Andrew Reid

I must say the design is damn sexy. A bit different to the usual C200 type isn't it?!

I am having problems with the jog wheel on my 1DX3 popping every full rotation, so there is a mechanical problem there and so my body is going to have to be returned for a refund and the full review is off for now. Here's my brief first impressions with it - The 4K/60p full frame with DIS is a favourite mode of mine, great for handheld work. The Leica SL2 does full frame 4K/60 as well but only in 8bit Rec.709. Here, it is 10bit LOG. There are not many int. recording 5.5K RAW 60p full frame cameras for $6k around Canon LOG and colour science are as good as ever - but surprised to see no Canon LOG 2 in 10bit mode 10% crop of DIS enabled is very small and yet the stabilisation is surprisingly effective, almost IBIS like. Panning is smooth. When combined with mild slow-mo conforming 60p to 24p, it is going to look very cinematic. The approx. 1.3-1.4x crop mode (depending on UHD or DCI4K) allows you to use the 1DX3 "as advertised" without the stupid issues. You get 4K/60p and Dual Pixel AF, with 16ms rolling shutter. No RAW but at least file sizes are manageable. Downsides? With this mode not being S35 1.5x, your S35 lenses may vignette and you lose the look of those, and corner sharpness too. Using full frame lenses you reduce the look of those too. People forget that 16:9 is already a crop of a full frame sensor vertically. Add on top the 1.35x crop and you are now into a very narrow crop vertically of the full frame image circle, losing the beautiful rendering in the corners. Also, the DSLR EF mount is much less adaptable than mirrorless to lenses designed for S35. So there are no vintage Arriflex or PL beauties on this camera. In 4096 x 2160 aspect ratio 17:9 - the vertical crop is even more, although active sensor area is a bit wider. You can get the extra reach of around 2x crop with DIS on full enhanced mode and 4K in crop mode - but image is soft The DSLR form factor has pros and cons. Brilliant grip and control layout. Fantastic OVF, fantastic for stills. But I do miss articulated screen & EVF. A great shot getter and a great stills camera Here is the bad - 5.5K Canon RAW file sizes are almost unmanageable, especially in 60p. Compatibility is also less than stellar depending on the NLE. 32ms rolling shutter is appalling in the non-60P full frame 4K and 5.5K RAW Disabling Dual Pixel AF in full frame 4K and 5.5K 60p modes seems unnecessary There is a bug which messes up DIS when you switch back and forth between video and stills live-view 3.2" screen feels pokey and small in 2020 on such a big body $6k camera, and it has much more competition than Canon 1D C did back in 2012 And here is the competition people should consider - For full frame 10bit 4K and 5K there is the Leica SL2. The 5K is an anamorphic mode. So that's one over on the 1DX3 already. For 10bit 4K with very good autofocus, there is the Fuji X-T4. Far less rolling shutter and more features. Better ergonomics. IBIS. EVF. Metabones EF Speed Booster expected to have very good AF too (if Fringer EF adapter is any guide) and the camera + adapter is around $4000 cheaper than the 1DX3. The 1DX3 does have the autofocus going for it over the Panasonic cameras, but then it has terrible rolling shutter in these modes. Panasonic - The S1 has a compelling 10bit full frame 4K image, which is every bit the equal of the 1DX3 in my early impressions of it, and Canon's codec. The Canon codec does have a higher bitrate though, and ALL-I. The Panasonic S1H on the other hand, bumps everything up - higher bitrate codec, ALL-I, 6K. This, for 24p, is hard to beat. But it doesn't have the autofocus side that the 1DX3 has and to be honest the 1DX3 body design is much sexier and feels better in the hand, even though it's a DSLR! There is also no fan on the 1DX3 so it's more robust and better weather sealed. In terms of pure cinema... Fuji GFX 100. This maintains the full frame image in 16:9 and 17:9, because with the larger medium format sensor, the active vertical image sensor area is as large as the 1DX3 in 3:2 full frame stills mode. At the left and right frame edges you will get softness or vignetting with certain lenses, but it's about finding the right lenses. So as a "super full frame" 10bit 4K camera the GFX 100 takes some beating. The ergonomics for video are superior to the 1DX3. The autofocus is on-chip phase-detect but doesn't work very well, so this is a 1DX3 advantage once again. However, there is no better manual focus cinema camera in small form factor than the GFX 100. Nothing. Also, the 100MP stills are in a different league to the 1DX3. There is no 4K/60p or 120fps 1080p on the GFX 100, but it may be getting ProRes RAW and a big firmware update. You can get one for around £8300 used. Is it worth £2000 more than the 1DX3? Yes, yes and yes. In terms of just good full frame 4K/24p with good autofocus - there is the Nikon Z6, Sony A7 III and Sony A9. All are pretty cheap these days. So, a lot of competition to the 1DX3 in many aspects of the spec sheet. It is unique in certain ways. A) It is the best DSLR ever made. Nikon D6 does not touch it. It is almost as if Nikon didn't have an answer and re-badged the D5! B) It is much more a video orientated 1D C Mark II than the 1D X II was. Nothing comes closer to the classic 1D C look or handling as a highly video capable DSLR. C) It is the only full frame stills camera that does 10bit 4K/60p and 12bit 5.5K RAW internal recording. Although Panasonic S1H runs it VERY close. D) There is no other full frame 10bit camera on the market with as capable autofocus in video mode E) There is no other camera on the market with 10bit 4K in a DSLR body with OVF Do you need it? Do you need to spend that $6K? Probably not. In terms of cinematic 4K/24/25p 10bit I still believe there are better value for money crop sensor choices out there - X-T4, GH5S, GH5. There are also much cheaper 10bit full frame 4K options from Panasonic - S1 especially, but even buying an S1H is cheaper. All far less rolling shutter too.

Interesting the spread in the Blackmagic Pocket cameras. Roger is doing great stuff at Lens Rentals. Really admirable.

Is it the same with EF lenses via Metabones adapter? Or does it have a more fine grained focus position with those lenses?

Jim is not in charge any more. It's Jarred. I am sure there will be better footage coming soon.

The AF with most EF lenses on X-T4 / Fringer is REALLY good. Very impressed with it. Can use my Sigma 17-70mm F2.8-4 almost like a native Fuji lens. Yes... More GFX Speedboosters would be nice but corners would have to be good. Otherwise, may as well use full frame glass with 1 stop faster aperture for similar look.

Yes the quality is pretty good on GFX 100, A7R IV and SL2 / S1R. The Nikon D850 too. But, still a step back for moire, aliasing and low light performance compared to 1:1 or oversampled 4K. If 4K/120p looks as good as GFX 100 4K I'll be very satisifed and will be giving Canon some praise for that. They don't deserve praise for the 1DX3 rolling shutter though. I wonder if they will fix it? Do they even listen?

I didn't ban your IP at all. I was changing you to a group with more limited permissions. When you are stupid it's only difficult for the rest of us. It's not vindictive of me - it's actually a favour to the 80% of people who want to get on and use the forum without so many twits in it. Guess what's gonna happen next. Yep. You got your own thread locked. Another achievement.

I certainly hope a firmware update will sort it out. At first I suggested to Leica that a new battery solution might be needed. There's USB C, there's the battery grip, but if firmware cannot fix it, ideally the camera needs an upgraded battery. I just don't know if this is possible, or not. The aim of the SL2 is to keep the size advantages of mirrorless cameras as much as possible, given the high spec hardware inside. It is a really sleek, slim body and you feel that when you use it and carry it all day. That must be kept, but at the same time the 4K situation must improve quite dramatically.

Crying about censorship again are we? What a crybaby.

Yes snow bro I am enlightened now. A sudden new dawn of self reflection is upon me as a result of your wisdom. I have chosen to be that dude you aspire to be. That dude did it in politics and now says whatever he wants lol Before now I was severely limiting myself. But now I can now say what I want, do what I want, even grab a pussy if I want. I embody your values now. Wonderful isn't it.

Who's a cry baby now bro??

I agree OVF is better for sports most of the time. A9 is far from perfect camera but it is a good example of quite a usable electronic shutter camera! They have certainly made a leap for Canon, considering the dated stuff they WERE using before! I am also curious to see what the R6 brings as well. Will it be as good as a Nikon Z6 in terms of the video specs? Surely it must be. Might even add LOG and 10bit to that. Then it will be a good cheap camera for the majority.

I think your guess will turn out to be right. EOS R5 8K = very bad rolling shutter and unusable file sizes, impossible to edit 4K = pixel binned mush. Have Canon really turned a corner or are they playing the same old games with new, higher numbers?! If they are competing with Sony A9 then they really need to change the rolling shutter in stills mode too, it's unusable compared to the A9 in that respect. The stacked DRAM on the A9 sensor allows for the fastest sensor readout on the market. It's also why the 4K rolling shutter is so low on the RX100 IV / RX10 IV

Finally!! Let's hope the AF is as good as the Fringer EF adapter is.

What's your YouTube channel? Can we have a look?

I seem to remember the amount of data coming off the sensor per second is similar in 8K/30p and 5.5K 60p. However, the individual frame scan time in milliseconds for 8K resolution is not necessarily going to be the same as for a 5.5K frame. So the rolling shutter might be even worse on the R5 in 8K. We'll have to wait and see. We can work out the worst case scenario. All frames have to come off in 999ms or under (under 1 second per frame). Divide by 30 = 33.3ms So it can't be any worse than 33.3ms in 30p. 24p can't be any worse than 41ms (shudder). So I would expect 32ms on the EOS R5 for sure in 8K. Probably less in 4K as it will pixel bin / line skip.

Indeed it's very bad compared to Fuji X-T4 120fps.... And Sony A7R IV, and A99 II, and Sigma Fp, and Leica SL, and the SL2, and Fuji X-T3, Samsung NX1, and about 5 more that I have not remembered in the 5 seconds that took No bias, only facts. When you pay this much you expect better 120fps 1080p quality. They are identically poor. See the Slashcam test. It's not the scaling down, otherwise 5.5K 60p would have AF. It's not the processing power otherwise 4K 60p crop would not have AF. It must be something else, most likely a power consumption limitation. It would be nice to be able to ask them. There is no reason I can see, for Canon not to use the 16ms frame readout time for 24p. It strikes me as extremely odd crippling again.

I am not asking you to refrain from praising the Pocket cameras! Just asking you to edit yourself a bit for the benefit of our topics and threads. And less YouTube clips as well It really is not a personal thing. I am trying to moderate the best I can and this is a major issue.

Yes it would have to be a second hand one as the SL is out of production since mid-2019 now, so I would have thought a new CL for 4K Super 35mm LOG 24p would be idea! It's a lovely form factor for it as well. A bit like a Sony A6400 that actually looks and handles like a camera rather than a Playstation2 controller

From Slashcam's test: [Google translation] At first we thought that this paragraph could be ticked off with three sentences, but surprisingly you have to take a closer look at the Canon EOS-1D X Mark III. First we were amazed by the result of 16ms for the complete 5.5K sensor readout. This is very good value for a 35mm full frame camera. However, this value is also necessary in order to be able to read the sensor fully 60 times per second. (16ms x 60 = 960ms). Unfortunately, this value is not fixed, but is only so low as long as the sensor works in 4K or 5.5K at 50 or 60 fps. If, on the other hand, you put the camera in a mode with 24, 25 or 30 fps, the sensor allows itself a very moderate 32 ms for a complete readout. This is incomprehensible, especially since many interesting video functions of the Canon EOS-1D X Mark III only work with 24-30fps (including the dual-pixel autofocus). A thermal reason for this seems unlikely, since the sensor does not miss any rows or columns at 60 fps and generates exactly the same debayering as with 24-30fps. In the 4K crop 1: 1 sensor readout, on the other hand, the camera has a 15ms readout across all frame rates and in this mode it can also use the auto focus at 50 fps. It is therefore also unlikely that the processing behind the sensor readout requires a slower 4K readout. It is also interesting in this context that a similar behavior can be seen in FullHD: The full sensor readout is 11 ms between 24 and 60 fps. However, if the camera has to deliver 100fps or more, the sensor can suddenly be read out with 7 ms without any visible change in the image detail or debayering quality. *** So yes, 15ms is better for 4K/24p in the 1.33x crop mode. But again, this is not why you spend the extra for a full frame camera. And why is the 1D X III processor fast enough to enable dual pixel AF at 4K/60p in 1.33x crop mode, but not in 4K/60p from the full 5.5K sensor readout?

It's why we buy a full frame camera in the first place, to shoot in 1.33x crop!

When I began shooting with my own Leica SL2 earlier this year, I found a lot to like about the high-spec mirrorless camera for filmmaking - and it is superb for photography. However, the battery power management has prevented shooting in 4K and 5K reliably, varying depending on the type of lenses used. After making Leica aware of this issue, Leica's Head of Product Management, Professional Photo System and co-designer of the SL2 Stephan Schulz has been on my case and I have been on his! The good news is that Leica are investigating the possibility of a firmware update to alleviate the problem and I will be carrying out testing duties for Leica on the video side going forward. The Leica SL2 battery grip is on the way from Wetzlar and could offer an instant solution, but this needs to be tested. Here we hear directly from Stephan at Leica Camera AG in an exclusive interview on EOSHD... https://www.eoshd.com/news/interview-with-stephan-schulz-leica-camera-on-the-sl2-and-filmmaking

No that's not what I'm saying. The image quality of RAW is not too much for me. The file sizes are ridiculous. Canon don't have a proper RAW codec. RED do. So on the 1D X III you may as well not use it and stick to the 10bit. The shadows are very grainy and noisy anyway when you try to extract the extra dynamic range in the RAW files. The noise has a compressed look to it too. 230Mbit in 4K/60p 10bit? Don't think so. In 24p maybe, but then you have the rolling shutter to contend with.

The Canon apologists are out in force! 470Mbit vs 500Mbit. Still huge. And the Long GOP data rate is almost as big if you want to avoid 32ms rolling shitter.