GAMERZZ choice and why I switched over from the Wii"? It's very convincing and supports all my arguments I promise.

No one has said anything about that. I suggest you ignore this thread because it's not about criticism. It's about the over representation of Sony users threatening, attacking and bullying anyone who doesn't blindly apologize for Sony's shortcomings and hate all other brands. If you haven't experienced it, good for you. But many have and there is data supporting it. So we wish to discuss it

Not that the P4K looks bad, but these sharpening halos (easiliy visible in the thumbnail around the jacket even) make the P4K look way less organic than the original BMCC. Was shot in either ProRes or Braw. Cdng doesn't show any of these internal processing issues when sharpening in Resolve is set to 0. Still wondering why BMD joined Panasonic, Sony, Canon (since EOS R) etc...

stop playing hard to get, turn to the dark side. We have braw and chocolate chip cookies

Andrew, old Australian saying mate; Don’t let the bastards get you down. Keep up the great work.

Every time I put my hands on it, I am still praising this thing. I've simply stopped to have pleasure to shoot with anything else : -)

There certainly is some content which ends up on YouTube, I'd have worked on a few like that. But yeah, most would be going to TV/paid streaming/TVC/theaters/etc

The fact that most of you asking for an external recorder puts the Pocket 4K and all the recording options it offers in perspective. As I said before, you are buying an external record and a whole editing and post production suite plus getting a free camera with a very adaptable and good high ISO sensor! I am holding my P4K order until NAB, just in case; for what I do, an XC type camera with broadcast quality video is enough for me, is anyone going to deliver a great S35/m43 video camera with broadcast quality for less than 5000? If not, then P4K it is. Z S35 sounds amazing but it isn't a real product yet and I have to up my game a little at 2019.

Micro MFT Mount

It's Canon, what you think will happen lol.

Fujinon MK 18-55 and 50-135 Canon CN-E 18-80 and 70-200 are the cheapest. If you are a Sony user, the Sony E PZ 18-110mm f/4 G OSS Lens (SELP18110G) is acting like a real cine lens, it isn't, but acts like it and it is very convincing at it!

Btw did they retract that tweet and change the question? now it is EOS R External recording..

I believe this is what Sony is doing with their new RAW format.

I'm having difficulty finding adapters for the L mount. Any suggestions. I'm hoping to mount FD lenses, Rokinon cinema lenses, and Nikon Fs. Never owned an L mount before. Andrew, you're the king of adapting lenses---any helpful information? Will this camera also accept M mount?

Yes I think perhaps that's true about the GH6 but they have been pretty generous considering 95% of the market for the S1 is stills! What they need to watch out for a bit is Sony and Nikon because they are doing all sorts... Z6 does autofocus well, S1 doesn't. Sony do autofocus well on a wide range of models, starting cheap (if unimaginative). Nikon will be first with full frame RAW and I had expected Panasonic to do that. So Panasonic better do a proper video S model along with a GH6, just doing a GH6 might not be enough. They also need to embrace Phase Detect AF sensors.

You typically want to put any finishing/sharpening a the very end after of your processing. Typically just before running it out. How strong you make the sharpening and the radius you use will just depend on the final look you are going for and how soft your original footage is. Depending on the sharpening filter you are using there is typically a strength and a radius value. As part of your finishing process, you may also want to add grain into the image. Opinions on whether you add the grain before or after the sharpening can vary, but I find that if I'm dealing with an image that needs a lot of sharpening, I'll add the grain last so I'm not heavily sharpening my grain. Conversely if I'm doing a composite and matching grain between elements, the grain will come earlier in the pipeline. But in that case, any sharpening I'm adding back in is very minimal to just restore any detail loss due to encoding. If you want to dial in some specific values for minimal sharpening to make up for re-encoding your original source to whatever your final format is, you can run a "wedge" and try a variety of values then compare the detail you see with various sharpness settings of your output video against your raw source and pick one that matches most closely. Depending on what your source material is and what your delivery format is, this can vary wildly. In cases where I'm working from a high res (6k-4k) source and delivering at 2k, I may not even use sharpening. Finally, opinions also vary about where to put any degraining, but I prefer to put it near or at the very beginning of my color pipeline. If your degrainer is expecting something in rec 709 though, do your color transform into video space and then run your degrainer. A little testing with your camera's source footage will go a long way here as well. But, I find that especially when I'm working with 8 bit source material, it can add some pseudo bit depth to the images before I begin pulling on the color. So, I'd typically do: .Raw adjustments to set color balance and exposure. (if working with raw footage) Degrain/NR Color sharpen/grain

Forward progress in terms of aesthetics is relative. It is why people still use the nearly decade old alexa and pay a premium for early CCD s16 cameras. Sony may have the tech but the images are lackluster. Not sure why Canon would give up the very thing that makes their image unique and special.