Leaderboard

AFX is the long overdue focus control expansion option for our PBC system for BM Pocket4K/6K cameras. With AFX and its included handheld remote you can control manual focus of MFT/EF lenses but also operate our newly created Single and Continuous AF modes for the camera. These new AF-S/C modes are made possible by the AFX’s integral ToF sensor which constantly measures object distance from the camera. As well as allowing you to control focus using the thumbstick and AF-S/C switching, the handheld remote also enables you to map any of the camera controls such as ISO/Aperture/WB etc to five of its hardware switches as well as being able to toggle Record Start/Stop from one of its two finger trigger buttons. All communication between the AFX, the handheld controller, the PBC and the camera are performed wirelessly and, as with the PBC, the AFX runs from its own internal battery or USB. The AFX will be priced at €199 (plus the cost of the PBC for new adopters) and pre-orders begin next month. Here are some basic examples of the AFX in manual focus, Single and Continuous AF modes. In AF-S mode, current focus is held until you press the trigger button so is equivalent to half shutter press/Back Focus Button on a regular (D)SLR or mirrorless. More to follow as the pre-order date approaches.

When I had the A7III the AF on the Tamron 28-75 was absolutely excellent. I've pretty much decided to buy this camera over the holidays or next spring. Unless Nikon REALLY knocks it out of the park on it's next release.

Those awards seem a bit like every player wins a prize to me!

Media Division released another video, I bet many of you already watched it. This time they are examining the Canon FDs and their similarity to the legendary Canon K35s. It's one hour and 24 minutes long, and holds the same quality as their video on the C/Y Carl Zeiss video. By the way, there's a segment on removing yellow tint on thorium coated lenses with a cheap Ikea lamp @ 1h15m. I thought you might be interested @mercer

I think the Mavo LF image quality also owes something to the robust ProRes 4444 XQ codec that is available internally. It is better than many of the proprietary RAW formats that are partially debayered (e.g., ZRAW, BRAW). The Mavo Edge 8K should be an excellent choice based on what we have seen with the Mavo LF 6K. However, it is about to get very competitive in that price range. Lower down, even ZCAM is doing some impressive things with color and internal ProRes:

I tried to download it. It lets you download 8K of it but then you have to wait an hour. Or you can continue to download 4K at a time every 10 minutes for two hours. If you are downloading to an external drive though you can carry on downloading as much of it as you want.

Ok, here's the second attempt..... and graphed: So, it looks like: UHD Prores 422 HQ from Resolve can be matched in quality by ffmpeg h264 422 10-bit ALL-I at around 170Mbps and a similar bitrate for h265 which is about a 4X reduction in file size UHD Prores 4444 and 4444 XQ from Resolve can be matched in quality by ffmpeg h264 422 10-bit ALL-I at around 300Mbps and around 250Mbps for h265 which is about a 3-4X reduction in file size There doesn't appear to be a huge difference between h264 and h265 all-i efficiencies, maybe only 10-15% reduction Happy to answer any questions and to have the results challenged. Let's hope I didn't stuff anything up this time 🙂

It doesn't matter what they say, all their fanboys will defend them even though it's obvious they want to protect their rumored C-series cameras with what is almost certainly the same sensor and capabilities. It's so obvious why it's crippled... They basically don't have to do anything, they're #1 in Japan, they don't care what you or I think. They're probably selling R5's like hot cakes, and even if they don't, they're selling enough of them to reduce the sensor costs for the C-series cameras and increase their margins, so it's win win win for them. Just look at some of the responses on the forum, people willing to frankenstein a $4K camera in 2020 because it's a canon, who would probably previously make fun of your solutions to cool down a $1,500 A6500 from 2016.

Canon have thus far failed to publicly address any of the issues other than release the crippled time specs at launch. Their handling of this has been appaling.

@Andrew Reid Test this morning - Outdoor temp 77°. Each take was 5 minutes per video clip with a JPEG shot immediately after each clip, then immediately started recording the next 5 minute video clip. 4K HQ EXIF data temps: Video take 1. - 31 C JPEG: 42 C Video take 2. - 41 C JPEG: 49 C Video take 3. - 48 C JPEG: 53 C Video take 4. - 53 C JPEG: 57 C Video take 5. - 56 C JPEG: 59 C No overheat warning so tried another 5 minute clip with take 6... Video take 6. - 59 C ( threw the overheat warning 38 seconds into the clip ) Overheat shut down at 3 minutes 19 seconds into the clip, immediately powered the camera on to take last photo... JPEG: 60C

It's not 5%, it's been updated to 0.2%. I downloaded it, and it's just boring website assets like product promo videos, marketing copy, layout designs and stuff, from years ago.

Thankfully it's on a solid color. Select the red of the shirt with a qualifier and use a little blur and it should reduce it.

To make sure the R5 can only be used as a crash cam on set. The R5 has pretty good specs for a crash cam. Use only once to record 15-min RAW video in compact form factor. No cooldown recovery needed as it will crash anyway.

Yeah, that wouldn't make sense.

Propably with a hefty participation fee. The cynic in me has started to believe that most awards are scams/heavily biased. How can the camera of the year not win best APS-C when it happenes to be an APS-C camera? I guess no camera is allowed to win more than 1 category?

Who remembers the original URSA Mini announcement from years ago? If I recall correctly, they did say it had a gyroscope built in to record that data for VFX work in post. Of course, in the final launch that feature got dropped. But maybe as this gets more popular, such as the FX9, then we'll see more and more having it. Time for an URSA Mini Pro G3 with the promised gyroscope?? If BMD puts it in the URSA Mini Pro G3 then it is certain to be supported in Resolve as well!

If you're never hardwiring yourself to a camera, then you've got nothing to worry about. Otherwise, use a phantom blocker. ( I never have, as when I used my F4 I was only rarely hardwired and when I was I just simply took care with what I was doing) They should do the same job, but the Triton Audio is smaller.

Prores from ffmpeg is significantly different - different bitrates and performance. Obviously this is rabbit hole I'm going to be falling down for a while!

I for one am really starting to feel like I have been supporting the wrong company for all of these years. This overheating issue has really opened my eyes to just how far Canon will go to maintain their product segmentation. I was always frustrated by the little things Canon did, like put MJPEG only for 4K in my 5DIV, no dual slot recording for video, 1 card slot in the EOS R, no XLR module for any mirrorless or DSLR camera, not a single DSLR or mirrorless with unlimited recording time, clunky way to set a manual white balance, 1/200s flash sync speed, etc. But then I would see that color science and menu system and ergonomics and I would be reassured that I was still using the best system available. But the more I look at how Panasonic stuffs every feature I keep waiting on Canon to provide into every body they build (even the "entry level" S5) and even Sony of all companies with their A7SIII (never thought I'd ever have anything good to say about a Sony camera), it is making me really rethink the ecosystem I have bought into. I don't make major changes to my gear lightly, and everything I have now just works within well known limitations; but if Canon keeps doing what its doing now I may make a decision to go all in on a new system and it would probably be Panasonic if they ever get their AF act together.

yup, IBIS works in photos modes and video modes alike

That is great look and skintones. Super impressive. Would love to see a komodo vs e2-f6 vs mavo lf vs mavo edge vs red monstro vs etc shoot out ( when the edge comes out). mavo edge just interests me more personally because it has more professional features like dual sdi out.

Seems like for anyone looking to pick between this and the R5 for video, the Sony easily wins. As well as managing overheating, it has better DR, better lowlight, better codec options, better file sizes, better external recording, better audio, better price and more affordable lenses. I can see it being really beneficial for my shooting style. 2 pre-ordered.

MAVO looks really good.

Triton Audio do a bi-directional phantom power blocker. Not cheap at £36 per channel but cheaper than buying a new F4. https://www.thomann.de/gb/tritonaudio_phantom_blocker.htm

Insert your own "Well, the heat management is certainly innovative, I'll give them that." joke here

On Mac you can use Invisor which also enables spreadsheet-like side-by-side comparison of several codecs. You can also drag/drop additional files from Finder to the comparison window, or select a bunch of files to compare using right-click>Services>Analyze with Invisor. I think it internally uses MediaInfo to get the data. It cannot extract as much as ffprobe or ExifTool but it's much easier to use and usually sufficient. https://apps.apple.com/us/app/invisor-media-file-inspector/id442947586?mt=12

Here it is the comment of notebook check https://www.notebookcheck.net/Canon-EOS-R5-a-new-teardown-video-calls-the-nature-of-its-recording-time-limitations-into-question.486505.0.html

I think my problem is I have yet to work with a camera that has reliable AF when shooting video. I hear about all of these great new AF systems but I'm still shooting on the GH5 using 100% manual lenses so no AF even if the GH5 had any, the C200 which is typically locked down on a tripod or hand held so I prefer using MF there too, and my 5DIV which puts a big box in the middle of the screen and you better hope that box is on your subject. Speaking of the C200 it supposedly has good AF, but the few times I've tried it, it always seems to be a scenario where it doesn't work; like if the talent is wearing a hat or wears glasses then the face AF doesn't work, if you've added haze to the scene the AF doesn't work, if the ND filters are too strong, the AF doesn't work. If I ever end up with a camera that actually has reliable AF I'd be the first one to jump on the AF bandwagon.

You'll get excellent results with the MixPre3, I wouldn't bother with the XLR1 unless you need a real stripped down set up.

R6 is only 20 megapixel, no excuses really. What is it doing differently to a 20 megapixel GH5 in 10bit 4K? to create so much extra "heat"? And that camera is 3 years older. Full frame sensor doesn't create a lot of extra heat. What's it doing differently to an S1?! Another example of the new-for-2020 style cripple hammer.

Personally, I'd feel like I just bought a hotrod of a car that can only drive 5 miles.

Whenever someone defends the R5 because of "45MP" remind them that the R6 is just 20MP and has the same issues.

Yes, because successful music videos are sooooo original.... on which point, this would be my favorite music video of the month:

Regarding shooting music videos: Love it! BTS:

and proving that creativity knows no boundaries, I share with you all this. The most epic and philosophical song about radiators ever written.

love this one. so fucked up ?