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4K120p Full Frame 10 bits 422 with C-LOG and DPAF and IBIS, all in a Canon ergonomical package? For the past 3 years I have asked this repeatedly here on EOSHD, people laughing at me like it couldn’t happen as late as 2019. In fact, I asked those exact specs, but with 60p. Canon comes and does it with 120p. There always was an issue. We had no IBIS in Fuji, mini sensor on Panasonic, or bad ergonomics, or bad autofocus (S1). Now it comes in the most perfect possible way. Absolutely insane. Its crushing the competition so much that I don’t see Why anyone on earth wanting a mirror less for video and has the money for it would choose anything else Thanks Canon. It was about time. Now let’s get rid of those Sonys.

I hope 8K RAW will have a burst mode for 4 seconds. Why? Stills. Will be great to select the best shot from 120 frames I can't see myself using it for video as much as 4K RAW on the EOS R6, or the sure to be lovely 10bit Canon LOG. Much more practical. By the way Panasonic has something coming which will impress a lot of you. Stay tuned for a few more days.

Quite an attack... https://www.newsshooter.com/2020/04/21/canon-announces-the-c300-mark-iii/ https://www.newsshooter.com/2020/04/21/canon-c300-mark-iii-hands-on-footage/ https://www.newsshooter.com/2020/04/21/canon-eos-r5-specifications/

So mine arrived. I love how small and light it is. Haven't had the chance to go out in the streets with it, but will this week. One thing it is definitely not is a Kowa! I picked up one of Tito's oval disks to see how that helps. First initial thoughts are that I love how light and small it is. Ease of use is the strong point. Anamorphic character is not really there in my limited time with it, but I think we all kind of know that. I'm hoping taking it into the world opens up my senses for the possibilities. I feel if I can Tito-fake this into giving me that anamorphic vibe with disks, diopters and bpm, it's worth having for size and ease. More later ...

I won't be buying it. Of the two, the EOS R6 is more up my street. Much more practical. Who needs 8K anyway? Just give me an 1D X Mark III / 1D C in mirrorless form.

It's kinda wild how quick people are to trust Canon won't disappoint them, given it feels like only 6 months ago they were getting blasted for removing 24p.

In a recent interview Canon said that the EOS R5 is the 5D series equivalent for mirrorless so "normally" it shouldn't be around $3,500. Perhaps a bit more at $4k. “It’s aimed at that level of the market. This isn’t a replacement for the 5D Mark IV or anything like that. But this is a mirrorless 5-series, it’s aimed at that segment of the market,” As for the heat: “We’ve been doing this for a while now and we’ve learnt a lot of techniques to dissipate heat on other products that we have in our lineup. For example, being able to move components around, and being able to have them further away from each other,” “And being able to dissipate heat using different materials has been something we’ve been pretty proud of on other products. This is something we’ve learnt using both our camera and our video Cinema EOS series with that technology as well,” “So there’s a lot of technology that we know is now coming together and giving us the ability to really step up these specifications,” We'll see, but I also have my doubt considering that much larger C cameras have a big fan. Perhaps there will be some sort of burst recording mode.

Absolutely agree on this one. I think there's an element of focus - the more you shoot the more you shift your focus from equipment to composition and the things you think about when shooting.

You could just do FCP7 - XML - Adobe PP You'll lose any keyframes / opacity / audio work etc. - but the base edit should still translate fairly well.

Just decided to sell most of my camera gear. Figured better do it now in case the economy goes tits up in a few months. Also, it just felt like my current equipment was overkill for my projects. Anyone else getting a tinge of ‘anti-g.a.s. With everything that’s going on? My last 4 gigs were basically shot 30fps 4K with a single prime, and when looking at my lens/camera shelf it seemed like it was time for my unused stuff to get back into the world. Plus, the sales will help me pay some credit card bills. Full disclosure: while the GH5 and G85 made an exit, a refurbished Em10iii popped up on eBay for less than $300. So, while it’s certainly downgrading, gear acquisition is still going on...

This is like a Panasonic S1H on steroids. It does RAW, and 4k at 120fps. And the 8k. I couldn't notice any fan vents, though Canon is rather secretive about the (final) design. The only question is what would the bitrate be? I am guessing it will cost over the S1H, perhaps $5000-6000.

It will have dreadful rolling shutter and overheat. If you think Canon will release a more powerfulf MILC than their 16.000 dollar C500ii but for a third of the price you should stop kidding yourselves. Like immediately. If something sounds too good to be true, it's never true. I've tested the 1dxIII and it is of course a wonderful stills camera for sports and journalism, but its rolling shutter almost makes it unusable for handheld video, in 5k and 4k. Oddly many people don't even talk about this. Imagine what it will look like in 8k.

The new C300 looks like it will make a very nice accessory add on for buyers of the new 25-250 T2.95 lens they are releasing as well.

I'm excited for the responses that other manufacturers will HAVE to do now. No way Nikon and Sony can stick to just 8-bit 4:2:0 after this.

It's great. I've got 3. Paired with a Glow EZ Lock softboxes from Adorama they're incredible value!

Canon has seriously dropped the hammer with today's two major releases. Wow. Way above my expectations. I guess the cripple hammer is no more.

All your bytes are belong to us

Canon's main weakness in that department has been that when it comes to flat image profiles, your choices have basically boiled down to C-LOG or nothing - or, on any camera that wasn't a 5Div, EOS R, 1DC or 1DXiii, just nothing (out of the box, anyway). I presume this thing's gonna come with C-LOG given the price tag, but it'd be nice if they had some Flat/Cinelike-D type profile as well, for when all you need to make are quick-and-simple grading adjustments.

They printed it. https://www.usa.canon.com/internet/portal/us/home/explore/product-showcases/cameras-and-lenses/eos-r5

Those R5 specs still sound too good to be true. If they do come true it will be enough for me to invest into R5 and RF as a whole. If the 4K capture is clean and DPAF works and I get 120p with AF...wow. Only problem is I won't need another camera for a long time....

Only question I have left, is how many DR it will pack, as that is one department canon was dropping behind. (and for me one of the most important specs of the camera)

To further clarify the Asterisk. (When in 8K RAW, 8K/4K DCI modes.)

The most reliable solution I've found is to identify the correct clip in your finder/explorer, change the name of the source file, and then reattach the media in the PP project using that new name. Not sure how many clips you have with this issues, but it's a one-clip-at-a-time fix, can be a tedious chore. I made this mistake a few times early on with Premiere too.

Impressive!!

@Ironfilm Chit chat... In every thread. Can you reduce it just a bit please? Thanks

Too late for that, but you can word things differently, place the emphasis on different features, etc.

Really? I'm kind of surprised. I find Patrick to be pretty down to earth and find his own takedowns of his own 'shitty' work make him pretty likeable. Most of the time he just sounds exhausted, if he was all 'awesomes' and 'supers' I wouldn't have kept listening. I find a lot of other podcasts a bit light and appreciate the level of depth Patrick puts into his lighting breakdowns, although they might only be available to Patreon subscribers.

If you put a link here I can make a Premiere project for you (Providing FCP3 projects open in FCP7)

Based on the link below, I'm thinking that the conversion from FCP7>FCPX is not a necessary step, seems that the FCP7 XML file should import into PPro with a few caveats (mentioned in link)... FCP 7: Move Projects to Premiere Pro | Larry Jordan: https://larryjordan.com/articles/fcp-7-move-projects-to-premiere-pro/ ...read the comments if moving to PPro CC. Curious how big your FCP7 project is, and where you're located? (i.e. how do you envision providing someone with the project and all of the media files to make this happen?) Also, NSFW or SFW? (Need I mention why?!) :)

Yep. I use this for sharing projects with mixed versions on Premiere Pro.

It just dawned on me that NOTHING I own in photo/video currently is newer than about six years old! (My current A7s was brand new a few months ago but would have still been made years ago) so would not get all that much for any of it.

I hope your father can defeat the cancer @Sage. I have experienced a similar situation with my father (throat cancer) one year ago...they had to cut his vocal chords (translation from google) and now his voice is something like the Donald Duck...but he is fine and he was not a singer or something that needs his voice...so we are very happy and we hope that cancer never appears again (this is the most important thing). Anyway...congrats four your good job on the gh5 alexa conversion, surely I will try it in the future (now, with all my currents and future jobs cancelled and with no idea of when I could work again, I should not spend money but only on what is necessary).

I hope this is a sign that Apple is going to give FCPX some updates and new features. I know it’s not full featured or as good as something like DaVinci but I just can’t switch. It feels like home after so many years. It also has had solid performance and has maybe crashed on me a handful of times in the past 4 years. I bought FCPX on a student discount special. For $199 I got FCPX, Motion, Logic X, and Compressor. It was a great bargain. No stupid subscription costs. It could use some quality of life features that would improve its use: A neural engine that will speed up, and maybe even mesh with their accelerator cards, things like up-scaling, tracking, color matching etc... Built-in tracker to simplify masking in video. The tracker could be used for so many things as well (beauty mode for tracking a face, etc...) A more advanced stabilizer. More intuitive audio controls. Better integration with Apple Motion. Get rid of the cheesy effects and transitions and replace them with well-know effects and film orientated, low key ,transitions that can speed up workflows. Enhanced Performance with Mac Hardware! Go back to your roots. Give me something special. Integrated accelerating chips (a la T2) that give me edge when editing on an expensive 16” MacBook Pro or IMac Pro. If I was Apple I would definitely rip out the A13 Bionic Chip and repurpose it’s neural engine accelerator stick it in a Apple MacBook Pro. Makes so much bloody sense.

@Eric Calabros Regardless. If they are measuring all cameras at the same SN Ratio, it provides an easy way to compare them.

The NX1 with the hacked firmware after 72-74 min goes in a programming overrun and stop recording. The clip is corrupted after, and you can only restore it with a recovery program, and then are artifacts and audio distortion in it.

Fuerza y cariño para tu padre! Cheers!

Really sorry to hear about your father. I'll be sending my positive energy from here. Take your time and focus on what's most important! V4 is really good to use, and the new exposure pres and ABL posts are definitely the final touch to an amazing package you put together with Emotive Color. About the BT709 LUT, I can't seem to find FLog color space in the Color Space Transform, only the FLog gamma seems to be there, that's why I decided to try out the BT709 lut and leaving Rec709 as the input color space. Take care!

To be fair to Canon... (and I am the first to call them out over hype) This time they do genuinely deserve some credit. First the 1D X III and now this... The first ever full frame mirrorless 8K camera. And a big shift in policy to maximise video on their stills cameras, rather than protecting Cinema EOS lineup. This part is not hype. Internal RAW and 10bit on the 1DX 3 is real. EOS R5 will surely get a high video spec as well. There is always the usual hype from the usual suspects when it comes to any manufacturer. At the moment it's worse with Sony people.

Since the specs are moving more into confirmed territory. I’m gonna say minimum $4,499 at launch. The 4K 10-bit 4:2:2 w/ Clog in h264 with DPAF up to 120p sold it for me and has me definitely holding on to my money even if a GH6 comes (I’m a MFT fan). I expect the RAW will have such a large bitrate it will be impractical with current CFExpress card prices and capacity. Anyway, good news from Canon stepping up their game.

i will keep my a7 iii.... until they make a clever codec for RAW, like BM. I dont want to spent a fortune for 8k raw on CF xpress cards.