Leaderboard

He's still going... Holy fuck.

You damn right, they didn't. It was a deliberate act to cripple the camera as part of their increasingly aggressive segmentation game (forcing certain people looking for certain features to look at more expensive options; which is a very business oriented strategy which of course isn't a very good sign of goodwill and might alienate more people than it attracts). Which is a very reasonable and rational explanation. A much better one than including 24p because implementing so would make the camera too costly (again, we've seen cameras getting 24p added through a firmware update, long after it was sold to the customer!). The entry level Rebel T7 does 1080p24. You know which Canon camera does 4K24p? The Canon PowerShot SX740 HS, lol. A consumer budget compactcamera. So stop all this nonsense about costs or technical implementation, it's all bogus. They did it on purpose and it was not to cut down on costs of the camera itself, it was in the hopes that due to leaving it out it would generate more camera sales in higher tier products. Which is a shame, because no other camera company is leaving out something basic as 24p! Canon blew up after the 5DmkII and 550D/T2i. Then the whole Magic Lantern years trying to make them more into what Panasonic was doing as a company themselves with the GH-range, unlocking more potential, giving its users more quality and features. Yet Canon as a company? It's swinging that 'cripple hammer'. Why do you do it? What good have they really done after the 5DmkII? They started the whole HDSLR revolution if you will and now they're the ones least eager to keep up with it (it's like they managed to pull the Excalibur sword out... and then sold it for its precious metals). Just makes me puke. ?

It is my understanding that Sony's 5k and 6k full pixel readout and scaling to 4k video...is dont at the A/D conversion level. The sensor does that proprietary scaling right on the sensor and feeds that final 4k image to whatever video processor your camera has. Why does this matter? Because all of the readout and scaling engine is on the chip itself. Your image processor doesnt have to do that work! Anybody who buys a Sony sensor has access to the scaling readout modes. So when Canon buys 1 inch Sony sensors,...bang!...they got Sony-style full pixel readout. Since Canon makes their own FF and APSC sensors,...they dont have that scaling engine onboard! Their DIGIC processor has to collect and scale that readout by itself! CLEARLY.....Canon has NOT figured out how to do 4k with anything more than a 1:1 deBayer or a 1:1 assembly using binning or line skipping!! Canon is literly 10 years behind Sony in sensor readout and image assembly mathematics! My God....wow.

Conspiracies, cost cutting, delusions... it's all the same to me. There's only so much value to be had in speculation about the whys and hows. The bottom line is: I'm not buying any camera that doesn't shoot 24p.

Well said. The cheapest camera with 24p is probably something like $80 And people still believe the Canon rep PR spin that 24p had to go to bring the price of their $1400 camera down a bit and that Canon did everybody a favour and it's good business! LOL! People are so gullible it saddens me to the core. Even the EOS 1300D has 24p! Obviously not in 4K but this is one of their cheapest and worst DSLRs. There is a reason Canon do not want filmmakers and enthusiasts using 4K 24p for under $2000 and it has nothing to do with profit margins, licensing costs, technological capabilities and everything to do with forcing these advanced users to pay more for a different model, end of story.

I think you might be forgetting about the indy cinematographers who want full frame, an EVF, a more adaptable lens mount and steady handheld footage

The small hole is actually to reduce the amount of material required, thus saving 0.23 cents/unit on manufacturing costs. It's the compromise they made in order to afford the 24p license.

A particularly strange virus has spread across the internet, which seems to infect people defending Canon's latest cameras, shorn of the cinema frame rate 24p. Read the full article

I just found this test uploaded 9 hours ago with all the lenses. I think that I like the 40mm more than the 50mm hahaha.

Hallo, thank you very much! I think the magic really comes from the lens. The Fujinon 12.5mm 1.4. It does not quiet cover the full 16 to 9 image on the Lumix. I shot this on the G6. Grading and grain in Davinci, any other characteristics of the image come from the beautiful location, the light and the lens. The whole piece was shot in a cinema verité approach, with hardly any shots posed for the camera. I hopefully get around doing some more of these personal vignettes this year. I will see. For this piece it was the right energy and the right moment in time and right kinda lightning:)

Was just about to post this. Panasonic still segments but without the canon malice. Quote from Sean that I think sums it all up: “We at Panasonic make incredibly pragmatic products”. I would agree. Now fix your autofocus! He also throws some subtle shade towards Nikon about ProRes Raw coming to the S1H. They clearly took feedback from the G9, S1, and the GH5S and didn’t repeat mistakes. The on/off switch. IBIS with dual gain ISO. The flip screen and tilt screen (give the people what they want). Pragmatic codec on pragmatic media with dual slots. Great battery life. Why they stay stubborn on the AF is beyond me. It’s better but they are still taking heat from it. They need to knock that aspect out of the park.

Good schtuff Makes you really appreciate how they're listening and providing for their customer base in comparison to say a Canon...

Even if the licencing fees argument were true, it would actually make Canon look worse, not better. Because if Pentax, who have a far smaller share of the market and whose video quality has consistently been an absolute joke since the day they added it, are willing to shell out the fees to enable their DSLRs to support 24p, what possible excuse could Canon have for not doing the same?

Mokora, how do you keep doing this argument when ALL of the evidence is against you? Canon really must’ve lost a ton of money on the t2i.

New picture I took with Canon T2i Olympus OM 28-70 f/2.8

OK so here's the thing about add-on EVFs. They are all shit. They all need stupid wobbly cables, they all upset the centre of gravity and balance of a mirrorless camera, they all draw attention to you so people know you're shooting video in public and the Permit Krackens swoop, people get upset, etc. They all cost a lot of money and they all take big chunky 1990's style camcorder batteries or hook into an even bigger v-lock brick on your spidery stupid rig, and therefore they are horrible to use, horrible to pack away, horrible to assemble and slow to boot up. Then the battery dies, poof. And all that just to see the fucking picture under sun. I despise external recorders and external EVFs. None of the manufacturers have innovated. None of them have stepped out of their cinema bubble and come up with anything as elegant as a mirrorless camera's built in EVF. FF vs S35 is not a comparison dependant on the codec. The aesthetic is different, the lenses are different, the lens circle is different. Discuss that, then we can discuss the codec separately because it is literally a separate topic! EF lenses still rule, of course they do, so put one on L-mount with the Sigma adapter. Done. Price chasm is not that big. In the UK for instance Pocket 6K is £2300 and S1H £3599. But the Pocket 6K has no EVF so you need to add one for £1000 The Pocket 6K has no stabilisation so you need to add a cage and shoulder rig for £500. Alas the Pocket 6K has a piddly little battery which the meter decides it has had enough off after 10 minutes with random shut downs, so add the v-lock for £300 minimum. Final price? £4100. Don't get me wrong I love what Blackmagic did with the image and codec. Just wish it was in a different camera not the shit one they put it in.

Right? They're treating me like I'm Tom Cruise and trying to sell them Scientology. Yet... it's more the opposite in that I try to make them not fall into that trap in the first place! ? Oh well. She agreed that she'll wait until I show her some better options in a store. I also offered to loan out a camera, but she's adamant on buying one from new somewhere. Consumerism.

Guys give it a break and write a film ffs! I watched The Godfather (again) recently. This film probably has as much detail as a poor 720p camera. The highlights are often blown out and it looks like the dynamic range of that film is no more than 6-8 stops. It is yellow as fuck. And still, it's a beautiful movie. And almost everyone agrees. I realised that, including for myself, this obsession with gear, pixel peeping and resolution is a race to the creative bottom.

We shot this as a two man crew over two weeks in Georgia. Was a whirlwind shoot driving up mountains to track down nomadic sheep herders and trying to get access to shoot in Orthodox churches and dance clubs. This is what we came up with.. would love to hear what everyone thinks.. we took a different direction on this piece than we normally do.

This is a nice one, congrats! Love to see the results with a 2x scope on X-T3 (I own myself a Bolex Moller 16/32/1.5x).

You would need a separate clock circuit for true 24.00p. However, the 23.976p that's more commonly used in consumer cameras is derived from a 60Hz base clock - in 60Hz mode my FZ2000 gives the option of "24p", 30p or 60p, but in 50Hz mode it's 25p or 50p only - so if a camera can do 30/60p, there's no fundamental reason it shouldn't be able to do 23.976p.

Oh look it's how they should have designed it in the first place!

Can't wait for this to happen, then. ( :

@heart0lessHobbyists are among the best filmmakers. They have their big breakthrough once they get paid! The guy in the video sound like a Gerrrrman though. They always have this funny pronounciation, even in writing.:)

mentally ill = funny name a hilarious comedian who is 100% sane...? zach, im crazy too, believe me. its not easy. but im also funny af and u gotta think thats part of it, u kno? dont worry man, youre in GREAT company...!

Hahahahha Unfortunately - no, I am not. Just a fellow Polish hobbyist. ( :

Was never exclusively about Canon in the first place.

Here's the Vimeo version

Watched a DVD projection on a 9foot projection screen. Looked awesome. "Coffe and cigarettes". Awesome BW photography. Looked as good as any streaming from netflix. @User Yes, the horror of pixel and tech race. The rants about segmenting tech and about these awefully short product cycles and redundant products are more than justified!

@Cinegain, That guy has a great voice and lovely presence, very relaxing. How nerdy is that, to listen to a camera reviewer rather for the mellow vibes than for infos on cameras:) Would love to see some people to put the S1 and S1H cameras to cinema film use. One of the examples with the two bowlers had massively good color but mushy upload quality.

So like some people here, the deal breaker for me is 4K60P Full Frame. I commented on Atomos' IG and they responded with this. I guess uncropped 4K60P is happening through HDMI?

@tokyojerry if you already have Olympus gear I would at least wait for the EM5-III. Should be a decent upgrade and you won’t have to buy new glass. The new Sony Axxxx cameras are new numbers and that’s about all. The rolling shutter in 4K is absolutely dreadful.

The MixPre3 mkII is a great offering right now. A lot better than the previous one. It will sell a well. MixPre Gen 1+2 Comparison Chart MixPre II vs Original MixPre 1) 32-bit float recording a All models - NO 2) 192 kHz recording a All models MixPre-6 & -10T only 3) Timecode Generator/Reader a All models MixPre -10T only 4) USB file copy a All models MixPre -10T only 5) +18 dBu output MixPre-10 II - NO 6) Adjustable Limiter options a All models - NO 7) Sample Rate recording All MixPre II models (44.1, 47.952, 48, 48.048, 96, 192 kHz) MixPre-3 (44.1, 48, 96 kHz ) MixPre-6 (44.1, 48, 96, 192 kHz) MixPre-10T (44.1, 47.952, 48, 48.048, 96, 192 kHz) 8. ) Pre-roll duration at 48 kHz All models: 10 seconds MixPre-10T: 10 seconds MixPre-3 and -6: 5 seconds

I’d hold off on canon apsc as their sensors are technically smaller than Sony and Fuji apsc so the size difference between it and what you have isn’t really that huge. Especially once the canon crops in (if it does in 4K) i imagine even a speed booster on ur current body would generate better imagery

Thanks much for your feedback Andrew on this just announced M6-Mark-II. I was about to get rid of my existing (and very humble) Olympus E-M10 Mark-III and 'upgrade' to this M6 Mark-III as my first foray into the Canon world. I thought, double the megapixels, a larger sensor (m4/3 vs APS-C) DPAF vs CDAF only, etc. But now, your insightfulness has created pause to rethink matters. Now, I am thinking to either wait for the upcoming Olympus E-M5 Mark-III and stick with M4/3, or to go full frame and consider A7-III et el, Or perhaps I should venture into the Fuji camp and consider X-T3/X-T30, albeit no IBIS (I think) and also owning no Fuji lenses. I tend to shy away from full frame because of the added weight, size, and expense for lenses, and at this point in life (age) I really like the relative compactness of the current Olympus or this new M6-Mark-II. I like the ergonomics and control layout of the Olympus but the menu system is another story!. But size alone is surely not the only factor. Perhaps the all around compromise might be the Fuji X-T3 / X-T30 but again, no lenses. Alternatively, just wait and see what Olympus produces with the upcoming E-M5-Mark III. It is rumored to minimally have the capable sensor of the current E-M1-MKII but with new processor. Anyway, again, thanks for the heads up info on the shortcomings of the M6 Mark-II 4K specifications not being true 4K. It's definitely food-for-thought. Sheesh! Even my Samsung Galaxy Note 9 gives me 4K @ 60fps! ... decisions, decisions, confusion! (^J^)

On my opinion indy cinematographers would prefer buy BMPCC6K with 35% less money and have internal Braw , save the money by avoiding buy new lenses(L mount), would save the money for external recorder (who wants to use that anyway?) and having lack only of Ibis and still shooting capability. BM "destroyed" all potentional caesars with one move.

People ?

I’ve never had an account in here. Just lurked. But I finally had to sign up. Some of us grow so tired of reading your repetitive assumptions, theories, and misguided opinions. No one in their right mind thinks canon removed 24p to save a bit of money. Furthermore the license fees fees have an annual cap. Once a company hits that cap it can’t cost them more. I imagine big companies that manufacture video equipment using these codecs hit that cap regularly please stop repeating the same terrible excuse every page

Yes ultra compact cinema setting ? Last work (BMMCC)

My hands on first look and footage vid is live. Love the camera!

still running and gunning with my pocketsize handheld setup (100fps fw update is all i needed )

I'd be miffed if I purchased something without knowing I'd have to pay for a firmware update, as opposed to an increase in price for a camera I hadn't purchased yet.

I don't spend £7.99 including postage lightly so they need to earn their keep somehow

Back by popular demand, here are the sock puppet episodes:

I don't notice a major color shift after the swap, though I no longer have any unmodified hero 5's to compare it with. I'm pretty sure I got the lens from Amazon. If you search for "M12," they have lots and they're mostly pretty cheap. I don't have a modified RX0 (or an unmodified RX0). As far as the modified GoPros... the Hero 5, I still use as a car camera. I have a couple of unmodified Hero 7's that I can use as car cameras if I want to go back to a wider angle or if it's extremely rainy or dusty. I haven't used the Ribcage Hero 7 for a lot of useful stuff, but I'll be starting to use it more in the near future, now that I got a holder that makes the annoying GoPro microphone connector a little less annoying. One of the reasons I'm always hunting for wide angle D mount lenses with sufficient coverage is that I'd love to use it as a vlogging camera, especially when in areas where I'm iffier about carrying around fancy-looking cameras (I've used the RX100 V for that, but even it draws some unwanted attention that something looking like a Frankencamera might not). It's mostly a fun/tiny camera where I can use my C/D mount lenses. I also want to use it in some upcoming short film projects in places where a GoPro might otherwise be used, but where the fisheye is not desirable. I may also try using it as a car camera with a fast lens sometime when it's getting dark enough that a standard Hero struggles.

I don't like those Sammy the Sock skits I made. They showed how mentally ill I was instead of how funny I was.

I've got two responses to this topic Consider that in terms of resolution, for stills, a 6 Mp CCD camera equaled 35mm film 10 years ago in terms of resolution. Not in terms of colour.. It seems to me modern 100mbs super 35 at 1080p from a prosumer camera is equal to 35mm film stock in terms of resolution. I've shot quality 4k and displayed it 4k on a big screen and it looks impressive. However, I'm happy with quality 1080p. I've heard annocdotally that for major studios VFX is done at 2k and rezzed up. It wouldn't surprise me. Also, what's the point of 6k if it's broadcast at 8Mbs? I mean really.. The limitation is not in the number of pixels but the size of the pipe. it's just a case of give me MOARRR!

Braindead numbers game.

I love my Moeller 16/32/1.5 that much, I might be buried with it. You can keep your Iscos thanks.