Leaderboard

The lack of 8K 240fps RAW makes it a no go for me. I need to future proof my work.

How do you do run and gun without IBIS? You know.. I’ve come on here for years and listened to Andrew ask for the one thing that would have made Canon a champ all these years - all we wanted was a decent upgrade to the 5D Mark II - a perfect hybrid camera video shooter. All those years ago, Canon saw the potential when Hollywood was actually utilizing 5D Mark IIs on set. But rather than capitalizing on this moment and continue to create consumer-grade products that were so good - they could be used in Hollywood, Canon instead went the other direction - chose to “monetize” those Hollywood customers with Cinema EOS - purpose -built products specific for video, and much more expensive too! In 12 long years Canon failed to recognize the need for a consumer-grade hybrid - a proper update to the 5D Mark II. Today - More than ever before - photographers are becoming videographers - it’s just the nature of the business. People still take photos, but people want video. In those last 12 years, Canon has only released two more products that are as “perfect” as the 5D Mark II as a hybrid shooter - the 1DC and the 1DX Mark III. Every other product Canon has released has had some sort of diminishing return - what we call “the cripple hammer”. But that cripple hammer is mostly thanks to Cinema EOS, and the mental gymnastics Canon continues to take their customers through in order to “protect” this Cinema market. Yet I haven’t heard of any of those “Hollywood” customers purchasing Cinema EOS products - I certainly don’t see them at the top of the sales charts. Maybe I’m wrong, but I’m pretty sure ARRI and RED are more popular at the Hollywood level? So then why the need for Cinema EOS? To me it’s just a ploy from Canon to force you into buying one product for video and one product for stills. Knowing this past history I went into this R5C announcement with expectations that IBIS would likely be missing - looks like I was right. Without IBIS I just don’t know who this camera is aimed for. In hindsight I guess we should’ve seen this a mile away. We have the C70 and the R5 - had Canon made a “perfect” solution then why would anyone buy the C70 or R5 moving forward? And so perhaps the issue is that Canon has too many products with no focus? It’s no wonder that they’re losing money. Why do consumers always have to trade off with Canon in this manner? Especially when no one has to trade off when it comes to Sony or NIkon. My current camera is a 5D Mark III. I haven’t upgraded not because of cost but because Canon refuses to release a perfect camera. And if I’m spending $10K on the camera, lens, batteries, battery grip, adapters and CFExpress cards - all required for the R5C - then we must demand perfection. Perhaps the R5 Mark II will be the true spiritual successor to the 5D Mark II? Would certainly make sense? But how many more years do I have to wait? And what features will continue to be omitted as part of a stupid effort to keep Cinema EOS “protected”?

Contax-Zeiss Sonnar 135mm f2.8 on Sigma FP Shot about 25 mins apart on a very changeable weather wander!

Counter hype-piece

As much as I hate micro HDMI, it does work (especially with a cage offering lock support). But I just don't think the R5C is going to be aimed at shooters with full crews ( focus pullers, directors etc ). Most likely one-man run & gun that needs photo/video inside a single cam..

I see it repeated a lot that heat held the EOS R5 back. Did you not witness the explosive climax of the story though? With the battery pull trick, timers, not reading temp until a firmware update, 2 hours of continuous 8K, Philip bloom's cats escaping a fire, Magic Lantern, EXIF data, wi-fi apps and all the rest? How can people be so forgetful?!

This is why if something has a micro-hdmi port treat it like it doesn’t have hdmi out. That port is so flimsy and shitty and it is directly mounted to the main board on the R5.

Interesting to see this trend. LOMO anamorphic gets a nod! Cameras used though not so interesting, a lot of ARRI as usual!

Right, well no IBIS so yeah guess that deal breaks the R5C for you.. maybe go for FX3 or S1H? 😉

I used to have one of these adapters that Cokin made for their A series filters to enable you to use them with compact cameras that, obviously, don't have a filter thread. The smart thing about it as well is that the grid of openings allow you to account for different mounting positions and distances from the lens so you would be able to position it to be snug against the front of the WA adapter. It holds three filters so is quite flexible and is made of plastic so weighs barely anything and folds flat for transport. They are long since discontinued (and I'm fucked if I can remember where my one is now) but might be worth a scout on eBay if it suits your needs.

Same way people have been doing it before IBIS became the norm. ..yet both the 1DC & 1DX3 haven't got IBIS. R3 & R5C seem to me like much better hybrid options. As for Cinema EOS products. They've been very successful from the start as much more affordable and practical options than ARRI/RED. FYI many Academy Awards in documentary category use Canon Cinema gear: https://www.canon-europe.com/pro/news/canon-filmed-oscar-nominees-2020/ I also don't really understand why Canon always get singled-out when Sony also segment their Alpha & FX line in similar if not more crippled way. No Alpha has RAW or video assist tools, not even the FX3.

Yes. no filter threads is the same situation on the Panasonic version... however, I have a couple of ideas for putting a nd-ish filter between the adapter and the lens itself. It would be loose inside there and should be enough to keep down the super high shutter speeds, but I'm not sure it'll be enough for 1/50th. Some say it doesn't even matter as you can add in post... not sure about that, but I'll try with my solution.

They must be referencing the HEIF format in stills. Only thing that makes sense.

I really think is wrong it does 12bit RAW video why it would do only 10bit RAW photo.... is a typo imo

Heyyy, Bragging rights sound great to me, I'll take em! The panasonic adapter looks great! I like the sony a lot, it fits perfectly on the 14mm and is still a super small set up once put together (Smaller than the Panasonic 25mm 1.7) The Sony adapter is bigger and heavier than the 14mm, but they make a great combo. The biggest downer is no front filter threads on the sony. I'll dig up some pics with the combo soon, but they're great together and the sony can be had fairly cheap online.

If you watch the Gordon Lang video you will see the digital IS looks just as bad as it does on the C70. Very disappointing. I've shot with the S5 and the EF 24-105mm at 105mm and it looked way better with IBIS on than Gordon's handheld test at 105mm.

CVP shows that the dual iso also occurs in the R5. Strangely, the R5c has noticeable more chroma noise. Maybe they didn’t black balance.

Dual ISO is confirmed in the menus and several people show it on Youtube.

Neither ND nor IBIS? That’s a misstep. Not sure I buy the omission due to heat; there’s a…fan.

I think Canon also removed the IBIS on the R5C. I would actually like that but for some it would definitely fall under the cripple hammer category.

if i win the lottery, i'll take one of each in mft 😀

Cinematographers have long been using vintage lenses with digital on Oscar-nominated films. Only relatively recently have shooters on smaller projects commenced utilizing the beautiful character of vintage glass. Certainly, a lot of beautiful and powerful cinematography has been created in the square format, but it is perplexing why anyone would shoot an entire project with anamorphic glass only to crop it square in post. To make such square imagery impactful, one usually must compose for that for that format while shooting. If they did so using framing guides, then one wonders how they could reconcile all that wasted image space (and wasted sensor resolution). Are linear flares and oval highlights worth the sacrifice? In regards to Oscar-nominated films only using Alexas and mostly vintage glass, here is an interview with the DP of "Ex Machina" (2014), in which he explains why he used the combination of old Xtal Express glass with a Sony F65.

And once outcome is actually a combo for sure, we also have the Xiaomi 11 Lite option to look like another cheapest fine one (in the range of 250 euros) from this couple of samples:

Still playing around with it. It's got some mojo.

It's illegal to talk about Panasonic and mention anything other than their poor AF. This is your first and only official warning.

Yeah, saw some awesome stuff shot in cine4 with it and internal HD 8bit 420. So maybe one of us starts a thread with the best buys, and additional best buys which we ever hardly used plus the stories to not using them! That´s right!:) But, at least FS700 got used for two paid gigs, one of them with internal HD SLog2. One of the two gigs was last year even.:) In 2021 I had to do two shorts with other cameras due to lack of rigging, time or due to request of the producer. At least my S1 got some use as a B-Cam and produced beautiful images. Last year it was BCam and even ACam to a C300II. But still, darn you are right.:) My F3 waiting for an EVF and for its first legit footage. BMMCC getting ready for some digital Super16 anamorphic, but still waiting after a first test. Darn, but in a good way too, so much exiting tech!:) I would hope CS was pretty good from my experience with my FS700. I heard that it either performs better under 5600K or 3200K, making a huge difference. The vari ND for sure would be a great thing to for some variation in DOF. Should browse vimeo a bit for some nice filmic experiments with it.:) ANYWAY, the Varicam LT sold for 5500EUR! It was completely rigged, with two P2-Cards, viewfinder, shoulder rig, handles and V-mount. Before, it was even offered by the seller for 4500, but seems like too many potential buyers offered more, so they put it back in for 5500. I was hoping the other way around.:)

Well? anyone catch the Lumix live stream this morning? - GH5 ii (meh, some updates to the GH5 basically) - GH6: didn't reveal much but dangled enough for me! Confirmed release for this year, 4k 120 4:2:2 internal 10bit as well as 5.7k 60p! Also with the announcement of the Pro Res Raw via Ninja V for the GH5s, can only assume something similar or even better will be offered on the GH6. Personally I'm glad they didn't try to chase the "K's" too much and go for 8k. I think 5.7k will be a perfect resolution for low light performance as well as reframing if you want. I like what I hear so far! All new sensor and new neural engine.

I feel perhaps 1 to 4 is only another generation away, perhaps? (a Z Cam E3-M4??) 5. they've already got a touch screen display option 6. 4K I reckon is plenty: