Andrew Reid

A particularly strange virus has spread across the internet, which seems to infect people defending Canon's latest cameras, shorn of the cinema frame rate 24p. Read the full article

I see why it is relegated to a tripod Nothing against the rig, it's great if that's what you need. It's the number one shot loser for me having a rig. Slows me down to a snails pace. And it has achieved nothing. It has only added back the EVF and battery life you get BUILT IN to mirrorless cameras. The bare basics needed to see the screen and shoot for longer than 30 mins.

What sort of anamorphic lenses would cover 44x33 sensor? Answer: None of them. They are nearly all S35. Very few medium format anamorphic lenses out there... maybe for VistaVision somewhere in Hollywood? That's why the S1H anamorphic mode is only S35 How do we know the slides are from that of a new cam, and not just the GFX 100 (as it's the same sensor)?

That is an immense amount of data. How does that achieve Fuji's claims in the slideshow of reduced rolling shutter and less overheating compared to a 6K mirrorless camera sensor output? I'll believe it when I see it!!

Show me the figures...

Yes exactly, what do you know? "Canon lose money on a C200" HAHA We are officially living in an era of world history where the majority of people unashamedly, knowingly speaking total shit to one-another without embarrassment, with no evidence or research to back it up, just pure uneducated or misinformed conjecture.... And it makes them feel good about themselves. It's perverse. No wonder our politics is going down hill rapidly.

OK so here's the thing about add-on EVFs. They are all shit. They all need stupid wobbly cables, they all upset the centre of gravity and balance of a mirrorless camera, they all draw attention to you so people know you're shooting video in public and the Permit Krackens swoop, people get upset, etc. They all cost a lot of money and they all take big chunky 1990's style camcorder batteries or hook into an even bigger v-lock brick on your spidery stupid rig, and therefore they are horrible to use, horrible to pack away, horrible to assemble and slow to boot up. Then the battery dies, poof. And all that just to see the fucking picture under sun. I despise external recorders and external EVFs. None of the manufacturers have innovated. None of them have stepped out of their cinema bubble and come up with anything as elegant as a mirrorless camera's built in EVF. FF vs S35 is not a comparison dependant on the codec. The aesthetic is different, the lenses are different, the lens circle is different. Discuss that, then we can discuss the codec separately because it is literally a separate topic! EF lenses still rule, of course they do, so put one on L-mount with the Sigma adapter. Done. Price chasm is not that big. In the UK for instance Pocket 6K is £2300 and S1H £3599. But the Pocket 6K has no EVF so you need to add one for £1000 The Pocket 6K has no stabilisation so you need to add a cage and shoulder rig for £500. Alas the Pocket 6K has a piddly little battery which the meter decides it has had enough off after 10 minutes with random shut downs, so add the v-lock for £300 minimum. Final price? £4100. Don't get me wrong I love what Blackmagic did with the image and codec. Just wish it was in a different camera not the shit one they put it in.

Well said. The cheapest camera with 24p is probably something like $80 And people still believe the Canon rep PR spin that 24p had to go to bring the price of their $1400 camera down a bit and that Canon did everybody a favour and it's good business! LOL! People are so gullible it saddens me to the core. Even the EOS 1300D has 24p! Obviously not in 4K but this is one of their cheapest and worst DSLRs. There is a reason Canon do not want filmmakers and enthusiasts using 4K 24p for under $2000 and it has nothing to do with profit margins, licensing costs, technological capabilities and everything to do with forcing these advanced users to pay more for a different model, end of story.

I think you might be forgetting about the indy cinematographers who want full frame, an EVF, a more adaptable lens mount and steady handheld footage

There's ISF Expert and Technicolour modes on the current LG OLEDs which attempt to do a half decent job of cinematic images. It doesn't need to be absolutely perfect but it needs to be right, and OLEDs are very capable panels. Problem is TV companies seem to forget the image processing part. Doesn't Dolby Vision have meta data to tell the TV to show the content as intended?

4 years wait! That is a disgrace.

WOW Where does the 34MP come in though?

People ?

To use a consumer sensor in a pro cam?

If the Sony A6600 is a flagship camera, I'm a little pixie elf. It's a flag at half mast kind of camera, in mourning of a once innovative camera division. 2016's technology with a bigger battery. Interestingly a source who has been right many times before about Sony tells us that the Sony Professional Video division wanted to reserve the more capable IMX571 26 megapixel sensor for future professional camcorders. Meanwhile the same sensor is yours for just £750 in the Fuji X-T30, with minimal rolling shutter, 6K full pixel readout, no crop in 30p, double the bitrate in 24p (200Mbit) and Fuji's colour science along with F-LOG. Remind me again why I should buy the A6600? Read the full article

The electronics manufacturers have always had a strange relationship with 24p. It's tempting to look at classic cinema as a quaint, anticipated thing of the past. It's an under-fire aesthetic like never before. YouTubers seem happy with 30p or 60p and TVs do their best to smooth over the cinema look by default. Well, not any more - according to the Hollywood Reporter, Filmmaker Mode is debuting on upcoming TVs by virtue of the UHD Alliance and some of cinema's best known directors. Read the full article

One Sony division haggling with another, to make that division's products worse, while Fuji ships thousands of X-series cams with IMX571? Who shall Sony fire for this? I'm waiting.

What was to stop Sony using their own Fuji X-T3 sensor in the A6600 and at least make it compete? Or was the sensor a Samsung part after all? Is Sony really telling APS-C users in 2019 that they don't quite have the technology to do 4K/60p or reduced rolling shutter on a crop sensor? No 10bit? Honestly buying a 2016 cam in 2019 just seems a bit of a waste of time.

Well the EF 35mm F2.0 IS is the one I'm talking about. Maybe you thought I meant the old creaky EF 35mm F2 non-IS from the 80's? The EF 35mm F2.0 IS is one of my go-to Canon lenses no matter what camera. Adapts to so much. Fuji isn't in the full frame market, so would be hard to come up with something similar but their 23mm F2.0 WR is a lovely look, and the 23mm F1.4 has amazing performance, both of them attached to far more capable filmmaking cameras than what's offered by Canon. Sony have the very good 28mm F2.0 for cheap. Their Zeiss 35mm F1.4 is another story... not cheap, but damn it's got a 3D pop going on, and superb build.

Well I was recording 6K RAW to one today on my Pocket 6K. UHS-II is pretty nippy. And with XQD / CFast it's pretty much a given... There is no need for an external brick, wobbly cable or 2.5" SSD in 2019. What the fuck they are doing bothering with sending RAW over HDMI when they have a high-speed USB C connector is beyond me.... Panasonic and Nikon seem to really want to sell a boat load of Atomos recorders for Jeromy! Good deal for him! But is it for us? Big bulky battery, expensive screen, dated media, dated connector and all this trouble for something which should already be internal. Anyway, what matters is if it's real RAW, how the image compares to 10bit 422 internal and whether the workflow holds up... Otherwise, may as well sell the Pocket 6K, get rid of the Z6, sell the Atomos Ninja V, and shoot with the S1H internal or an X-T30 if you are feeling more thrifty.

Prove it then and have the sense not to buy it.

Unless Panasonic's Headquarters is all of a sudden Studio 111 in Hamburg then you're wrong. And although both places begin with an H, Hamburg is not Hawaii. It's a 2 hour train ride from Berlin where I am visiting my girlfriend. The original plan was to go to L.A which would have pissed you off even more. But I chose to spend time with my girlfriend instead. For me this was like visiting a camera shop, and I don't do that unless the camera is worth a visit. If those specs are disappointing in your world you must be an insufferable fucking brat. Disappointing compared to what? Did a RED 8K handout land on your doorstep or something? Did your $4k go towards a stolen Alexa off the back of a van? Some people have been reading EOSHD for longer than 5 minutes and actually realise how far I've gone out of my way to keep the PR influence over this blog as low as possible, and I'll point you to all those adverts I don't have.... Anywhere. No sponsors, no paid ads, no content paid for and no shoots 'embellished' with Hawaiian scenery or Canon topless models. But yeah, I'll take your word for it... The image is spectacular but the specs disappointing. The 5m dot EVF and 5 axis IBIS are top notch but the specs still disappointing. The tilting screen is a great evolution but still your disappointment overwhelms you. Maybe you are better off using that "real cinema camera instead", you know, the one with the "proper ergonomics", that shoots 6K full frame for $4000, with a built in ND, a 5 million dot EVF and IBIS. ?

Canon CEO probably has a Nokia in one pocket and Blackberry in the other.

@Emanuel says it in the right way - editorial, not censorship! Got to keep the forum readable.

With a predecessor as shit as the EOS M6 and M5 were, it's not hard! ?