Andrew Reid

Hmm. Just get a Fuji X-T3 or X-H1?

Good old Berlin!! Nice effect in Resolve. Definitely makes for a less digital look.

You are free to change it to -5 if that's what you prefer.

Finer noise grain! If you turn it down too far you get a more plastic texture which isn't film-like. The Panasonic codec is really good at a fine grain, so I wanted to keep hold of it.

I entirely agree!! Atomos need to be brave and make a 4K recorder in the mould of a battery grip, specific to certain cameras like the Nikon Z6. Instead of an HDMI cable and top heavy hot-shoe mounting, it would screw into the base of the camera, with moulded hand-grip same as the usual battery grip for mirrorless cams. Then the HDMI port could go into a firm side wall on the grip that extends only fractionally upward at the side of the camera, enough to reach the HDMI port and allow the camera to slide in sideways so that the connection is made, then secured through the tripod mount like a normal battery grip. See the Sony A7 III battery grip for design reference but inside instead of a load of empty space and a couple of batteries, it has one battery and a Ninja 4K chipset. It could even power the camera for a bit longer battery life. No worries having to babysit two shit batteries, one in the camera and one on the back of an external monitor.

It depends on more than just the codec specs so it's tricky to answer that especially as I don't yet have an S1 to compare to the EOS R. It depends also on what aspects of the image you are measuring. I'd expect for instance 10bit to have an advantage in dynamic range but ALL-I would give an advantage in motion cadence. Tricky to say what is "overall" the most cinematic.

Overlooked in the first articles about this camera is the 4K H.265 mode of the Panasonic S1. Similar to the Fuji X-T3, this will allow 10bit internal recording in HEVC with launch firmware version 1.0 - no need to wait for the paid 10bit update. 3840 x 2160 is available in 10bit at 24p, 25p and 30p with no crop - it is full frame. The later paid update is for a higher bitrate 10bit 4:2:2 mode and V-LOG, but in the meantime 10bit H.265 provides the silky smooth colour of 10bit with HDR and much smaller file sizes. Read the full article

MattH - you win the Starting An Argument About A Name In 2015 And Bringing It Up Again 4 Years Later award of 2019. You ok luv?! Bored?

And there we go.

At double the price. Highly illogical, Mr Kirk! Beam me up! (Cue rolling shutter ripple effect)

Nice analogy. The problem is too many shooters are Mr Spock!

Yes the AF was dodgy but it's a pre-production model and the GH5 got better with firmware updates. What they need is to do Phase-detect Af on chip for future models. No problems with criticising it for the Af but the other stuff is amazing and doesn't deserve to be ripped to shreds. 4K/60p Super 35mm and full frame 4K 24p 10bit is somehow not a step forward enough!?

I think they have a vendetta for us mate!! It would be interesting to see how many higher-end Cinema EOS sales they lost to the Sony and Panasonic mirrorless / camcorder eco-system due to not having good small b-cams with Canon LOG and minimal rolling shutter. Disabling DPAF in 4K is so weird - the 70D with Magic Lantern does RAW with DPAF - it just stays on as normal, even with a hack.

How does he know it performs so badly if he's never even shot with it? Indeed how do you yourself know? You see, you have allowed yourself to be influenced by a pile of self-promoting bullshit! Indeed. Not full frame though is it!

I would have thought it was against Intel's rules to go so far outside the spec but use the same connector. Surely a USB C chipset does not exist that is 2.0 only so it's an artificial firmware crippling limit. Oh, forgot to mention the small battery as well. As usual the rumours flattered the camera a bit too much!

Well the 5D Mark III with Magic Lantern was the first to output 14bit video and nooooone of you are using it!!

Huge by what standards? Tiny by video standards. Smaller than even an FS5. For something that sits between the Panasonic GH5 and 1D X Mark II in size and weight terms it's not "HUGE"! Sigma will release their ART lenses for L-mount and there will also be an EF adapter. Problem solved. L-mount makes for a very adaptable system as I am finding with my Leica SL which I enjoy immensely and I don't own a single full frame Leica SL lens (just the small 23mm F2 APS-C). The Panasonic lenses are expensive because they are pro lenses. Canon, Sony, same pricing. Yes it would be nice to have some more affordable primes and better AF - for sure. On the S1R the 4K/60p is full frame. On the S1 it's a 1:1 readout Super 35mm. Nobody complains the 4K/60p on the X-T3 is "only" Super 35mm! (Actually a bit more cropped, around 1.7x). I admit this is the main area for improvement, but there's a lot of cinema shot in manual focus, to say the least... Maybe we are just being lazy, demanding AF all the time for video. I found it pretty organic looking, with superb colour. I still have the original 4K files on my card. Maybe I should show them in a follow-up post. Also the low-light performance was outstanding. You show me the perfect camera!!

Oh look! It's time for Canon to roll out their old chips again! The EOS RP has an identical sensor to the 6D Mark II, with a micro-lens array design more suited to mirrorless lenses. Canon openly admit in interviews that the RP cannot even do cropped 4K/30p without overheating. Even the modest bump in frame rate would have necessitated "a larger body design", they say. Not sure I believe them, but clearly the technology is behind the curve. Most disappointingly of all, it turns out that the EOS RP lacks Dual Pixel AF in 4K video mode, like the M50, which means it's a "no-buy" from me and better to stick with the EOS R until the pro body is released, which perhaps, is the intention. Fuji on the other hand - an even smaller, lighter (380g) and cheaper camera has a full-width 6K sensor readout without overheating and most of the 4K video features of the superb X-T3 for under $900, with F-LOG, 120fps 1080p and bonus 10bit 4:2:2 external output. There is a CHASM between Canon and Fuji in their video technology. Read the full article

It's the sheer ego of it that I can't stand and the fact so many trust these non-shooters, just because they thrust their mug in front of cameras and camera PR events at every opportunity. When have you ever seen Tony or Chelsea acting as a real enthusiast on a camera forum, either here or at DVXUser or DPReview? When have you ever seen them shoot something other than their own big heads? The only time these egotists mix with real enthusiasts on forums is then they are defending themselves. Does anyone remember when I featured one of Chris & Jordan's videos on EOSHD and Jordan came on the forum to criticise me for stealing his video and putting it on my blog??! These self-styled celebrities don't understand the first thing about a community. Or filmmaking.

And he calls this video a "reality check"!? Read the full article

Maybe have Cinematographer Panther in next year's ceremony?!

Now, the Academy has been accused of a lot of things. Prejudices against black people. Prejudices against women. Their latest decision shows they're also seemingly prejudiced against cinematographers, film editors, short-film directors and make-up artists - all awards they have dumped to get the live TV ceremony under 3 hours. Or rather, to shove a few extra ad-breaks into the TV coverage. Read the full article

Or get a tripod?! No C-LOG no problem. I've been using my own EOSHD C-LOG for years and works perfectly on the non-C-LOG Canons.

I didn't mind the weight of the body when using it in Barcelona. It's in the D750 ballpark for weight, not the D5! It's the lenses that add the most weight when it comes to full frame. The 24-105 zoom was pretty light and 50mm large but not too bad weight wise. Panasonic could maybe have shaved 200g off the body but when using a heavy Sigma ART lens on it via a Canon adapter, I doubt this would be noticeable.

So A9 gets full tracking then?