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He has a beef with them. Dont worry about it. Just use your camera. If you like it that's all that matters.

Read the full article Above you can see an advert for RAW on the S1H shot in my home town of Manchester. Coincidentally these streets were where I shot with the Panasonic GH1 for the first time. I have fond memories of 10 years ago in the months leading up to EOSHD's first blog post, taking my GH1 out on the same streets as featured in the Atomos video. Always great to see how cinematic the city is. Now at the start of yet another decade, Panasonic is upping image quality again with HDMI RAW on the S1H. What makes this implementation of RAW unique is that it has an anamorphic RAW mode. The Canon EOS R5, 1D Mk III, Sigma Fp and Nikon Z6 aren't anamorphic enabled in RAW mode. The Panasonic RAW firmware update will be available here for the Panasonic S1H on 25th May 2020. The Atomos Ninja V is usually $649 but B&H currently has it on sale at $499 here.

When you posted this yesterday, I'd have mostly agreed with you! "The FX9 will prove to be more popular than the C500mk2" The C500mk2 is priced too high above the FX9, and the C500m2 won't be stealing many jobs away from the high end ARRI. This is the problem, you've got the likes of the FS7 which is "good enough" to get the typical run of the mill professional job done (corporate / reality tv / doco / etc) and you've got the premium high end. Anything in between is a tough spot to live. This is why the C500mk2 won't be a big smash hit, it is too much more expensive than the FX9. This factor might even prevent the FX9 from being a smash hit. Is better AF, FF, built in TC, etc in the FX9 enough to justify the higher cost of a FX9 over the cheapie FS7 which still "gets the job done"? I'm skeptical. This isn't just a problem with cinema cameras, this problem of a weak middle ground inflicts a range of other products. For instance with audio wireless you have: 1) the entry level wireless which is "good enough" to just get the job done for videographers/cameramen/students, such as Sennheiser G4 / Sony UWP-D21 / Deity Connect 2) you have the high end premium gear used by audio professionals, Wisycom/Zaxcom/AudioLtd/Lectrosonics What is there in between these two? The middle ground doesn't exist! If I want to buy good wireless that is cheaper than the latest cutting edge gear then basically my only option is to buy the cutting edge gear from the previous generation (a Lectro SMQV from ebay instead of a new Lectro SMDWB). Of course, when discussing if FX9 will take the throne we need to also address the big elephant in the room which has arrived since yesterday: Canon C300mk3. That's an even bigger threat to the FX9 taking the throne as the #1 cinema camera for low budget pro projects. FX9 vs C300mk3: Identical price. (ok ok, FX9 is one dollar less!) Identical power draw. (35.2W vs 31W. Low power draw matters, the 63W of the C500mk2 is not a good thing when you're a solo operator) C300mk3 has better DR Canon has internal raw, vs Sony's external raw (need's an expensive external extension too!) EIS with the Canon is done internally for a smooth handover to post, vs done in post for the FX9. That's a point for Canon. I'll give the nod slightly to Sony for having the more versatile mount, but this is no longer the massive edge Sony used to have over Canon. Where with Canon in the past you were stuck with either EF or PL once you bought it (or sometimes, interchangeable but only by Canon themselves), but Canon now offers a user swappable mount between EF or PL (plus a bonus: or positive locking EF mount!! Giving you three options). NDs, Sony gets the nod again with the eNDs. AF, the FX9 has greatly improved autofocus for a Sony, but probably Canon might get the nod here. Likewise FX9 has greatly improved color science, but perhaps Canon might have the edge for the win here too? Is FF alone enough to make the FX9 win over the C300mk3? I don't think so, the C300mk2 is in with a serious shot to make a claim for the #1 spot for cinema camera on low budget productions. In a way, this coronavirus crisis is a blessing in disguise for Canon's C300mk3 A big factor in the failure for the C300mk2 to live up to the massive smash hit success of the C300mk1 was that the C300mk2 was released too late to the market. As by that point in time the Sony FS7 had already gained a grip on the market. (of course the C300mk2's high launch price and lack of 4K 60fps didn't help! But if the C300mk2 had came out a few months before the FS7 then the C300mk2 might have prevented the FS7 from becoming a runaway success) Is the C300mk3 going to suffer the same fate again in being too late to the game? Perhaps not, FX9 has had a slow roll out due to needing a few firmware updates. But additionally almost nobody has been making big camera purchases in recent weeks, and likely most will be holding off on a new camera purchase over the next few months while the dust of this economic crisis settles. Sony won't be selling too many more bodies between now and July 2020 when the C300mk3 is meant to ship. Normally a company having most of a year as a head start over their competition gives them enough of a good solid lead that it is an uphill battle for anybody to overcome, but not this time. As much of that time has been lost in limbo while we're trapped by the impacts of the coronavirus. Canon C300mk3 has a real shot at this. Sony knows in the current economic climate very few people are rushing out to pre order new cameras. They won't be losing many sales by delaying their news by a few days. And if Sony's announcement makes less of a splash than Canon's, perhaps it is only a "big" FX9 & VENICE firmware update they're announcing, at least that news won't be drowned out by Canon's announcement and Sony will get an entire news cycle devoted just to Sony.

What prompted Canon to do a completely revelatory camera, in terms of the technology and completely u-turn on their previous strategy of holding back on DSLR video. Was it seeing so many sales go to Sony? Was it the need to ensure a new mirrorless lens mount succeeds on the market vs Nikon, Fuji, Panasonic & Sony? Were they waiting for new manufacturing capabilities to be ready, new factories, to be able to produce such fast sensors and processors? Did they realise cropped 4K on the EOS R was a bad business strategy? I'd love to be a fly on the wall at Canon.

Don't you know that our attention span nowadays is shorter than the time needed to say 'XT4'? Right now everyone's saying 'R5'. It takes one less letter to pronounce it, even better. ( :

RED is probably the worst when it comes to dynamic range claims. They say things like 21 stops of dynamic range lol. The latest RED offerings come pretty close to ARRI though, the Monstro has very clean shadows.

I don't know if you found it, but back in early 2019 he uploaded the creative treatment that landed him his first feature film job, as well as lighting diagrams and the shot lists from the first few weeks of filming. It was pretty eye opening, very rare to see people sharing so much.

Terrible promos. Who asks for this?

They did - patent exchange/cross-licensing. This is why the RED Komodo will have an RF mount and phase-detection autofocus.

Actually I think there are only a few shots in ProRes RAW. But you have this video that was shot entirely in ProRes RAW : This one too (just a trailer shot bu Sherif Mokbel) :

Canon are going in for the kill with C300mk3 & R5. Cinema & Imaging teams working hand in hand is a beautiful thing for us, and something Sony needs to learn from.

The recent rumor posted by CanonRumors states that it will be an RF mount XC10 style body. https://www.canonrumors.com/rf-mount-cinema-camera-in-the-works-cr2/

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.

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.

This dude shot a feature length doc with the bmpcc and the bmmcc. I think it had a festival release in 2018, but now available online. The colors out of the original bmpcc and micro have a point like quality and texture. Really beautiful.

It's even more than that - RED's patents cover any form of compressed RAW video, including externally recorded RAW. Atomos pays major $$ to RED for being able to put (compressed) ProRes RAW into its recorders: https://www.atomos.com/press-releases/atomos-and-red-are-pleased-to-announce-a-royalty-based-licence-agreement

Which means only Canon camera can have internal compressed RAW, all other will have to go external to bypass RED patent. Even Blackmagic have to remove cdng format due to this. So yeah this is what a bogus patent do to the whole industry.

The result from newshooter said otherwise, but they shoot in raw not compressed like C5D do. C500 ii is very noisy in the shadow area vs c300 iii with DSG.

The sensor is basically on par with the A7R4: https://www.photonstophotos.net/Charts/PDR.htm#Canon EOS 1D X Mark III,Sony ILCE-7RM4 This does not mean that in RAW video it will have the same DR.... but for photo the sensor definitely has a really good DR

Also would be good that is done with RAW at iso 100, RAW with D+ at iso 200 and RAW with DLog at iso 400 to see witch settings is giving better result and then compare to 10big Log too

If they're positioning the R6 as a a7III competitor, then it seems like a Raw/10-bit, 4k60p or even 120p camera is the minimum since Fuji and Panasonic have been in 60p territory for awhile now, and that would easily top anything Sony has. Based on the R5, my expectations for the R6 have been raised. And we still don't have the full R5 spec - just lots of headline grabbing specs. Don't see why 4k raw in some form can't happen, even if its a cropped mode that consumes less processing power compared whatever downscaling will happen to FF 4k. Also what about HFR or raw in 1080p? Will we see 240+ fps? Lots more to fuel the hype machine. Cheers Chris

Some C300 III 4k 120fps sections in here

Oh my god they made everything right this time. i'm just waiting for the dynamic range improvement over my Canon EOS R (not difficult) and if it comes close to my S1h, I might pull the trigger 😉

I think most people are expecting this. Especially in 8K modes. RAW mode will naturally be limited by the insane bitrates! In practice it probably won’t affect most people. If you need longer recording times in 4K you would be better off with MFT or a cinema class camera anyway. Sub 15 minute record limit in 8K. Fine with me. Maybe not for you. 30 mins for 4K. Still fine with me. Maybe not for you. The Devil is always in the details with Canon.

Yeah, just read that! I’d be lying if I said I wasn’t disappointed. Not that I’m gonna pick up a C300 MK III.. but I’d just like to think after 10 years someone else can match an ARRI for DR ha ha. I guess at this point everybody is pretty close though. So I guess ARRI’s implementation in the ALEV III is very special.. not to say they are the same approach since they don’t have the split, dual-pixel design. But I thought surely that using two separate exposures would yield even greater DR. Puzzling... good to know. yeah I can see where it would be a special use feature that I might not even want all the time.

Of course it is real IBIS: For the first time on any Canon camera, 5 axis In Body sensor movement Image Stabilisation is offered which works in harmony with Canon RF lenses to combine Optical and In-Body Image Stabilisation to provide the ultimate in shake free super-sharp images and movies. https://www.canon.co.uk/cameras/eos-r5/

I recall previous conversations where people talked about the legacy architecture that Canon had in place being a bottleneck, do you think that perhaps it took them a while to wake up and smell the 8K, but then took a long time after that to work out alternatives to their architecture issues? I don't know how long their product development cycles would be, but I've heard in other industries that although the product cycle might be new models annually, that the complete end-to-end can be 4 or 5 years, so they essentially have 4 or 5 models in development simultaneously, so it might have been a few years between them deciding to bite the bullet and go for a new architecture and that new product seeing the light of day. Not sure if you've gleaned anything in your conversations with reps and vendors?

I've grown weary over the past couple of years of every speculated camera from any Japanese manufacturer being tied in to the Olympics to bolster the rumour's credibility but I think in Canon's case this might actually be more likely than the others. They are one of the Gold level sponsorship partners for Tokyo2020 (basically the de-facto photography partner) so I'm guessing they didn't want to take any chances of someone undermining that by having better specced cameras.

The place where I got my EOS R from already have pre-production R5!

Yep 🙃

Yeah good point. I believe that’s true for their Fairchild sensor cameras. Makes me wonder why those didn’t quite reach Alexa level DR (although the UMP is pretty high). I always thought the dual gain approach was the sole reason Arri had some of the best DR. I picked up a used E2 so I need to compare WDR mode. I saw someone post a dark interior shot in the Z Cam FB group using that mode where the window was able to be kept from blowing out. It seemed impressive.

I can’t wait a few days. Spill the beans, man!

#MyPoorCreditCard

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.

From Newsshooter "I personally think that the C500 Mark II, C300 Mark III, and the EOS R5 are Canon’s most significant announcements since the original C300. The C300 was the first affordable digital cinema camera that could record in a broadcast quality codec. It was a hugely popular camera for Canon, but just about everything else they have done since has been a little lacklustre, to say the least. The EOS C500, EOS C300 Mark II, EOS C700 & EOS C700 FF were all met with mixed reactions, and all those models failed to gain any real traction in the market."

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.

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.

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)

I’m really curious to see if Canon’s new DGO (Dual Gain Output) technology in the C300 mark III will finally crack the DR monopoly that Arri’s ALEV III dual gain architecture has had.

That's what I feel, too. Though I have to admit I'm still listening to the content from 2018, because I have lots of catching up to do - maybe the tone for most recent podcasts has changed.

I'm hoping the Sony announcement is for the fx6. That camera intrigues me more, and if it keeps the colour science and AF from the fx9 and prices itself under £5k it could be a winner

The Canon costs 20.956.000euros, the FX9 is 13.500, there are not even close, one would expect the camera that costs 1/3 more to offer some more, the question is who is paying the price difference, and if one cares, to do so. Sony creates another instant classic that in time it will be the new FS7 and Canon will sell a few to rental houses. There must be a new Canon near that price range to be competitive to the Sony, C300mkII is 10.800euros, how much will be the new Canon (assuming there is one its coming), and how much will the C prices go down? As much as I detaste Sony and their ergonomics, Canon makes so little sense when they price themselves out of most markets. It is no surprise that most of the TV productions here are made with Sony cameras. I have worked a few reality type or travel shows here with 10bit from GH5, but all the others are Sony. I do not even remember when I worked a Canon for TV. Even C200, I know just a few who owns one, while there are unlimited C100 cameras still in use.

The S1H and S1(even more so the S1) are just incredible for the price. For pro work though yeah the C500 MK2 looks amazing. Too bad Panasonic won't do phase detect AF. That the main reason people are going sony and canon over panasonic IMO. I also wonder why they didn't put a RAW option in the S1H. I am still sticking with my Fuji(and Ursa mini 🥰 😉 ) I am still waiting on Canon to release something more hmmm cheaper and better. The new 1DX is awesome but whats up with the old body with no tilt screen?? Really looking forward to their new mirrorless releases as the EOS R was a bummer imo. Also just saw a comparison between the S1H and 1DX3 and the Panasonic had a fair bit more dynamic range, even though the Canon was shooting RAW.

Obviously Canon made improvements, they couldn't be as bad as they were. Just look at this quick test I made between my two camera bodies (Canon EOS R and Panasonic S1H). Same settings (except I had to put iso 400 on eos r and iso 640 in S1h as I was shooting Log and compensate with aperture), same scene, 30 seconds apart. Guess wich is wich. Easy to spot the bad highlights handling right? 😅 So much room in the highlights with the S1H compared to the Canon EOS R !! I really hope the R5 (or R6) would do better than this cause I'm very interested in it. DR will be the main selling point for me as I know the AF, the colors, the handling would be great. I just want improved DR and maybe I'd consider it over my S1H for video, to complement my EOS R wich serves me so well for stills.

You can't just throw a cinema sensor in a still's camera and not have to worry about heat and processing power. The sensor is only a part of the equation, which is why the S1H is so expensive and has a heatsink compared to the S1. It's why the Mini Alexa came out after the Alexa at a higher cost, because of the processing needed to run that sensor in a small form factor. You wont see that Canon C500 Mark ii sensor in a stills camera for years if ever.

And what we mean is PROPER anamorphic mode: Open gate (recording full height of the sensor), 4:3 aspect ratio. Not some trendy 2.39:1 that's made from 16:9 video after cropping both the top and bottom.

I think it should give you more room in grading though to decide where those stops are going.

I got me two sets of D-Mounts. Three Kern Paillards and two Yashicas. They cost me €12 + €6 + shipping for all of them and included two cameras as rear caps. If someone wonders about the specs compared to a modern Canon or Panasonic equivalent they are smaller, cheaper and better built with loads of character. So better speced indeed Here is a sample of the Kern 13mm f1.8 Here the Kern and Yashica 13mm goes head to head. Yashica Kern Paillard