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A new tweet by canon rumors, who I find the most reliable of all rumor sites, says that Canon is open to adding BRAW to their R series cameras. This would be the biggest company to add BRAW to their cameras other than blackmagic themselves. It doesn’t matter if you care about these Canon cameras or not, every single person should be rooting for this to happen, because if Canon adds it, it forces the hand for Sony, Panasonic, Fuji, etc to add it as well. And when that happens, we all win. BRAW is our only choice for some sort of compressed RAW, because of REDs patent ruining the party. BRAW in more cameras means cheaper media, easier editing, color grading, etc. So, make some noise so canon knows we want this or whomever your favorite brand is. Sites like this one have pushed brands to be better and right now, they are listening and we need to continue to be loud. BRAW should be in every single camera that takes video seriously.

Its what they use in the FX9. Like having a built in SteadXp https://pro.sony/en_GB/insight/filmmaking-tips/pxw-fx9-tutorial-videos-video-stabilisation

Sweet camera .... add an external EVF and you smoke the C200/C300II

Canon Raw has the option to decode in Canon Raw Developer or Davinci Resolve Studio based on Clog 2 or 3 ... just need to expose with that in mind.

Beach food shoot. Both with Nikon 24-70

Yes to keep from lifting the shadows and dealing with noise ... Clog2 more so than Clog3 ... but I always tend to underexpose ... if you blow the highlights you are done ... since you cannot guage exposure with the in camera Clog ... it is a bit of a guess as to how it will translate when you work with the Raw. Clog2 gives a bit more dynamic range to play with in post ... but may be a bit noisier than Clog3 where the shadows are crushed a bit more. However ... if you do not blow the highlights the amount of recovery is very good with Clog2.

IMO most of the hysteria is from unreasonable expectations - many from people that aren't going to buy the camera anyway - like the keyboard warriors that shoot other brands and just bash everything else, aka the SAR crowd. Remember when the a7's were trash because of the shitty colors, rampant overheating, single card slot, poor weather sealing, crappy battery and so on? Its taken Sony 4 generations to get most of it right, and they're still rolling 8-bit video. I just kept shooting with them. Its seems like people thought the R5 was going to be a C500mkII with IBIS and internal raw in a tiny hybrid body. There will have to be limitations without active cooling. Look at the a7s3 as the air that continually gets let out of the balloon when more specs leak. Its a $3500 12mp 4k60p camera with no internal raw and no oversampling. Makes the R6 look better and better IMO. I'm torn between both as I shoot Sony and Canon - but that 120p internal and the raw internal option - even for just short clips which is all I shoot anyway - still makes me lean toward the R5. I'll wait for the full a7s3 reveal before making a final decision. Chris

Here's couple quick clips from 1dxmkiii raw 24fps

AP's new logo after this:

Well, it was hardly the biggest mystery in the world but confirmation at least that the Meike lenses are the genuine successors to the Veydras and good to see the co-founder being involved and discussing how they have actually been improved rather than being the low quality rip offs that many were widely opining they were. The real mystery this video solves for me though is how you actually pronounce Meike.

Sounds better than the R5 for video so far. What serious limitation will it be with? I don’t think many people have recovered from the R5 / R6 bombshell yet. Twice in 2 weeks would be deadly. 🤣

It says Steadyshot Inside right on the body, that looks like an IBIS confirmation to me. Chris

The video didn't show a HDMI cable, the guy from the video commented on SAR that the external recorder was recording at 50p, so who knows. Seems weird to have an external only option that's almost impossible to record at the moment, how are all the Youtubers going to proclaim it the greatest camera ever if they can't test it? Unless there's an ass kicking Ninja VI about to be dropped, which would make sense because I recently bought the Ninja V.

I only shoot short clips, 10 second clips. B-roll for corporate video's mainly and social media branding video's. But def want to use it on personal projects as well, and I can also see myself using it for narrative stuff as well like short films. For the last year I have shot nothing else then braw, as its as easy to edit as prores but impossible to miss whitebalance.

There is so much info missing from the C5D 'review' but it isn't looking good. How long was his average take How long was the average break and how many, through the entire shoot How long was his longest take How long was the average gap inbetween clips When the ice pack came out, how many hours was he into the shoot How many hours was the total shoot?? Was the camera switched on all the time, even when not recording If so for how long How much was indoors, how much outside? Was it sunny? What was the temp indoor? There is less technical and detailed info in the review than in the average episode of The Simpsons

When in RAW if you set LOG on or off it controls the highlight protection thus the base iso (plus if the proxy 8 or 10bit, but i don’t record proxy) In theory I think with LOG on and exposing to the right you should get more DR but I’m not sure. I’m not a DR obsessed so I’m not the right guy to ask but to me RAW DR seems very close to photo DR in CR3. Maybe I should do a test and compare video RAW 12bit with photo RAW 14bit....

If this turns out to be true, im ordering one!

Yesterday Gerald Undone was doing some testing on the 4K HQ mode recorded externally on a Ninja and the camera shut down due to overheating around the 1h15 mark so I think that estimate is very realistic 🙂 https://instagram.com/stories/geraldundone/2359898914668645546?igshid=ukiotjsceety

Yeah, the Sigma Fp can now do it with the 12G BM Video Assist models. The Fp also has ProResRAW enabled now too but, well, Atomos have still not released the firmware update for the Ninja V so who knows when it will actually work.

The screen in that video says 10-bit 4:2:2 4k 100p, which would mean 120p for those of us in NTSC-land. If it can do it internally with no issues, this rises to the top of my list since I can shoot it alongside an a7r3 or 4 for landscape work. I have a Ninja V for external recording, but it can't do 4k120. It also blows out a few of the rumors on SAR as false. Guess we'll see soon enough. Chris

The 2x2 pixel-binning in 4K normal and hfr mode has a softening effect, but it can be sharpened to be almost identical to 4K HQ (Oversampled from 8K).

This guy has a better image that shows 4k 10-bit internal at 100fps

If they could 8K RAW out of it over HDMI to the BM Video Assist and if that could then record it in BRAW then thats your £650 heatsink solution for the R5 right there 😉 They do have a relationship with BM because the C300MKii can already do BRAW with the 12G Video Assist but, yeah, I certainly think its a reach to think it will follow suit onto the R5.

That is not exactly correct either...Canon did not mention overheating for those modes at 23C. At 35C here in FL it probably wouldn't even take pictures.

He said it was about 29°C approximately. But the most annoying thing is that he told even in 1080p he couldn't shoot most f the time and he had no info on when he could shoot again once it sopped recording. To me it's alarming. I can't tell my clients to wait a few minutes or even 10 minutes before shooting again because my tool is not reliable. We'll see, cause maybe he had a faulty camera, but to me it seems to be dead on arrival (for professional filmmaking).

All that video does is confirm the official Canon overheating chart: R6 will overheat in all modes. clearly not the camera for long interviews or all-day run & gun shooting. Behiri jumped the shark and shouldn't have used that camera for his 2-day shoot, wrong tool for the job but I guess you learn the hard way.

Very disappointed, it looks like I'll need to wait another 2yrs for a Canon hybrid gimbal camera. No way am I touching the R6 the way it is now. It is clearly photography first and video if you are doing a documentary in the Antarctic. So far this camera seems worse than the EOS R for video at least the EOS R doesn't overheat, and I'll take a single card slot and horrible FN bar any day over a dead camera.

Looks good. I'll be curious to see if the fan noise from the Micro is a problem in your audio recordings. Even with my Sennheiser 8060 shotgun I could hear the fan if I had the mic on camera or anywhere near it, at least if I was in a reverberant room (wooden floors). Of course if you record 10-15 seconds of room tone at the beginning you can eliminate the fan sound with Izotope RX, Acon Acoustica, or any other good audio noise reduction program.

That C5D article is one of the worst professional “reviews” I have ever read. It reads like a blog by a college student. He goes into zero detail about what actual mode he was using (hq?, etc), how long he was shooting or if he even reached out to canon to see if it was normal. Not to mention the writing skills are just plain bad.

Not sure if we are allowed to post this here: But judging by this it is an unmitigated disaster of a camera...although that is not the impression you get from dpreview where there was no overheating at 24p. But summer in japan can get hot. Originally, I thought this would be a good camera, but if it is this bad, then I don't know how you could justify purchasing it.

To be fair, after months of no new releases, or news, we have had Canon, Sony, Nikon and Blackmagic all announce something. If there's a little frenzy on the internet, then its understandable. We've never had in such a short space of time, so much exciting news for forums to bitch over. 😁

By that argument, it is unreasonable to suggest the S1H have decent AF, or the Pocket 4K having IBIS, AF, good battery life and a screen visible outdoors in the sun. Most cameras have their strengths and weaknesses. It seems many are happy to sing praise of the R5 for 8K and 120p 4K and Canons amazing AF, yet shut down any criticisms where the camera falls short. And yes, I won't be getting the R5 for its overheating issue, just as the lack of decent AF puts me off going with the S1H. I think if we limited any particular camera discussion to people who actually purchased or plan to purchase said camera, the forum will be considerably emptier.

But the rest is EXACTLY the A7R IV - they switched positions between C1 and Rec, and...that it is.

Is his case probably it even overheated sooner, due to the power line to the lens overheating too, trying to keep that bush in his chin in focus at f/1.2.

First images of the camera. Looks like the body is a little fatter, but tough to say with any certainty.

For sport and action I tend to crop a lot and I have a 200-400 1.4x lens so at 560mm it has some reach. I find it already limiting with 20mpx of the 1Dx series.. Going back to 12 is a no go. The minimum goal that we set is to have a picture that fill 4k screens, TV, projectors so ca. 8 Mpix and with 12 Mpix you don't have too much to crop. You also want to have some margin for reframing especially on things that is a one time shoot only. Bud good for you that 12 Mpix is plenty, for a lot of people is very limiting.

Canon, Nikon, Panasonic, etc. could have got stuff anywhere at any time, I think the decision largely boils down to Sony winning the tender before the other manufacturers even got a look in because it was perhaps a done deal with Sony marketing material in the tender (like AP saying it needs "cut & paste from Sony"... eh, I mean "silent shutter") That's what I hear on the grape vine anyway 🙂 Plus the financial terms probably quite favourable. But also, Canon didn't have a pro mirrorless camera available at the time the decision was made, and neither did Nikon, both with limited mirrorless lens ranges too.

Played around and got this configuration which seems to meet all the criteria... It's a bit top heavy, but it's balanced (it literally stands up on the QR plate when placed on a flat surface). You can get to the handle, at least from the left, without touching anything but the handle, and the big hole in the vertical support even lines up very nicely with the coiled cable for the mic making a convenient cable tidy! It's not exactly compact or elegant though!

..so half the MP of an A73, no oversampled 4K, and a slight crop in all shooting modes? all that for $3500? in a couple regards, it kinda feels like a downgrade. 10-bit & no overheating sounds nice but it’s not exactly mind-blowing either given those caveats and it sure looks like Sony have been very careful as to not cannibalize the rest of their camera lineup, including the ever so popular A73 and flagship FX9.

Not for me. RS would not be an issue in most situations (static/tripod shots, sliders, and gimbals) and is greatly reduced in 60fps. You can even shoot 1.3 crop and 60fps to retain the DPAF. There is no other FF camera with internal 5.5K RAW and all these features for that price. On top of that, it can produce a very filmic image and will retain its value as an investment in case you need to sell it:

I don’t know about you, but if I was paying 3,500 to 4000 for a camera I would want a great 4K deliverable. As a GH5S owner, having a 1:1 4K readout hasn’t posed a problem for me. Technically, it might no be as detailed and “crispy” as a 6K to 4K oversampled but it’s all going to a 4K IBP deliverable anyway 98% of the time.

And at 1:21 he hints about the M43 and GH roadmap. That they will speak about it at the appropriate time and that they have a roadmap for M43.

The main issue is the RS, and for the final price you can get something more suitable for you needs

It will sell a lot and 90% will be go to photographers.... it will be hard to get one.... 20fps , ibis, 45 mpix , great af, almost same DR as Sony and mirrorless is basically an almost perfect photocamera ... even if video will stop after 10 sec. 80% or more of the sales will not even know what clog3 is....

1.) I’m a full-time photojournalist. I do have encounters with AP PJs out in the field. If they are churning and burning, they probably won’t shoot log as they upload and send their video to other press agencies. They in turn do not have the luxury of color correcting before air. If they are shooting an investigative piece or something long term where they have time and crew to put it together, yes they may shoot LOG. Business is deadline driven, "Make slot, not art". SLOG introduces an unnecessary workflow when your slamming video together. Not enough time to render and transcode that.

I've no doubt that this is a financially advantageous deal for AP but no amount of inducement would be worth jeopardising their core business of being able to push images to news desks around the world from anywhere in the world with the same speed and quality as their rivals. The fact that they have determined that they can now do this with Sony equipment to the extent that they will change over their entire inventory is a huge statement. Its also a big statement from Sony that they are confident enough to put themselves in that position of responsibility because them getting kicked out of AP will be a far bigger story than them getting in there. It might not be of particular, or indeed any, interest in the here and now to most people on this forum but the ripples of this particular pebble being dropped in the pond might well become very relevant in the next few years. Canon and Nikon have primarily only been concerned with what each other does for a long time which has only led to incremental developments to keep up with each other but they will have to react to this and take Sony far more seriously in what has been their own private battleground. Not least because this will have put every other agency on alert about whether they can get a similar deal out of Sony.... Lenses were one of the reasons that Sony were never really able to take a seat at their table because they didn't have the full arsenal particularly when it came to the long primes but that is very different now. Ironically, when you look at the lineup of RF and Z mount lenses, it is now Canon and Nikon that actually have the gaps in their lineup and have to play catchup with Sony when it comes to offering a complete system for anyone going mirrorless.

So, AP got a bunch of free Sony gear in exchange for announcing that they are exclusively using Sony mirrorless. Cool. Makes sense if they wanted mirrorless gear Sony was by far the safest option. This was a smart move on Sony's part because mindshare among professionals is worth 10x the weight of gold.

For those that aren't visiting BM forum, here is quote of Juan Melara's cheer and ask about gen 5 color science - as mentioned earlier, also with further playing with gen 5, similarity with P4KAlexa lut is astonishing - it seems as that BM engineers took his achievement as pattern to replicate in effect: "Just spent an hour or so checking out the new Gen5 colour science. The new gamma curve is great. Pretty much exactly what I’ve always wanted from BMD. Top work. But Captainhook, Blackmagic Design, any chance you could include an option to disable the Gen5 gamut mapping/limiting? Or include a colour space that has it disabled? A lot of grading workflows require access to the full unconstrained gamut. For example negative film emulation. Currently neg film emulation works so well on BMD cameras as they see and hold onto extremely saturated colours. The results I’m getting on the P6K in Gen4 are as good as any other camera I’ve shot and profiled. I’ve got extremely saturated test charts shot on the P6K and on Vision3 film and what the P6K sees in Gen4 is pretty amazing. On the Vision3 charts I can see a gradient of red values getting deeper as they saturate, then organically curving towards orange as they reach peak saturation. On the P6K in Gen4 I can see the same smooth gradient of reds as they reach the same end point but with less of the curve towards orange. In a profiled LUT based match, that organic curve towards orange is easy to achieve. In a procedural Yedlin style match that curve is easy enough to recreate. But in Gen5, that gradient of deep red values doesn’t exist, as they’ve been constrained and homogenised into a light pink tone. All the amazing colour separation is gone, which makes it difficult if not impossible to accurately emulate neg film. As you can imagine this is slightly disappointing. If the URSA 12k and the other BMD cameras are expected to integrate into high end workflows when shooting Gen5, make some colourists and colour scientists happy and please allow access to the full unconstrained gamut."

Final Cut pro X and Adobe Premiere should be used on a computer with high configration. When running either of them, my computer is always stuck in some windows. So I look for another software - Joyoshare Media Cutter to replace them. This software won't be slow even launching on Windows 7.