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close? the A73 has the worst codec out of all current-gen FF cameras!

This could very well be a case of irrational exuberance. Take a look at the camera. We know that Panasonic required a vent on the back of their S1H to do 6k. Look at most cinema cameras that do 6k or 8k. Fans are usually a must unless you have an exceptional heat sink and w/o an EVF. Add an EVF to a camera and you have lots of heat. Try doing 8k for any extended length and you'll have a shitload more of heat. Canon's 1DX Mark III is capable of up to 2,600 Mbs but has a body the size of a 1969 Buick and no EVF. How is Canon dissipating heat on this smaller camera with 8k capability? I see forums littered with phrases like "Canon take my money!" Really? Not only have we not seen the full specs. No one has been able to test the camera. Something seems fishy to me.

humm... there is still time for it

The problem is that Canon, like all big camera manufacturers, uses an ASIC architecture for the camera electronics and signal processing: single-purpose boards where most functions are hard-wired, allowing smaller bodies, less cooling and lower manufacturing costs in high volumes. To implement ProRes, Canon would need to develop a new ASIC from scratch, which is expensive, and is only done every couple of camera generations, with one ASIC for all current Canon SLR and mirrorless cameras. Blackmagic, Arri and RED and other smaller manufacturers use FPGA instead of ASIC: fully programmable boards (or mini computers) where new codecs and functions can be implemented in software. While FPGAs are more flexible and cheaper to develop initially, they are larger, require more cooling andbigger camera housings, and are more expensive to manufacture per piece than ASICs. The Blackmagic Pocket Cinema 4K and 6K cameras are good examples for those advantages and disadvantages of the FPGA architecture. The Sigma fp is a good example for the advantages of ASIC (smaller body with a full frame sensor), but also for the disadvantages (lots of limitations that likely can't be fixed in firmware).

As a small camera, I'll be happy with X-H2 style X-T4... Basically the X-H1 body design but with X-T3 video specs and a bit extra, like an anamorphic mode. Doesn't have to be 6K or 4K 120fps! I will always need a good Super 35mm option for my Arriflex lenses and LOMO OCT19 Anamorphic better suited to S35 as well. Not everything has to be a full frame R5 monster cam and cost $4000!

Well I just got an URSA mini 4.6k, kind of an impulse buy but I don't think I'll regret it. Just watched a video comparing it to a C300 MK2. It sucked at high iso but the dynamic range killed the C300 and that was just shooting with Prores 422

Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years. The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system

First I'd like to say that I appreciate that the Lenses sticky thread is now it's own Sub-Forum. It really allows members to post more specific topics and it allows readers to ignore topics that may not be useful for them. With that said, @noone had a great idea creating a topic with one of his favorite lenses... so I figured I'd follow suit with one of my favorite lenses... Nikkor 35mm 1.4 ai-s As I started writing this brief, real world review, I realized that this lens represents a larger story of me as a filmmaker as it chronicles the highs and lows of my life since I started shooting my film... So what started as a brief review morphed into a much longer story. If you don't have the time or inclination, stop now. For those that are still interested... here we go... I love fast, wide angle lenses. They offer shallow depth of field while allowing you to get close to your subject. And a fast 35mm straddles a wide angle FOV and a normal FOV making it almost the perfect full frame, focal length for my style of filmmaking. This is my second copy of this lens and truth be told... I've almost sold this lens a half a dozen times over the past year. My first copy I bought when I started shooting my film. I had a simple game plan... the Canon 24-70mm f/4 IS lens for daylight and the Nikkor for lowlight. Here are a couple frames from the first shots I took with the lens for my film. For some reason I decided to go a different route for my lowlight shots and bought a Canon 35mm f/2 IS lens. In most ways, the Canon is a better lens, but it lacks the charm of the Nikkor even if it did match my zoom a little better. At the time, my film was moving along at a steady pace, so I decided to keep the Nikkor for a different, upcoming film... Well... Life had a different plan, like it often does, and some unforeseen medical issues in my family slowed production to a near grinding halt. With those medical issues came some unforeseen financial issues and I was forced to sell a bunch of lenses. For a brief time I thought I'd be forced to sell my camera as well, but I luckily made it work. Before I sold the Nikkor, I decided to take it out for a final spin. Here are a couple frames from that last day with the lens... By this time, I was also forced to sell my Canon zoom and my Canon 35mm f/2. Over the next 6 months I raided my closet to test any and every lens I had that could work for my film. Luckily, during that time, I found a Canon 28mm 1.8 listed on eBay "For Parts" for peanuts. Needless to say, I won the auction and found another one of my favorite lenses born from need. For the next 6-8 months, the Canon 28mm 1.8 lens became the only lens I used to shoot my film and at the time, I couldn't be happier with the results. But I still missed my Canon zoom and my Nikkor 35mm 1.4. Last year, I came into a little extra money and immediately sought another copy of the Nikkor and after a few weeks, I found one. With the extra money in my account, I took the opportunity to test a bunch of lenses I couldn't otherwise afford but always wanted to try. I tested some beautiful lenses but being a hobbyist, I needed to contain my obsession and build a couple logical lens sets. I used the end of my sporadic shooting days to test a lens. My method was simple, use my main actor as a model in the same locations I was shooting my film. Here are a few frames from those tests... After hours of deliberation and footage, I finally realized that I don't change lenses that often and I grew to like the idea of a single POV, from a single lens, as if the lens' FOV represents an invisible narrator's eye. I used my feet to zoom and put together a simple rig consisting of a closed monopod with a tilt head and a tape measure pouch clipped onto my belt. The bottom of the monopod fits snuggly inside the tape measure pouch giving me a stable image with a handheld-like flexibility. During these tests, I realized that I had way too many lenses and could easily shoot a short film a month, for well over a year, and never reuse the same lens... What was I thinking?! I am just a hobbyist with no delusions that I will make the next great indie film. This was getting out of hand. So I set up a final round of testing and narrowed down my keepers to a grand total of 5 lenses with the only "set" consisting of my Canon FD 50mm 1.2 L and my Canon 28mm 1.8. At the time, I even contemplated selling the Nikkor 35mm 1.4 one more time to keep with my minimalistic utilitarian approach. But after some careful thought, and some good advice from some other EOSHD members, I decided to keep it. Although I was still unsure if I needed the lens, after a recent go at some of the footage with my mediocre color skills and my crappy monitor, I came up with these frames from one of my test shots... Although, I realize that none of these shots are particularly spectacular, but each one represents something I like about cinematography and tells a story about my life over the past 3 years. Sometimes the gear we buy is more than just tools for the stories we tell... they become part of the story... part of the journey. Maybe I am being too sentimental but when I look at these perfectly imperfect images taken with a perfectly imperfect lens, I remember the moments that brought me from then to now and what I learned during that process... This lens taught me that my equipment is better than I am. I learned that I don't have to shoot everything wide open and that I probably shouldn't if I ever want to pull focus on an actor walking. I learned that some lenses have a vintage look when wide open, but when stopped down can look crisp and modern. But most importantly, I learned that I need very little to make a movie and gear is the least important. If you're interested in a more technical review, I recommend Ken Rockwell's review of the lens. He gets into the nitty gritty of the characteristics of the lens. I feel he's a little too hard on the lens but everything he writes is dead on accurate... https://www.kenrockwell.com/nikon/35f14ais.htm For me, I can sum it up in one paragraph... The Nikkor 35mm 1.4 ai-s lens has a warmer tone and when shot wide open, the images are dreamy, a little soft with a ton of coma on the edges. Stop it down to f/2 and it cleans up a little. By f/2.8 it's like you're using a different lens and that lens is as sharp as a knife. It's like having two lenses in one with both being sharp enough with a bunch of character. So there you have it... thanks for reading.

Z cam uses ASIC and implemented h264, h265, prores, and raw all on the same camera. Canon has way more resources and I assume could also develop a prores asic. They had planned it from the start. In fact, some users found out how to unlock it right away, way before it was licensed.

I wonder what percentage of $3000 these licensing deals actually would cost the Japanese camera makers. Just pass the cost onto the customer and they will gladly pay. Who would turn down Alexa colour science and ProRes RAW for $300 extra? We are talking top end cutting edge mirrorless cameras not consumer low-end. Or do a patent swap. The main challenge will be getting Arri and Apple to agree, me thinks.

A7S3 Dev Team: Ok, back to the drawing boards folks. Seriously, I don't see how Sony or anyone is going to compete with this in the near future. Nikon took a hard L yesterday with the D6 announcement. Now Canon is here to finish them off. This camera feels like the true successor of the 5D3 (let's just forget the 5D4/EOS R). No more Touch Bar, joystick & scroll-wheel are back. Even the Rate button is there, hallelujah! Canon is back for revenge with the 1DX3 & R5. I'm just glad I stuck with them throughout the years (which will be regarded as the 'dark ages' lol).

Hopefully Andrew will get answers to many unanswered questions about this camera. Their press release didn't reveal much as far as all the video features other than 8k. The 1DX Mark III appears to be media card hog and will require a lot of expensive memory chips. Will the R5 follow suit? What will the dynamic range be for video? What about higher frame rates? 120fps 4k? at what bit depth? Will it be a cropped 4k at 120fps? Recording length? Clog? Prores? Autofocus at higher 4k frame rates and/or 8k? Been down this road so many times with Canon and then have the rug pulled out from under me. Looking forward to verifiable specs before getting giddy about this camera.

kayleerumors is reporting gyro as confirmed

I hope Andrew has registered eos8k.com

Option A: Canon has a secret sauce and manages to release 8k on FF mirrorless camera. Not only Canon is going to abandon years of crippling policy but they are going make a massive technological come back by beating the competition. Option B: they gonna fuck it up one way or the other with weird limitations, exorbitant pricing, marketing specs for the stickers on the box but without value for users (8K is actually time-lapse mode or upscaled 4K). Normally, I would be inclined to pick Option B but since their sub-par product line and pressure from the competition starts having an effect on their sales, we may not completely rule out Option A. Finger crossed.

ya if i didn’t have an agent by now i’d be looking for one. almost everyone has one at higher levels. i share an agent with kai w, jarad poland, gerald undone, and jeven dovey for example.

I don't know what to call this phenomenon, but it happens to me regularly with my GH5. I get out of sync when I press the record button so that I end up recording the time in between shots and not the shots themselves. So I'm hitting record, thinking that I'm going to record a new clip, but actually the camera is already running so I actually stop it. Then at the end of the clip I think I'm shooting I hit record again, to stop the recording, but I actually start shooting a new clip. I usually do this for 2 or 3 clips before I notice, and I end up with lots of behind the scenes footage 🤣 I think part of the problem is that I use slower cards on the GH5, which needs a few seconds after recording to buffer the clip. During this period the record button is inactive and I slip out of sequence. I'm quite aware of my tendency to do this and try to watch out for it, but it still happens regularly enough to be slightly embarrassing! Particularly if I'm doing a job for someone else and handing over the footage at the end of the day.

I'm not trying to pick a fight here. But, I don't know... I felt the same, but after trying out mft... I got to call it as a I see it... Most of the above is mostly B.S. from online pundits. 1) <-- Very subjective and its content based not related to sensor size. 2) <-- Well, watch this video and tell me that 3 feet is really a big deal (may be switch out the lens for the 16-35mm): https://www.youtube.com/watch?v=IFH6bmesqVE 3) <-- Plenty of bokeh on mft here (by the way thats my video with the stupid Yi Camera): https://www.youtube.com/watch?v=pv0QRR3Nbh8 4) <-- This I agree with - but manipulating light with reflectors, external soft boxes, LEDS, flags, etc. even time of day (the golden hours) and working within their limitations is half the fun. 5) <-- This matters if you are not using any editing tools at all, but I've taken some amazing pictures with the 7D. And, they looked great straight out of camera. Funny story, I was working with a friend for a wedding, I told him... man its just a 7D + a couple of L lenses, he said that it will be fine. He was shooting with a 5D mark 2, and the groom wanted all my pictures instead. After reviewing my photos, my friend was blown away by them too, mostly because I captured a lot of those "intimate" moments.

Thanks, after 3 years shooting with just the 5D3 and ML Raw, I'm still as enamored with it as I was the first day and haven't really scratched the surface of what the image is capable of. Once I removed the need for 4K out of my brain, and accepted 1080p raw as a superior image to consumer level 4K, I stopped chasing rainbows. If you don't fall madly in love with the LF, then there's probably something wrong with you. Lol. My ultimate dream is to sell my film and make enough money to rent an Amira or Alexa Mini for an upcoming film. Leica Rs are beautiful lenses. They're a little out of my price range so I've never used one. I'd love to try the 50mm f/2 summicron or ultimately the 35mm f/2 one day. There are so many vintage lenses that add a little extra to an image, IMO. For instance, Pentax Takumar lenses, from the 60s, still impress the hell out of me. Nikkors lenses are great choices, though because there are plenty of options in their line up for every budget... as long as you don't mind the focus direction. The 35mm 1.4 was considered one of their "professional" lenses marketed to photojournalists and street photographers. It even has 9 aperture blades as opposed to the traditional 7 blades that most of their lenses have. But the 35mm f/2 can be had for less than half the price and is a great lens as well. My first ML Raw test was shot with the 35mm f/2 and that lens led me to the 1.4.

The obsession with the “large sensor look”. Which, ok granted, you can get shallower depth of field with wider lenses with a larger sensor. But the quest to blur the background out is definitely missing the point of “cinema” and while we are not all chasing to do “cinema” the extreme shallow depth of field is becoming almost cliche and meme worthy. Not to mention there are other concerns at play like overall weight, packability, friction-to-use.

@Andrew Reid with all the rumors and hype I say you start a betting system. People can put money down on the “rumored” features. Higher payout for rumors more unlikely (like 4K120p). You take a small percentage commission on all the bets. You make more money than YouTube AdSense ever would make you. 🤣 Proceeds go to buying the camera on release for an in-depth review.

@hyalinejim Please take comfort in knowing that I do the exact same thing all the time 😂 I'm trying to do better like @fuzzynormal recommends. This has plagued me since the GH4.

Canon if your reading...this is your demographic. It seems Sony users (having switched from something else) have no problem investing to “come home”.

I haven’t really run into this problem with my GH5S but I have a habit of hitting record and then directing the actor or talking about how I want the scene to play out before I put my eye up to the view finder or look at the screen. And like fuzz said, I always look at the timecode to confirm I’m recording. A side benefit of this is inline voice memos in my footage lol.

"Double Punch" is what we called it in the olden days. But, yes, LUMIX cameras are troublesome for accurately triggering recording. The only solution I've found is to make myself put forth a concious effort to literally read the record clock for a second, make sure it's rolling, and get on with my work.

It's funny Canon always seems to be on the "Guilty until proven innocent" side. I mean I know it's hard to swallow for some because Canon has had a poor rep in the past, but please take a look at the 1DX3 specs. To me it's a clear indicator Canon have changed strategies, and seriously upped the ante when it comes to video specs. Pretty sure they're on a mission to sweep up the hybrid floor and take back their lead position. In any case, this seems a solid camera on both photo & video side even with the unknowns .

I think that we are headed for a massive disappointment. There is absolutely no reliable info on this camera and we already expect that a small canon body will leap frog the entire competition? It makes zero sense, even the S1H with its brick size and embedded fan can't do crop-less 4k60. How would Canon manage to do 8k24 in a Rebel/R type body without heating issues after behind being for so many years? As for ProRes, this is wishful thinking as someone mentioned earlier. It looks like some sort of limited 8K "for the sticker" on the box and then massive 4k crop or pixel binning/line skipping output. But I hope to be proven wrong!!! Finally, I don't think that Sony needs to wait for the official Canon announcement to figure out what they plan to do. Look how all the major brands (Pana, Canon, Nikon) came out with FF mirror-less camera last year at the exact same time. They all have similar supply chain and providers, they do business intelligence and know what the competition is going to do (more or less). The Z and R release were both underwhelming. They all came out with slow lenses and a few useless super wide and overpriced options for the show before releasing f/2.8 glasses later on.

From the press text: "The EOS R5 will be the first Canon camera equipped with IBIS (In Body Image Stabilization) and when used in conjunction with the extremely effective in-lens stabilization (IS), will allow photographers to handhold the camera in light levels not previously imagined." It is confirmed that it is real, mechanical IBIS. So, no need to worry there. Also, 8-bit 420 8k (likely) is not even close to being better than 6k 12-bit, 422 raw (C500II), so this camera does not really tread on any toes. -- I do think Canon has now realized that there are a lot of people who like having the same manufacturer from A-Cam to B-Cam to C-Cam that can achieve similar specs and IQ. So the C500 II (and future C300 III) will only gain from a strong Canon mirrorless lineup. I've been using Panasonic (and not Canon) for the past 2-3 years because I needed 10-bit 4k for both A-Cam and gimbal cam (EVA-1 and GH5). But, prefer Canon, so once they get an RF-mount cinema camera out and THIS camera, I'll be back. -- What the R5 MUST have is 10-bit 422 4k internally up to 60fps. The S1H does it, the A7sIII will do it, the GH6 will do much more. If it doesn't have a solid 10-bit 422 codec in 4K with NO CROP, then all the 8k is for naught and I'd rather have an S1H or Fuji XT3/XT4.

Don’t forget about that insanely hard to develop and expensive 24p license that only canon has trouble with. Im pulling for them!

That’s great but Fujifilm announced the development of the X-T4. You really think they are pulling a quick one on us and someone random YouTube person knows better?

Thanks! These shots are great, I recognize the 5D look, which I do miss in newer camera's(hopefully the new R6, R5 will bring it back, allthough I am shooting with an alexa LF this weekend, I hope I dont fall madly in love with that camera ). These nikkor lenses have been on my radar for a long time, but never actually made the purchase. Had some back luck with vintage lenses before. (Still have my leica summicron-r lenses though). I might get these and compare it to the summicrons. (did the same with the zeiss contax, but liked the overal look and handling of the summicrons more, allthough the contax is a stop faster).

FPGA as well.

It’s hard to imagine how 8K won’t be crippled. It’ll leapfrog the c500 II? No, the key for the R5/R6’s viability is not omitting the features that were missing in the past: internal recording of pro codecs, IBIS, full frame, acceptable rolling shutter.

Exactly this. Their advancement into 8K processing is the overkill needed behind the scenes to cover the basics of its 4K output. This together with improvements on the toe-dipping R and Canon’s need to D-Day the competition, they may finally be ready to release the balanced feature set that for them does just enough (holding back the xlr audio and connectivity features of the cinema line) whilst we get all the camera we’ll ever need, at least for the next four years... Proof is in the pudding, of course, and we’ll have to pay through the nose for it, but I’m sure I’ll be relieved to finally get my money’s worth. After all the crippling, compromises and workarounds - across all the manufacturers - of the last four years, paying top dollar for a top product is the one compromise I’ll be happy to make, and I surely won’t be alone in thinking that.

As far as ergonomics & features, the Canon competition have to start implementing stuff like internal NDs.. Sony especially should include the FS5's Vari-ND tech inside Alpha series. I don't see them going too far up resolution/codec wise because of XDCam cannibalisation fear. Panasonic are in the best position to compete on that front, but they really need to sort out PDAF, and maybe hire better design team (take some cues from Leica ffs)! Fuji, I'd love them to do a proper cine cam, but make it radical by taking cues from retro 8mm pistol cams:

They need to fix that exposure bug, urgently.

There needs to be an FAQ to the chart 😄 I got to "Are you ready for the hassle of shooting scope?" and I have no idea what "shooting scope" means 😄 I'm just half-joking, this is so well done man!

i'm intrigued, why a cheap benro what sort of complex moves are you talking about? do they have a nice cheap fluid head ? actually i'll start a new thread so i dont hijack this thread any further if you feel inclined please explain your motivations there

It would be so nice if they could make some joint venture or so deal with Blackmagic. At least they share for the moment some influential ambassadors. It seems as that, for some reason, they are not allowed to put at least one 10bit (24p) recording option. Having IBIS that now reach gimbal level but with more natural movement, being best waterproof in a whole with lenses (plus not so extremely expensive underwater adds) , Olympus could be very special and unique tool for indie's just with base 10bit solution.

I don't feel this way. The X-T3 is an awesome camera and many have said, how much they like the camera. If asked what was missing in the last months, no one said 6K or 4K 120fps. It was IBIS and better battery life all the time. The X-T4 seems to deliver just that. If they manage to get the price close to the X-T3 price, that's an outstanding value.

Fun test made by Ted Harder on the Panasonic GH5 and GH5s Group on Facebook - https://www.facebook.com/groups/pansonicgh5/permalink/2299318990367796/ It seems that Natural with +4 HUE has the most accurate skin tones.. More tests and the full post linked above.

https://global.canon/en/news/2020/20200213.html

Got mine today! Using it on the Ronin-S with the Pocket 4k and Nucleus Nano. Very impressed with its ease-of-use and setup. Finally feel like I have solid focus control on the Ronin-S with an overall payload that doesn't utterly destroy my arms. Unfortunately, the front housing on my unit came off as soon as I opened the box. Nothing a bit of super glue didn't fix. Otherwise, working great.

The A7s is still my all time favourite camera for both stills and video. I had one for around four years until it died and no way i can afford another one but my family recently got me a new one for my birthday. There is STILL no camera i would take over it in really low light (there are now some that are close and even a few that are better in the ISO 3200-12800 range but above that, no, I do not think so). The A7s has greater DR at ISO 25600 for instance than many cameras have at ISO 6400. It is NOT a camera for anyone that wants a massive pixel count and forget about AFC but it is still actually a pretty good camera even for daytime use. Its 1080 is still some of the best native 1080 (some 4k cameras downsized beat it now though) and while auto focus kinda sucks, in one respect it is better than most for AF and that is its ability to focus for AFS in stills at least in almost no light. (AF in video IS ok if your subject is moving fairly slowly in a limited area EG a rock band that is not too high energy). Auto WB sucks a bit (depending on the light). I find the colours from it to be great (closer to realistic than most) and if you want more colour choice, this is a camera that can take the Live View grading APP from Sony (costs about $10) and gives you years worth of combinations in camera. To me, it shines for low light still and video and that included sports with a manual focus 300 2.8 as I can still be shooting at high enough shutter speeds long after I would have had to put other cameras I have had away. ...I also like walking around at night with a tilt shift lens hand held. The EVF is good enough that along with the cameras high ISO, you can see through the EVF (or LCD) in light that i can not see with my eyes alone. So for ME, it is still as good as it gets but others would absolutely hate it.

I guess we could put it another way by saying that film-making takes so long to learn and films take so long to create that lots of life stuff happens during the process lol. I didn't used to be that interested in lenses, focusing more on post, as it was infinitely adjustable under controlled and non-time-critical circumstances, but the thing that got me onto lenses was the realisation that film is 2D and all / most of the cool stuff that we like is in service of trying to put more of that third dimension back into it. We blur backgrounds, we try and have the subject lighter or darker than the background, we like sliders and camera movement as they add depth by parallax, even the old orange/teal helps there to be colour contrast between the talent and the non-talent parts of the image. And in this task, the lens is the adapter / converter between the 2D world that begins with the image sensor and the 3D world of everything that happens before the light goes through the lens. So if you want more 3D pop, the 3D to 2D converter (the lens) is an absolutely critical component, and even more than that, once that 3D information is lost, it's stupidly difficult to put it back in in post. I completely agree with you about the imperfections of a lens having a humanising effect over a very digital (and depending on the camera, sometimes very brittle and thin) image and processing pipeline. I guess this is where we start to look at the various distortions and their relative aesthetic qualities and if we like them or not. For example, people tend to like a slightly softer lower contrast image for skin tones and a softening to compensate for digititis, some like a lower resolution as an OLPF, field curvature and lens pincushioning, but then there are things like CA which I dislike intensely but others prefer, edge softening which is nice for some compositions but not for others, etc.

Mine just arrived! Paired it up super easy and adjusted the button settings to my requirements, but not had a chance to use it properly yet. Looking forward to it though.

Yeah its really just a platform to advertise merch. Hearing what those guys used to make I get it though, that wasn't sustainable.