Andrew Reid

How about a $50 challenge?

The situation is worse for US users than for Europeans and PAL shooters, because I can't see anybody in the US wanting to switch to PAL mode and shoot 25p, with the interference pattern and banding under certain light sources that brings, and the loss of 60p. Constantly switching back and forth between PAL and NTSC is a ballache, especially if camera requests card format like Sony. It may be that YouTubers are all shooting 30p and Canon is only listening to the market, but I don't really believe for a second that this is anything but a cripple to protect higher-end 4K cameras from Canon including EOS R. Same situation on the GX7 III and new G5X II as well, only 30p and 25p on those. Let's hope the death of 24p doesn't become contagious and other brands start doing it. Canon set a bad example for the entire market.

I am curious to know the story behind the Italian one. Did the old dictator have a bit of a stroke or just out of it on drugs?

At EOSHD we like to ask the important hard-hitting questions on glamorous Italian TV shows. Read the full article

Probably not legit mate. Please let's keep the off-topic stuff out of the forum though. It's a camera forum.

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You're right, it will soon be betting a much more streamlined editor's control panel that can be operated even from a Russian gulag.

Gentlemen, this is the War Room, no putting your hand up and talking sense, PLEASE!

Well uninspired though it may be, at least it has 24p. I'm not rushing out to buy the 6K... Going to take a look at what the S1H has in store first with regards RAW and codec options.

LOL. No ExFat support in 2019. Well considering Canon's sales chart looks like an olympic ski slope at the moment, I'd say their understanding of the market is somewhat "2009"

You're right about the link between sensor size and the mount, and a lot of people saw the LS3000 mount situation as a bit of a hack, or a 'that'll do' situation, rather than the clever pragmatic solution it actually was. What Blackmagic should have done with the 6K was ship it with an EF mount but make it removable, encouraging third parties to make mounts for it. That would open up the adapters route as well. Why is it that some guy in China is always more inspired than the big company making the thing in the first place?

Yeah you keep making bullshit claims even though I told you not to Unless you can back this rubbish up with proof, I may well ask you to leave the forum.

Exactly. Perhaps there’s literally only 30p on the US model, then it becomes literally not worth using and those labouring under the impression that it’ll still look cinematic are wrong!

I reckon the 30p lovers should all go and tell Hollywood and Netflix to switch. I don't care if the camera is aimed at me or not, only Canon's marketing people do. The founding principals of the cinema look include 24p and it's as important as dynamic range, RAW, etc., 25p looks similar but 24p is the standard and you can't mix the two on one timeline. Canon know this which is why it's another Protect the Cinema EOS margins cripple. Which is a shame because the new sensor technology looks good, and has finally caught up to the readout speed of others. If you are calling yourself a filmmaker but prefer to shoot 30p over 24p you should be a bit embarrassed. 25p is another matter, that has the same cinematic feel to 24p. I shoot 25p quite a lot because I live in a PAL region. I am glad it has 25p. But I'm not happy with the 24p bullshit spreading on this forum and screen Hz judder-stutter-bullshit. Stop doing it. Tiresome to read.

LOL. Where is the source of the h.264 specific frame rate licensing info for 24p? Or is it the usual forum user Canon plant conjecture?

Right that's us sued then. I got my facts wrong. And we mentioned the glue too.

I see, right. $1399 and you have to build the thing yourself with glue?

Yes of course we all know the story with the M6 Mark II is that compared to earlier efforts such as the 60D or T2i, Canon finally had to drop 24p to save on the H.264 licensing fees which were really racking up a huge debt in their corporate bank account, and the other reason they had to drop 24p was that it takes just so much processing power to drop those 6 frames compared to 30p which is much easier, and the virtual garbage bin kept filling up with those frames and overflowing causing a memory leak and a security issue for people with smartphones connected, so 24p just had to go, and also the uncompressed 16bit 8K HDMI output could only run at 60hz for the screens on Atomos recorders so no 24p externally either, plus in Japanese the number 24 is associated with ghosts.

Ever felt like owning a cheaper Komo... Erm, small dragon-like camera? Well now you're in luck. The Sony RX0 II has morphed into a living, fire breathing Super 16mm cinema camera thanks to this mod adding an exchangeable Micro Four Thirds & C-mount lens mount, removable IR cut filter and fast apertures to your previously drab F4.0 action-camera. Read the full article

Oh. Hello. RX0 Micro Four Thirds mount? How much is it and is it an easy mod?

I wonder if people who shoot 30p thinking it's better complain when they are at the cinema of stuttering and juddering? Or if they have just been playing far too many Fortnite sessions at 120fps and their eyes are fucked. It's only viable if you eat your clients afterwards.

Hint hint. Keep checking your notes. You're doing a good job.

Everybody stop, we have been wrong all along for 10 years since the 5D Mark II came out with that silly 24p firmware patch, why they bothered with that and didn't just stick to 30p I don't know. All that stutter and judder from the cinema frame rate, damn my computer screen for not being a flickering 24hz scan rate, it's all the fault of those damned LCD panels!! Yes I wondered why the Arri Alexa looks so shit on my LG OLED. Bloody 24fps strikes again. Tut tut tut. *Checks notes* Canon are completely right to remove 24p and it has *checks notes* nothing to do with protecting the higher-end cameras. Better warn all those C200 users shooting their silly mismatched 24p for Netflix. They should all be shooting at 60p to avoid judder, and recommending people turn their TVs to Motion Smoothing mode, especially for those fancy daytime soap operas we used to call "films" like Christopher Nolan's Dunkirk. Quick somebody tell Scorsese! Why won't he get the 30p 60p memo??? Doesn't he know his scan lines are juddering and stuttering? And damn that bloody Spielberg still living in 1984. An affliction you mean? Yes, the look of cinema is the scourge of filmmakers everywhere. They should really go to a doctor for that 24p disease. I don't know how much you guys in these PR offices get paid by companies like Canon but I am fascinated by the work and script writing you put in. Should do a documentary about it... Shot in 30p of course.

Stuttering problems ?

I am pretty sure since 2016 when David Bowie left us and Trump got elected we have been living in a different parallel universe where nothing makes sense any more. 24p now the stuff of 'film wannabes' is it? You are a big old troll. And you need to fuck off.