Andrew Reid

Intel Core i9 9900K 32GB 3000mhz DDR4 Vega 64 8GB Mac OS 10.14 ** Seems to run better in OpenCL mode compared to Metal. Well, it did for about 5 seconds and now it's back to being very choppy. Playback resolution full / half / quarter doesn't make a difference. Project drive is an Nvme SSD with 3500MB/s read speed.

My god the playback performance of 5.5K Canon RAW in Resolve is shoddy. Can barely get above 5fps.

One of the best features of the 1D X Mark III for me on the first day I've had it, has been the full frame 4K/60p 10bit Canon LOG 4:2:2 with DIS and a Z-finder on the back screen for my "EVF". Yes, you lose the big AF selling point, so it's not perfect for shooting everything, but I find it very nice to use for handheld cinema in this mode. Slow-mo when you want it, adds to stability handheld. Loupe adds to stability, extra point of contact with the body. Then DIS rounds off any rough edges - gets rid of the micro jitter. It works well. In fact it works so well, I forgot it didn't have IBIS for a moment. There is a small 10% crop from full frame with DIS but no loss in image quality. Enhanced DIS has a loss of image quality and is more useful as an Ex-Tele mode than an extra stabiliser mode. Good if you need the extra reach. So the AF is there when you need it for 24p. And the DIS is there if you need it. And the slow-mo. If not all at once, then at least close to it. I am warming to it.

Please give us some more details sir! We need specific info... 1. Lens in use when power cut 2. AF mode in use, or was it manual focus? 3. Ambient temperture - roughly 4. Video mode - 4K/60p? or 24p? 5. Age of battery and did the problem only start occuring under same conditions as battery aged? Please help me reproduce the error with my S1. And I will pass the results onto Panasonic in the UK who will feed it back to Japan.

Not quite my point. With the original film negative, you have the proof (of untouched "real" scenes). Doesn't matter if the edit is digital or not. If somebody questions if what they see is real, unaltered, the proof is there in the background, on a reel. All that is a form of manipulation and fantasy yes, sure... But computational photography goes through a phase-change into something else entirely different. One example - deep fakes. In the future we'll have AI driven cameras that can film in real time a completely fake scene, superimposing specific people and faces over anybody in the scene, in a way that looks so real you can't tell. Another example - news footage. In the future, AI driven cameras will be able to film statements and interviews which are completely made up from a script. You will never trust what you see again from a digital camera. Give it 10-20 years to reach this point, and suddenly the analogue film negative becomes incredibly valuable as a source of "truth".

Yes, good plan! No conclusions until the fat lady sings. But it ain't looking great, is it? You spend in my case £5800 and find out the rolling shutter in 24p is worse than Sony's low-end mirrorless camera? These things should not happen. Not at that price. Nope. True, no other camera offers 5.5K 60p RAW. However the image quality must be evaluated to see if the massive file sizes make it worth shooting. Some cameras take a short-cut with the sensor output in RAW. Optimally, RAW is a 1:1 readout - the RAW pixel data, written directly to card. If the Nikon Z6 for example had an optimal ProRes RAW solution with the Ninja V it would be 6K. The sensor is 6K. Ask yourself how they get to 4K RAW. Look closely at the pixel quality vs 10bit 422 V-LOG on the S1H. It ain't a pretty picture. It is very special to have a cinematic, film like image, but then there is the question of getting the shot in the real world. What hinders you, etc. Superb image quality is nothing if you miss a shot, or the rolling shutter messes up the shot. Taking away AF in the high resolution full frame 60P modes really annoys me, but I am not going to unfairly throw the camera under the bus for it... The AF is still in a different league to the S1H, which is this camera's closest competitor for video quality.

S1H is the best, since it's dual native ISO. It is extremely clean. ISO 3200 looks like 200. Goes past 12,800 easy. Put an F0.95 lens on there and there's nothing it can't do. You even get a boost by downsampling the 6K to 2.8K in post. Reduces the noise even further. Z6 and S1 are good but S1H better.

Fear not. The DIS is here to save the day. Very good and only 10% crop in full frame with it turned on. The extended mode is a BIG crop, and softer, but useful as a 2x crop mode in S35 for extra focal lengths from one prime. You can pretty much do a lot with a 35mm on there. DIS looks like IBIS it's that good. Although haven't done anything like an in-depth test with it yet, and just locked down shots. With IBIS you can't really pan anyway, it looks crap. A6500 and NX1 were around 30ms. But these measurements all seem to change depending on who you ask. Slashcam have 28ms for the 1DX3 24p. I am inclined to believe that one. The old 5D2 1080p in 24p was around 24ms.

It has arrived. Found another quirk. Max 1/4000 shutter in video mode. No shooting wide open outdoors without NDs. It is rare for an electronic shutter to have such a low maximum speed. Usually it is 1/8000 or even 1/16000. Ideally I don't want to use NDs for the 180 degree look and prefer to add that in post with the Resolve motion blur tools. Oh well can't have everything I suppose. So far the gut feeling is the GFX 100 and X-T4 are better for video, but I've yet to see the images from the 1DX3. The CFexpress card is coming tomorrow.

The digital IS and careful camera work helps. Otherwise there is nothing you can do but lose AF and shoot 60p, or lose full frame and shoot 60p with AF. It is a clear indication of what the EOS R5 8K will be like. Massive RS. AF quirks. Huge file sizes.

In the future digital will be so far gone... so far manipulated with computational photography... that documentary filmmakers will use film, to prove what they shot was real. Digital cameras are going to be reality distortion fields. The archival of so much digital data is still an ever present challenge for such large file sizes. If you shot everything at 2400Mbit/s you should add a zero to the cost of your camera.

It may be DPAF related yes. But seems odd that DPAF works fine in crop mode at 4K/60. Why not in full frame? Even if they have to disabled it so that it only covers the centre 80% of the chip, so less DPAF data to process, it would have been better than disabling it outright or forcing us into the slow lane.

I am pretty shocked by the rolling shutter behaviour reported by Slashcam. 16ms in 4K/60p 32ms in 4K/24p What a mess Canon! 32ms is completely unacceptable. It's worse than an A6500.

It's not going to be treated like film on a shoot, because with digital you can quickly offload a reel to affordable storage via USB. However it is treated like film in the way you archive 8K RAW material. After a few years you will need a building the size of the Paramount studios lot to put the hard drives

CFexpress is a very new format. Not the same as XQD, so at first prices are going to be high, due to limited quantities shipping. There are some exceptions. I got a Delkin CFexpress 256GB card for £170 yesterday. Typical Sandisk prices for same thing are around £400 on Amazon. Curiously the CFexpress 512GB cards are £500 which is around £100 per 100GB - much more reasonable than buying multiple 64GB cards at £170. CFexpress is PCI Express Nvme NAND memory like a PC Nvme M.2 SSD drive. So the memory chips are very cheap for a PC, built in great quantities. I expect similar progression to cheap and common availability with CFexpress once it moves out of its high-end niche.

The Fp 8bit is actually really good and it does 10bit or 12bit to SSD. However you sacrifice dynamic range in 8bit, less shadow retrieval before the breakup of the image begins in the deep blacks. The look of 5D Mark III Magic Lantern 12bit 3.5K RAW was always very special to me. Canon colour science and sensor technology is hard to beat. Nice to have it in official form now, although a lot more expensive and far less democratic.

70 minutes is a lot for certain filming. No, it is nothing for interviews or a stage event... but why you need RAW for those anyway? RAW is an art form for special creative occasions And you can always convert it, compress it, or even throw it away afterwards. 17 minutes on a 256GB CFexpress card is £200. Yes, very few minutes, very high cost of media so it's never meant to be an everyday thing. However for a really special shoot, it's worth it.

The file sizes are only massive in RAW Take a look at the range of bitrates below for 1D X III. We don't yet know if the EOS R5 will have same codec options as 1D X III. Also forgot there is a Movie IS mode with 10% crop on 1DX III. Handy.

I'd rather have 5K 60p RAW than 8K 30p RAW.

Canon's renaissance in video has come at a time when rather than being frozen over, hell has come to planet Earth in the form of 2020. Only a year as perverted and warped as this could bring not one, not two but three Canon hybrid cameras. Which one should you consider adding to your filmmaking life (indeed what's left of it)? New blog post: https://www.eoshd.com/news/canon-1d-x-iii-eos-r5-eos-r6-which-one-will-be-best-for-cine/

Xperia 1... 2 Who comes up with these names?!

I can indeed vouch for it and the project is alive and well Going to be interesting what happens next

There is a lot of unmotivated 'convinience' camera work out there today. I am making a 3 legged stand Tarkovsky would not use IBIS for a static shot Kubrick would not dump his Steadicam operator for a gimbal and drone. Some of the gimbal stuff is even worse than IBIS. Movement for the sake of it. No purpose. Tacky. Lazy.

It'll be good to know if the 1D X III stands up, because it'll inform the decision on the R5... So I have a 1D X Mark III on the way to test. Also having a big clear out. I think the SL2 may have to go if they can't fix it. £5300 is a lot for something that doesn't work properly. I have way too many cameras and time to get rid of the older ones that have fallen out of relevance and see what the Canon has to offer. My concern is that RAW file sizes in 8K are going to be a complete joke. I am concerned about rolling shutter. I am a bit hesitant over the low light performance too. The 4K/120p and IBIS are big attractions, but the 1D X III 4K/60p is a full pixel readout. The 120fps will be binned. And I have realised IBIS makes me a lazy shooter and I don't like the floaty look. I am going back to tripod work. The big dilemma is whether the GFX 100 justifies itself with the 1D X III around.

Impressive flamingo on his camera strap though. That lens looks perilously close to falling in. Won't matter as doesn't work with the camera in 4K anyway.