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I understand what rolling shutter is. Let me explain even more clearly. If I pick up a camera and shake it while recording, I get motion in the footage because the camera is pointing in a different direction when each frame was exposed. This is called camera motion. If that motion is caused by something like a smooth pan or tilt or is very gradual and smooth, then the motion will have a certain aesthetic, but if that motion is not smooth, but is very jerky with lots of small motion, then it will have a different aesthetic. Engaging a Global Shutter so that the whole frame begins and ends it's exposure at the same time (hey look - I did know what a global shutter is!) does not negate the fact that the camera is facing a slightly different direction each time a frame was exposed. IBIS, on the other hand, actually does negate the fact that the camera is facing a slightly different direction each time a frame was exposed, and under the right situation, will remove that motion from the footage. I get that you dislike the aesthetic of RS, and so switching to GS "fixes" it for you, but I dislike jittery camera motion, which GS does not fix. I'd link to a video explaining the differences between IBIS and GS in order to reflect back your level of condescension when you fail to understand what someone is saying and automatically respond by thinking you're smarter than them, but I don't think that anyone would have made a video on the topic because the differences are obvious. Or so I thought.

This from someone who heaped tonnes of negativity on the GH5 and Blackmagic. 😂😂. It's a different matter now it's Canon at the end of it. 😉 Besides no one is forcing you to read all this stuff.

Be fair, it was you who brought up the commercial angle in defending the camera. And you made that point when replying to someone who suggested it could be used on such productions, with green screen work and artic based movies. In fact, we have been arguing against the very thing you accuse us of.

I've taken a similar approach to my travels in having multiple setups as backups. Considering that although my trips are holidays, they're similar in that we're away from major cities with electronics stores, we have tight schedules that aren't flexible, and I won't want to repeat the same one for lost footage so it's a now-or-never kind of thing. I went through my whole setup looking for single points of failure and eliminating them. I have multiples of every item and can, at a pinch, have anything fail and still continue shooting. The only weakness of the setup was that my backup body wasn't that great. Also, because I had backups of everything I essentially have duplicate setups, and so can film things from multiple angles if I choose to. I disagree. IBIS can reduce and even eliminate hand-shake to create smoother and even locked-off shots, whereas global shutter means that whatever movement is there isn't removed, it's just far less objectionable. Also, IBIS on wide lenses can combine with lens distortion and RS to create wobbling that global shutter does not introduce. So IBIS and GS both have strengths and weaknesses, but aren't equivalent. They're different tools for different jobs.

Over at CR they are reporting an RF mount cinema camera is going to be announced this month. I also found an article from Sept reporting a Canon patent application for what looks like a similar form factor to the Red Komodo: https://www.digitalcameraworld.com/news/move-over-red-canon-may-be-making-its-own-rf-mount-cinema-camera Of course the codecs are not as good as the Red's but if these specs are true then Canon literally added every feature that I felt was missing from the Komodo (XLR, internal ND, better AF). As much as I wanted a true hybrid, this could be my GH5 replacement after all. Same Super35 sensor as the Canon Cinema EOS C200 Internal ND filters (mechanical) up to 6 stops 2x Mini XLR inputs Full-size HDMI 4K 4:2:2 10bit in ALL-I and IPB up to 120p 1x CFexpress Type B Slot 2x SD UHS-II slots External RAW recording options up to 4K 120P 2x LP-E6NH batteries Camera size smaller than the EOS-1D X Mark III Price: $4499 USD

I think this camera is every bit as revolutionary as the original Canon 5D

Can someone please point me to some A7SIII S Log graded footage where plants are nor radioactive green and people skin doesn't look like wax? Could not find one. Thanks

Sony's IQ continues to struggle, in my opinion. The FX9 looks better than anything else they've done (outside of the Venice), but from samples, the A7sIII seems to look similar to the A7sII, FS5, etc. Skintones are meh, image feels thin, and in general just doesn't have a very pleasing look. Also, this will have internal NDs, won't overheat, has two XLRs, etc - so not sure how it won't be much more usable than the A7sIII.

So the red komodo for 1500 dollars more is going to have: 1, True internal Redcode raw at 8:1 in mq mode and 4-3:1 at hq mode 2, Internal 4k and 2k prores recording 3, Global Shutter 3, Much better dynamic range 4, 6k 5, Red ipp2 colorscience 5, Better lowlight then the c200 However, the canon is going to have: 1, Internal nd filters 2, full sensor 4k 120 compared to cropped 4k60 on the komodo 3, canon c series reliability 4, Better DPAF 5, 1500 dollars cheaper Personally I don't see the point of the canon, since the a7s3 will blow the canon's image quality and usuability out of the water, while being 1000 dllars less, in a much smlaller mirrorless form factor. At least the red has global shutter and internal raw and 6k. The canon just sound like another 1dc all over again.

Stop the bullshit people. I don't logon to read these petty arguments every day.

you gonna call everyone a canon fanboy? I just said the camera is worse than garbage and gerald went soft on them. I like how suddenly he is the most respected of them all lol. You are becoming quite an annoyance on here.

GS gives you locked off shots if you are steady, but even if there is motion it is much more organic and pleasing - yes the motion is like film. Ibis is unpredictable and you cannot rely on it for sure 100%. I know with my GS camera, the way the image looks when moved craps all over anything with ibis. It is pleasing and smooth whether i pan, walk, etc.

I think "Leica50mm" is the anonymous online troll account of Canon's US marketing boss

Lame AF is showstopper for Alexa then too.

I would say, someone in Canon will take some heat for this attack, but they've already redistributed it to their cameras.

I feel like it is too good to be true as well, I'm just not yet sure what the catch is. For the external RAW question I am sure Atomos will make something that will work. I think the HDMI 2.0 standard was holding it back but with HDMI 2.1 they just need to release some new HW. I'll just come out and say it...I don't like Sony's cameras. I picked one up at a display case in a store once and it felt so cheap and plasticky that I have never given them another chance, the ergonomics were terrible, and the menus were even worse. I'm sure they have improved a lot since then but by now I have plenty of Canon glass, I love the Canon gear I have and if this camera doesn't disappoint and fits comfortably on my Ronin S it is a no brainer for me.

I watched Philip Blooms sequel film, and I came to the exact same conclusion- it looks thin. Same as the sII. At the right fingers any footage can be fixed and improved, I'm just not convinced Sony have made the leap into 'doesn't need to be touched and it looks right' territory.

Because they will make a focal reducer for it to be used with EF glass, which is what everyone has. It is the best of both worlds, where you get FF look and the small size and frame rate capabilities of a super-35 sensor. The benefits here are that the form factor should allow continuous recording in all frame rates and all conditions unlike the a7siii. Plus the advantages of internal nd, battery life and audio ports. I doubt it will have ibis if they are advertising it in their cinema line. I know it is controversial but there is clearly a lot of resistance to ibis in the cinema lines of most brands. For people like me who don't shoot photos, I am just glad they are steering away from the hybrid form factor of the a7siii.

I think you are more a hater then anybody is a fanboy over here.

Many years ago, when footballers were still earning only a bit more than the average working man, they used to have their wages further reduced in the summer period when no games were played. One of the finest players of that era, Tom Finney, told a great story about his colleague Tommy Docherty trying to get a better pay deal for himself. "Tommy came down from Celtic, and had a fairly good season with us. In those days we used to line up in the corridor before going in to the manager to find out our terms for the following year. I went in to see Bill Scott, the manager, and he said I'd be on the same terms as the year before, £12 a week during the season, and £10 a week in the summer, which was known as 12-and-10. Tommy went in after me, and was told he'd be on 12-and-eight. `I'm not signing,' he said. `I've just found out that Finney's on 12-and-10.' The manager couldn't believe it. `But Finney's a far better player than you,' he said. `Not in the bloody summer he's not,' Tommy said." I've been reminded of that story again by numerous comments I've been reading about the S1-H and its AF system. Yes, the R5 and A7Siii might have much better AF systems than the S1-H but not when the camera has overheated they haven't.

I'm impressed with this footage. Global shutter? Now that's awesome. What does everyone think? Is this going to be affordable ?

So if a camera feels like it will fall apart due to use, the materials feel really cheap to the touch, it is not as weather sealed as other comparable cameras, it is not comfortable to hold, and the menu systems are a mess you would still care more about IQ? I'm not here to debate Canon vs Sony or any other brands, I love my current setup and I'm glad you are getting the results that you paid for out of yours, but to me IQ isn't everything. Years ago I realized I'm not producing Hollywood blockbusters, my avg viewer will view my final output at 480P on their cell phones, the content matters a lot more than the IQ, actual Hollywood movies have been shot on GoPros, and YouTube will do more damage to my footage than I ever will in the camera.....so yes I know better IQ can be gotten by many cameras other than the GH5; but for me, the GH5 feels good in my hands, has a menu system that is very easy to work with, and feels rugged and reliable; these things I value more than IQ. With that being said, sure the GH5 has many shortcomings and I have learned to work within them (highlight rolloff, DR, lowlight performance, no AF, poor color science), so if Canon delivers the same ergonomics, features, and menu system from the rest of their line, and fixes all of the things I don't like about my GH5 I will gladly upgrade.

I am still hoping they will release some firmware update to help to extend the recover period, hence that's crucial for a lot of further buyers purchase, myself included. Without it, I am out : ) Here's a real user's test:

These specs do seem to be too good to be true. But then again, so did the C500 II and C300 III (as well as 1DX III and R5, but those did sort of turn out to be too good to be true, functional-wise). Don't know how this wouldn't severely undercut C300 III sales if the only thing missing was raw internal (especially if this camera can do raw output). I guess other things like full XLRs, timecode, and a few other professional tools would differentiate the two, but there are definitely work-arounds for a camera that is 1/3 or 1/2 the cost. Hoping this is true, but we'll see.

I'm quite honestly blown away by the footage from the R5 and by the gimbal like stabilization.

Oh dear @Andrew Reid Seems that Canon have been victim to a ransomware attack. https://www.forbes.com/sites/daveywinder/2020/08/05/has-canon-suffered-a-ransomware-attack-10tb-of-data-alleged-stolen-report/#45538b3d499e I wonder if somewhere within that 10tb of data they've had stolen there is a forlorn email from the head of R&D saying "Yes, we've got it to do 8K and all that shit but you do realise this fucking thing is going to overheat if we don't put a cooling system in it don't you?"

Agreed! Even if thanks to overheating it is unfortunately, only slightly better for video!

I agree, I love my GH5's layout, the menu system took a little getting used to mainly because there are so many options, but once I set up my favorites menu it is great. The GH5 feels good to hold, has never let me down due to overheating or any other issues. I never thought I'd like another camera as much as my 5DIV until the GH5 came along.

Nice pic! I think I know why I'm attracted to longer lenses than most. I shoot my family, and one of them happens to participate in a sport, so I shoot them doing that. I'm not really that interested in shooting the game itself, it's more a character in situation kind of thing. So in that sense it's a different purpose. Also, if you're shooting at night then I can understand why you'd be trading focal length for aperture, gotta let that light in! Yep. Welcome to Australia! I drove in the US once. I was doing really well until I got distracted in a carpark looking for a place to park. It took a second to work out why the other person was honking, and why they were coming right towards me 🙂 It's the darnedest thing. If I open that image in photoshop and hit Command-Z repeatedly, the image gets progressively clearer, but if I take footage straight out of the camera and into Resolve and hit Command-Z then nothing happens. Any ideas? Crap, I forgot to do my homework investigating my TC. I actually shot a bunch of stuff, working on a secret project, so insert mystery sound effects here. Will investigate. I was thinking all I need is to shoot a resolution chart 1km away, then realised how ridiculous that is. I'll see if I can find something that far away that can substitute 🙂 "Only" is right! I don't know what it is, but the play always seems to be occurring in a large arc around wherever I end up sitting. Play seems to spend a ridiculous amount of time going up and down the other side of the field, or in the middle, but I can almost not recall even half-a-dozen times when I felt insecure sitting in a chair about 1-2m back from the boundary line because play was nearby, and I'm talking over the period of the last few years. I made that comment to my wife and she was also quite perplexed about it, and considering that she often takes great delight in proving me incorrect about things, I take her lack of ridicule in the occasion to verify my observations!

I know, thats why I said I "only" needed 800mm as the cricket was centre based ?

The gulf in knowledge between those who just hang out on forums / amateur hobbyists and those who are full time professionals is unfortunately just ridiculously large.

GS is not the same as IBIS. Global shutter is a complete scan of the sensor where a rolling shutter is a partial scan of the sensor. Rolling Shutter affects all movement in my opinion. We film and live in a 3D parallax world. I use a Ronin S because IBIS can only do so much.

I didn't say speedbooster autofocus is "good" in my earlier post, I said it works and I need to test it more. I have been using in AF-C. So far, I've only been able to test it with UMC lenses. The autofocus seems to track as well as with native lenses, which is pretty good until it inexplicably looses a face (which is Fuji problem in general right now). When changing focus, the EF lenses I've used can hunt and go in and out while trying to lock on. I think that's more to do with the UMC lens motor than anything to do with the electronic connection of the speedbooster. I bought my daughter an EF 50 1.4 USM and played with it on the T4 before I gave it to her. Autofocus hunting was horrible, but the image was very nice opened up all the way. It makes me really want a fast niffty fifty! Any suggestions out there about which EF 50 has the best autofocus performance for under $1k? I'm wondering if I should get a EF 50 to use with the speedbooster, or get a Fuji 35mm. I like manual focusing but there are times when it's great to have autofocus. Also, I'm loving the fact that the speedboster gives another stop of aperture.

I don't like what the Aivascope Anamorphic adapter does to this footage.

Simply because of practical reason - it is very hard to buy RED in, say, Eastern Europe, price will be much higher, there's no supporting network in neighborhood, being till now pretty close system doesn't help also (Komodo is better in that regard). To cross boundaries become more and more hard task - say, I personally am not easy traveler (actually in this life phase I hate to travel without highly creative reason) and I have to relay on help and good will of friends or some sort of admirers in UK, France, USA, China to get such components that look "exotic" from my side... which, as any favor, is not too pleasant experience... (Movie making is not at all my primary creative field, so I have no collegial sort of channels nor, even less, any serious income from that activity... I'm just motivated to start some new creative branch from the beginning and from ground up, simply greatly enjoying process as new-youth game🙂

If anyone wants to see cam test of EM10III footage with vintage glass, autoWB, and a speed booster: https://vimeo.com/path88/review/444427937/9888f03bd9

Footage looks much better than the earlier stuff. I think this is where cameras are heading. Higher-end pro tools at higher end pro prices. The mirrorless cameras will be eaten alive by camera phones with 1” sensors and better software. It’s coming. Definitely has me thinking to just skip this round of mirrorless cameras, because lets face it, they will never deliver on what we want, and just save for a higher end camera. Komodo has AF so its at the top of the list for price versus features. Would really like to see a C100 style camera from canon that can compete on image. Doesn’t even have to be RAW. Just a super rich 10-bit 4:2:2 image with the special sauce 1DC had.

I don't use FilmicPro and it seems like that documentation is for iPhones. The S20 is able to use HEVC which I believe is 4:2:0, 10 bit h265. I have no idea how they implement their HDR10+, but it wouldn't surprise me if 3rd party programs such as FilmicPro have problems using this features.

Yeah did kinda like this footage, nothing mind blowing but looks like stup up from mirrorless and dslr's type camera's. And I did not like the first footage that was released of the komodo, the dynamic range looked kinda low at the first video's, but just also saw that comparision video with the pocket 6K and it has similar DR to the pocket 6K, highlight rolloff is nicer though so it might have a stop over the pocket 6K. So this might have my interest again also. Waiting on some more comparison video's and actual commercials shot with it.

Color, aliasing free, motion cadence, smoothness. incredible. That's where the money is atm. 4K , 6k, 8k are worthless without those.

A lot of people use a smaller mirrorless as a B camera when filming say an interview, working as a 2nd camera angle. I did a job recently where a GH5s was a B camera on a gimbal and were I using the R5 in 4k HQ mode, I'd have likely encountered overheating as the camera was on for over 30 mins shooting. Seriously your post comes over as so naive. Do you shoot much video, or is it just something you talk about on forums?

$4K for a camera you have to put away instead of enjoy shooting with it? Well I’ll be damned...

Sometimes i want to sell my S1H because of its AF that's not on par with the offeringd of the competition. But then I think about my needs and realize I don't shoot sports, i don't shoot fast action, i usually shoot interviews, corporate, docs, and i'd love to go more tow fictional kind of shoot (narrative). And i tell myself why would I need another camera for those controlled environments i'm shooting in? Panasonic bodies are so reliable, but hey they're not as trendy as all those cameras from Canon ans Sony that all the bloggers show. That's a shame. The AF is a lame excuse to me. I rather have a reliable camera, a workhorse with not so good continuous af than an unreliable camera with fast blazing af.

Use case for Alexa = on set with a crew, use case for an SLR = 1 person, running and gunning.

Buy an S1H. It's actually a bummer to see so many youtubers/bloggers/influences/blah supporting Canon and Sony as they continue to under-deliver. And here is Panasonic, who for 4-5 years now has been on an absolute roll (GH5 > GH5s > EVA-1 > S1 > S1H), giving us super reliable products with the best IQ and specs on the market with things we ask for (dual XRL, timecode, video tools). Please, everyone buy Panasonic. I don't want to use a Sony in the future. And while I love the C200/C300III/C500II, I don't want a mirrorless camera that craps out after a few minutes.

My approach is very simple also: Shoot in 4k 60p so I can slow down any piece of footage anywhere and crop in far harder than I could if I shot 1080. I think that is the beauty of shooting 4k, - not to output it as such necessarily, but to have a higher quality and more flexible starting point. Batch convert to ProRes so my PC/Premiere can handle h.265 and overnight whilst sleeping, ie, takes 'zero actual working time'. Output at 1080 for everything, job done. Same as the above poster, - I am under no illusions that I am creating a Hollywood or even Indie Art House movie, but a 9-12 minute wedding film that's going to be watched on a phone. Or a laptop. Or even a large 4k TV where still no one will 'notice' anything. No one has ever even asked for 4k or discussed it. Ever.

More spectacular footage from the Laowa probe lens.. and here's the BTS: I watch James Hoffman because I'm interested in coffee, so this is a completely unexpected foray into camera tech and slow-motion loveliness, but if you like coffee then I can also recommend his channel. He's a Barista World Champion, has a ridiculously nerdy interest in coffee, and is hilarious when he tries coffee products that taste terrible or reviews cheap and bad coffee equipment. You're welcome!