tyger11

I'm excited, but I would've been much more excited if it had been an A7SIII with eND instead of IBIS. *shrug* Still very interesting depending on the details. I think there's room for an FX4 in the lineup now. Take the guts of the A1 and add e-ND instead of IBIS, add SDI and in-camera raw, and call it a day.

Time for a new Magic Lantern?

Still waiting for the long-rumored FX6.

Good news for EOS M owners, but way too late for me; I've gotten rid of all my Canon lenses, and am putting my last two bits of Canon gear up on eBay later today; I'm done with this company. Going forward for me, it's likely to be the Pocket 4K for straight-up video work, or Fuji for hybrid. I was pretty shocked at Fuji's progress with the X-T3. I'll probably wait for the X-H2, though, to separate it enough from the Pocket 4K. I just hope they add a fully articulating screen. I don't know why all the companies are being so stupid about that. Even Panasonic has apparently gone off their rocker in that regard with the S1/S1R. SMH.

Would the 4:2:0 internal vs 4:2:2 external with the X-T3 make any difference?

I kept hoping MetaBones would release the SpeedBooster for using EF lenses on the EOS M cameras that they had in development, but Canon hobbled the EOS M platform so badly that there didn't seem to be a big enough market for it. I loved my little M back in the day, but really, the M platform should be WAY more advanced by now. An M5II with IBIS and 4K DPAF would be the best vloggers camera ever made. Canon sure likes leaving money on the table.

I thought I read that the RF mount is closed, so to not expect any third party lenses (at least none with AF) until reverse engineering is done, maybe never? I'd never invest in this system until that question is answered, unless one intends to stick with Canon lenses. I'm done giving this company money; not even going to be buying Canon lenses going forward.

Focal reducer, not a SpeedBooster (which is a brand by MetaBones). You had me confused that MetaBones had jumped into MF for a minute there.

This is a known fact for those that have looked into it. You generally lose about 1.5 stops of DR by implementing GS. As KnightsFan notes, at some point, the amount of DR even with a GS will be good enough to overcome the penalty. If they can come up with 13 stops of DR even with GS, that's going to be plenty for almost all videographers, all other things being equal. Not enough for Hollywood, but they're not operating at this price point, anyway, so the point is moot for them. I'm more interested in Panasonic's sensor announcement from earlier this year of an 8K GS sensor with on-sensor ND. That is some spicy tech! That's a straw-man argument. 6K downsampled to 4K output results in a very detailed image, and is something Sony already does with their a6500 and a6300 cameras.

Canon EF‑S 10‑22mm F/3.5‑4.5 USM has a better aperture range than the 10-18, though it's still not great.

The 8K stacked BSI GS on-die ND sensor is likely, IMHO, to first show up in their cinema line first. I hope I'm wrong, though.

All true, but with the Sony, you get IBIS, 6K to 4K downsampling, 30p, no crop in 4K, much better bitrate, and a much better native lens selection (and a much better selection of lenses if you're willing to use and adapter). Things could get more interesting on that front if MetaBones comes out with an EF to EF-M SpeedBooster. Supposedly they had one ready back in the day, but never bothered to bring it to market when the M tanked. If you're willing to shoot in Slog and grade your footage, the Canon color advantage goes away. Price and ergonomics are the only advantages. In its price class, though, yeah, the M50 is a quite good 1080 camera. I;'m hoping the Magic Lantern folks can turn it into a beast.

Hilariously bad compared to an a6500; not even remotely in the same class.

I don't think it would take that long for them to roll out a good selection of EF-M lenses, considering how many mirrorless lens patents they've filed over the years since the original EOS M camera came out - they just haven't manufactured them. I think the EF and EF-S lineup is much larger than is actually necessary (well, pro EAF-S lenses don't exist). A full lineup of primes from 20mm to 85mm at f/2 apertures, and 100 to 135 f/2.8 would be fine. 200mm+ at f4, and 2.8 for the zoom trinity are for pros, really. The big problem with rolling out a new lens lineup is that it'll actually be TWO lens lineups for mirrorless - APS-C and Full Frame. That's what would wind up taking a while, I suspect. They've never come out with a true pro-level APS-C lens, though the 17-55 f/2.8 IS is close. I think the possibility of a 1.5" sensor XC20 with EF-M mount would be pretty great, especially with 40k60p, DPAF and CRL at high bitrates would be pretty killer - some competition for the GH5. But for the price, nobody is going to compete with the Pocket 4K, unless you need good AF.

Keep in mind if you turn on EIS (which you really should not), the crop factor goes up or way up (2 levels of EIS are available). I consider this a pretty nice 1080p camera, for the price. Too bad about the lens selection, but that may change soon-ish if Canon really does jump head-first into the mirrorless market. I also liked my EF-M 11-24 lens, back when I had it. It had IS, and was by far the best EF-M lens with IS.