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I want to be a troll for a moment and comment RIP Sony, but I resist.

You forgot to mention ProRes codec support for up to 4K 30P on the Pro model. Now Apple just need to disable sharpening and noise reduction.

Here is an example from my Sigma FP shooting simultaneous JPEG+RAW stills with the JPEG on the top and the RAW on the bottom. The only differences are the expected ones regarding colour, contrast, WB etc baked into the JPEG by whatever profile I had active in the camera at the time. This next one is from yesterday on my LX100 shooting RAW+JPEG, again straight out of camera with the JPEG on the top and the RAW on the bottom. With this one we again have the expected differences from the JPEG profile but obviously from the RAW you can see the large amount of optical correction that the camera is performing to remove the distortion etc of the lens for the JPEG. From the point of view of operating the camera, this is irrelevant as it has happened before it hits the EVF or LCD so your framing view will be of the corrected image. In terms of the JPEG or if you are shooting video then, again, its an irrelevance as the corrections are baked in. For RAW files though, the corrections are not applied but they are only a click away in your editing software so, again, its no big deal. The problem would come though if you somehow managed to remove that lens and put it on a camera that doesn't have the correction built in. Which brings us to using MFT lenses on a Pocket 4K. I've just gone outside to do this quick and dirty illustration of a typical example with the Panasonic/Leica 12-40mm f2.8-4 on my Panasonic GX80 shooting RAW+JPEG and Pocket 4K shooting CDNG. On top we have the JPEG from the GX80, then the RAW from the GX80 in the middle and finally the CDNG from the Pocket 4K on the bottom. (* I was shooting 16:9 stills on the GX80 with regard to the JPEG but the RAW file is still 4:3) Ignore the framing and colour differences as it was just a quick handheld test but as you can see the in camera corrections have taken a large amount of the distortion visible in the RAW away when producing the JPEG. However, this is not the case with the P4K frame and without the in built correction the distortion is there in all its glory as it was with the RAW file on the GX80. Of course, you can perform the corrections yourself on the P4K footage when you are editing but its another step and will have to be done on every clip. There is also the penalty of the correction necessitating some degree of cropping in most cases so, unlike the cameras with built in correction, you will have to take this into account for your framing when shooting. The degree to which correction is necessary will vary a lot from lens to lens and obviously wider angle lenses will need closer attention hence why I would recommend checking each particular lens on the P4K itself before buying to make sure you are comfortable with it. I think the Voigtlander 17.5mm is quite popular on here with people using MFT cameras so if someone could do the same RAW+JPEG still on a GH5 etc then you'd have a fair idea of how it will behave uncorrected. I think a few people use it with the P4K too so that would obviously be even more indicative.

Last year: Dolby Vision, LiDar, and IBIS. This year: Cinematic Mode: Continuous AF. Face-tracking. Auto-subject shifting. Rack Focusing. Changing focus/bokeh. These aren't consumer technologies, and most iPhone users will not use them (aside from touch-to-focus). Why bother? Pros certainly won't use iPhones (not yet). But everybody else—in the near future. Apple is putting tremendous effort into laying the groundwork to crowdsource quality content. Offering these features that nobody asked for in the hands of millions? We are going to start seeing iPhone-generated narrative/reality/doc content (not TikTok videos) to hit the mainstream. Very soon. For what? To sell more iPhones? Nah, that's a flatlined market. A capture-to-delivery scenario would likely be end game. Digital services, cloud, etc. is more important. I imagine there will be added incentives for users to deliver not to YouTube (google) but Apple TV. The ecosystem is more important. The Apple walled garden must grow, even if it be watered by your peasant blood. Build it, and the mortal fools will come. This is the plot of 2001: A Space Odyssey.

6k 60P RAW 4k oversampled from 6k 4k 120P No time limit (so no 30min limit), can record up to 6h continuously CLog and CLog3 As always devil will be in the details..... https://drive.google.com/file/d/1zdfdmPXy1XDpoSdllbugt0ATg36gSJop/view

That's what I'm saying though. Is this terrible new aesthetic a sort of meta take on the film industry right now? The machines have formed a poorly-shot green screen, ultra punchy color hellscape for humans to live within which mirrors the state of much of cinema now. Or is this just an ugly movie. Lol.

🤣 People say this every time Canon releases a new camera and it never happens.

Great post as usual, man, yeah I'd call P4K old school where more effort you have to put to overcome the lack of modern tools, a bit as much as happens with AF as for instance you've surpassed with your incredible tool all Pocket series owners must have (EAG :- )

Gordon Laing's video is the best. DPReview hardly told us anything. He shows samples of log video (un-graded) in clog3 and shows detailed 400% zoom chart tests to show detail in all the modes versus R5. It does look like the R3 is landing solidly in-between the R5 and A1 as far as quality and specs go. No 30 min record limit. Gordon got 6 hours of record time off external power source, 2h 12m off of internal battery shooting in 4K25p. With the new data hot shoe, IBIS, and DIS the R3 is shaping up to be a pretty capable video camera with plenty of room for R1 to flex. Also, setting white balance is now like all the other cameras. No more taking a picture and loading the white balance. Please bring this to R5!

Official press release: https://www.canonrumors.com/here-is-the-official-canon-usa-press-release-for-the-canon-eos-r3/