Andrew Reid

Unbelievable. That BM Pocket 4K event was in Manchester. If I had known about this I would have only had travel 30 mins and walk right in. Please keep me in the loop better in future Blackmagic, I have been waiting to get my hands on once for what seems like forever.

They are falling behind on the stills side as well, not just video. They don't have an answer to the low light / high resolution combination of Nikon's 46MP sensor or Sony's 42MP, and at the same time dynamic range is lacking on a number of Canon cameras like the 6D Mark II vs the direct competition at the same price. The others aren't standing still. Even if Canon's R&D suddenly picked up the pace, they would remain years behind the competition.

Nobody really complains about the GH5 screen. All that is needed is a hinge along the top of the articulated screen so it can be flipped out when flat against the camera back. Best of both worlds.

I don't think so. To do that they will have to control 100% every individual providing content on the internet. That is the unrealistic notion, not the other way around. Getting back to the crux of the topic... I am saying camera and tech journalists need to get a spine. They need to resist the PR machine better than they are doing. I say this as a reader not just as a journalist with my EOSHD hat on. I don't want to have to watch and read more and more obviously watered down stuff, until the point where it becomes an inflight magazine or a catalogue editorial. It shouldn't even be a controversial opinion. Nobody wants this to happen. I question how sustainable it is on the motivation side of the creator also... becoming a poodle, unable to speak their mind. It's as boring to create advertorial as it is to read it.

EOS R H.264 4:2:0 is a broadcast codec? Could have fooled me. Compares very poorly to the GH5 codec. That camera isn't tier one 4K either according to Alan Roberts / EBU / BBC, but it is for HD. Respectfully, I suggest you don't really know as much about this stuff as you think you do. Nothing will happen to the FS5 sales when they give us 10bit 60p on the A7S III. Existing FS5 owners might buy one as a second body. Future FS5 customers might buy one as a second body. It is complimentary. In the few cases where it might cannibalise a more expensive sale, I don't think Sony minds anyway - because the biggest profit is from selling E mount lenses for E-mount camera bodies. A7S III owners are just as profitable as FS5 owners in that regards. Plus when you are chasing market share, a sale is a sale. Whether for $3500 or $5000. The FS5's HD-SDI interface, XLR audio, NDs, form factor, big battery, are the main reason for pro video users buying it over the small mirrorless cameras anyway, not the codec. I have rarely met a pro videographer who prioritises absolute image quality over getting the job done. An FS5 also looks more 'standard-pro' on a job, and clients tend to view small cameras as a bit amateur. The 'pro look' is a factor in the sales of pro tools, however superficial you might think that is.

Not true. For example the RX100 1" sensor was used in various Sony cameras as well as by customers. The Canon 1" compact series, Panasonic FZ1000 to name but a few. Industrial sensors are often found in photography and video cameras. To witness, Blackmagic. Name isn't confirmed and anyway, so what. A badge is unrelated to sensor. 31MP sounds more appealing for stills to me.

Sony has been listening to the feedback surrounding the A6300 and A6500, which had quite a severe rolling shutter (30ms+) in 4K. They have just announced a new high resolution 31MP (over 6K) APS-C / Super 35mm sensor with a global shutter. Read the full article

The elephant in the room is still Sony and why they are seeing massive sales success of both A7 series AND pro video cameras, without crippling either. Nobody can answer the conundrum it seems.

3 - The sensor was oversized multi-aspect ratio, so the vignetting with Micro Four Thirds lenses would have moved around visibly at the edge of the frame when the sensor moves. It's 2018. What's Canon's excuse for no IBIS on anything at all? At least with Panasonic you get the option. Smartphone sensors have it. Manufactured by Sony and Samsung. It's not a Canon exclusive technology. It is just very well implemented on the Canon side. That's what's so frustrating. In many ways Canon is a leader. So when they do the silly crippling to protect the C-line, it's all the more enfuriating. If Canon's colour science was rubbish, the lens range was baloney, C-LOG was C-for-crap, DPAF wasn't bulletproof, the ergonomics were all over the place and the 1D C's image never existed, I would not be bothered enough to care so much. They get so much right where others stumble, but then employ anti-customer strategies. Ultra-cynical product crippling and segmentation, It is supposed to win profit but in fact does the opposite, and long term is even more damaging for customer loyalty. You mean Canon's? Depends on the image. 1D C is still right up there. 1D X II not bad no C-LOG hurts it. As for 5D Mk IV / EOS R image, whatever is gained through Canon's usual organic niceness (no over-sharpening and leading skin tones / colour) is a net negative when you crop 1.8x into the full frame look and add a very heavy rolling shutter. C-mount lenses on the M50 is the most character I have managed to get from any Canon camera not named 1D C.

It isn't the logo that's the problem really, it's the relationship which put it there. As soon as you have a personal friendship or a business relationship, you have inherent bias. I don't expect these relationships not to exist, it would be very unrealistic. However the internet is clearly evolving in a worrisome direction, where the sites with the most followers have the prime positions in our research via search engines and on YouTube, are the sites MOST under the influence of the manufacturers. I think the influence of the content with 'lifestyle aspirations' is eroding credibility as well. There's a reason so many hands-on sessions now happen under tightly controlled conditions organised by a PR company - so they can shape the editorial visually, and make it glossier. Again here there is a balance to be had. It is unrealistic to expect the DPReview team to post only pictures of ducks. When a camera company once reached out to me, they invited me to such an event and I said no. I told them I'd rather just have the camera on my desk, that's all I need. They said it "isn't something we do". I think that was Sony. Once, Canon reached out - after a more positive blog post - and gave me a 5D Mark IV to review for a few days. Honestly it was very nice of them, but because I didn't feel like trashing it and throwing their effort back in their face, I just decided to send them back the camera and say nothing. I think you all know my opinion of video on that camera anyway. It's not good. And I don't need any pressure on my to either say nothing, or only the positive stuff (that would have been a very short blog post). I think if negative reviews are to be extinct, customers less knowledgable (what's a 4K 1.8x crop?!), brands more powerful and marketing disguising itself as editorial to the point where it is absolutely normal and accepted, then the internet has basically been bought by the corporate world. And we cannot allow that to happen. By the way, the absolute worst site for corporate influence for cameras in my opinion, is Cinema5D.

Here is what I just don't get about Canon. The Sony FS5, FS7 and high-end cinema cameras are popular. There is absolutely zero evidence the mirrorless line is cannibalising them rather than complimenting them as second cameras. If there was any evidence of market research to suggest so, Sony would have changed their strategy a long time ago. Most people now think Canon is protecting the Cinema EOS line, including Steve Huff, in his excellent article here that I almost entirely agree with: http://www.stevehuffphoto.com/2018/09/05/canon-crushed-many-dreams-today-with-the-eos-r-my-suggestion-wait-a-few-months/#comment-485408 Canon really do seem to think that a full frame 4K camera will destabilise the C200 or something. But how about another theory - They are just in no rush. They don't need the extra sales right now and can only manufacture so many cameras and lenses. Instead they're holding stuff back for later, to give people a compelling reason to upgrade, whilst the competition plateau earlier. When you think about it makes business sense. But business is also about building the goodwill of your customers and keeping them loyal. This is where Canon are failing big-style while they chase $$$. The brand is taking an absolute battering. Quite a few people now have a borderline hatred of them, which is a real shame. I want to like Canon, but first they must give me a reason to do so. They are acting like Scrooge.

Samsung's LSI business is the best in the world and if they made a "delivery to Japan" for a customer such as Panasonic, it would wipe the floor with the competition. Google Translate: https://translate.google.co.uk/translate?sl=auto&tl=en&js=y&prev=_t&hl=en&ie=UTF-8&u=https%3A%2F%2Fwww.seeko.kr%2Fzboard4%2Fzboard.php%3Fid%3Dfreeboard%26page%3D1%26sn1%3D%26divpage%3D21%26sn%3Doff%26ss%3Don%26sc%3Doff%26select_arrange%3Dheadnum%26desc%3Dasc%26no%3D915673&edit-text= No the Z6 and Z7 sensors are not Sony designs or specs. They are Nikon sensors mass-producted on the latest Sony chip fabrication technology. Sony did not spec or design the circuits.

800.. Not bad. It's really nothing unusual. S-LOG was 3200 minimum on the A7S. You can always use the Nikon Flat profile instead, which I find better suited to 8bit than most LOG profiles anyway.

Why does it look like Chris is having an existential crisis in every video?

I don't think early access matters. Most of the time people can wait a week or two for a review, especially if it isn't even out in the shops to buy yet.

Hmm. Crappy. Obviously Blackmagic didn't invite me to the hands-on. Pretty clueless of them not to. I would have quite liked to have taken one on a shoot. I do at least know what ProRes is

There is an official Canon giveaway of the EOS R here. https://www.visapourlimage.com/en/live-news/gagnez-un-systeme-eos-r-de-canon All I ask is if you win, donate to Magic Lantern.

I think the sensor hardware capabilities are very low level things and the crop just a result of that, but it does depend on what secrets Magic Lantern are able to unlock in the software. So in other words... Who knows? Wait and see. The 5D Mark III 3.5K RAW was a huge surprise and I never thought the hardware was capable of it.

Even if they can't get 4K RAW out of it reliably, full frame 2K RAW with Dual Pixel AF is not to be sniffed at

Magic Lantern proof of concept code is running on the 5D Mark IV. The developers are looking for volunteers to install it on their cameras and help with the research and testing process. Read the full article

Getting rid of the Canon will make room for one!

Don't know if this has been mentioned before, but I wish I didn't have to buy two separate drones just to get the two different camera heads.

I agree they should do 6K H.265. The GH5 6K Photo Mode is the only thing that comes close. I don't really consider it an absolute must-have but I don't understand why the don't seize the marketing-hype opportunity of being the first 6K camera. Not everything has to be tied to TV specs, especially for advanced users. Maybe they are worried about the customer support calls when Mr Average tries 6K H.265 playback on his Chrome Book or wind-up CRT television. By the way I think Fuji are doing a great job. Love the X-H1 and the X-T3 as a photo cam had no reason to be this good at video!! It's lovely for $1500. Let's be grateful it exists. There are a number of Canon engineers who really admire Fujifilm and look up to them. They must be pretty dissatisfied at their management for the EOS R state of affairs. Some insight into Matthew Libatique ASC (Darren Arronofsky's regular DP, Black Swan, etc) promo shoot with the X-T3 https://www.fdtimes.com/2018/09/06/fujifilm-x-t3/

Plot twist... It's not.

HAHA. Hilarious!