tyger11

120p HFR is windowed, full sensor downsample to 1080p at 60p was also mentioned though.

Once the new cages are available, you'll see all sorts of storage and battery hacks. But being able to record raw internally to CFast will negate that for most other than long-format recording needs. It's a fantastic option, though, and with the DC-in port, this camera becomes very customizable. Power in via the DC port, storage out via the USB-C, external display/recording via the HDMI. XLR with phantom power AND 3.5mm jack AND 4 front-facing mics. This thing is ridiculously versatile. I'm shocked by the price. They probably should have priced it at $2K; it's not like there's anything else competing with it unless you require IBIS or front-facing display, but at this price point, buy a gimbal, IS lens, and/or small top-mounted monitor. At this price, you've got plenty of budget left over to customize to your own needs. I'm excited to see what they do with the 2nd gen Micro Cinema cam now. Oh, and full Resolve 15 Studio, which now has Fusion functionality? Total gift!

I've no problem with full frame, but why in the world would you want to limit yourself to EF lenses? Mirrorless mounts give you so many more lens options, including EF. You might also want to wait to see what Canon does for their upcoming FF mirrorless mount choice; might be something new.

Those are in megabytes (MB), not megabits (Mb), so multiply by 8. And keep in mind it notes those are for 30fps.

If you look at it from the side, it even has that weird slant the BMCC had. This is less a Pocket 2 than a BMCC Micro 4K. That's not a bad thing.

Downsample from full sensor width, but I'm betting the 120fps HFR is the one that is windowed. So, 60fps limit for downsample version, which will look very sweet.

This is a full-size mft sensor, not the smaller super16. Might work on the 1080p windowed mode, maybe? Hard to say at this point. The Pocket-specific SB was always a weird duck.

Where are you getting that from? Supposedly it's the same sensor, though that is a rumor.

This is just embarrassing.

Meh. Other manufacturers are solving their color issues. Panasonic seems to have solved its color issues as of the GH5S, and Fuji hit it out of the park with the Eterna film simulation in their X-H1 (and check out that B&W Acros simulation sometime). We'll see what Sony has up their sleeve with their next releases. It's not like that talent doesn't exist within Sony - check out the F65 sometime. They just need to figure out how to bring that skill down into the prosumer products. Sony is hungry; they'll figure it out sooner or later.

The GX8, GX85, and OM-D E-M5 Mark II come to mind. I think we're using the word 'standard' differently here. I consider Canon's DPAF industry leading, not merely 'standard'.

Whose mirrorless cameras generally have IBIS? You're not talking about Canon, I hope, because Canon have zero cameras with IBIS. The newer ones have EIS, which is "electronic image stabilization", which is basically in-camera warp stabilization (not very good warp stabilization, to boot). IBIS refers to a hardware-based moving sensor type system, which is far more effective. EIS often results in a weird watery effect to your footage which can't be fixed in post (as far as I know). No overheating in existing cameras because they're not DOING as much as 4K cameras are. Way less data and processing. We'll see what Canon can come up with. I suppose it's technically possible, but Canon has refused to provide anything like what the state of the art is like some of their competition, aside from AF and color science (which has just been surpassed by the Fuji X-H1 as far as I'm concerned. Some good things with color science are being reported with the new Panasonic GH5S. I think it's more likely we'll get 4K mush, but the proof will be in the pudding. "industry standard" is not the same as "class-leading". If all you want is what you typed, then Sony, Panasonic, Olympus, and now Fuji have been offering that for some time.

The problem then was - and still would be - the lens selection. Unless you go with adapted lenses, there were hardly any lenses that matched the quality of the camera itself. If they could do this with a different already-existing mount (E-mount, if they could get permission), or Sigma's mount, that would allay a lot of fears. Leaving the market so early was immense hubris, and if they want to try again, they're going to have to overcome that fear.

Competing against yourself is fine, as long as you have no competition in the marketplace - which seems to be the impression that Canon is under. Once the lens sales start drying up due to nice E-mount lenses becoming available (those Fujinon MK zooms look _amazing_, aside from the lack of metadata). And on the even lower end, the GH5 is really killing it, as long as you know how to shoot and color grade Vlog. Another generation of products at Panasonic and Sony will likely have solved the bulk of their respective shortcomings, leaving Canon to play catch-up from much farther back than they ever should have to. And Nikon's upcoming FF mirrorless could be pretty interesting, as well. Even Fuji seems to be committed to IBIS and video in their next round. Sony has their own PDAF patent, so even that Canon advantage may soon fall.

I think the upcoming SL2 is rumored to have an articulating screen. It would make for a nice camera if they can get ML going for it. Edit: Plus DPAF and fully articulated TOUCHSCREEN (one of the things Canon does better than anyone else currently). What would be interesting is, since they're not going to do 4K, if they were to do in-camera conversion from full sensor resolution to 1080p. At least then the 1080p would be of high quality.

IBIS cuts down on output resolution. At least with the EVA1, they have 5.7K to play with before downsampling, and the upcoming 5.7K RAW will let you use warp stabilizer in post without losing resolution (at the cost of better detail from less original to downsample FROM, of course).

A lot depends on size and price, as well as mount. Lots of people thinking it's EF-only. Possibly swappable mount, but complete guesses at this point. UMP is too big for a lot of use cases; if this is more in line with an FS5, right there it's got a big advantage over the UMP.

Sony has a DPAF patent: http://www.sonyalpharumors.com/sony-patented-dual-pixel-sensor-similar-canon-version/

Keep in mind we don't include sales tax in US prices. Add about 10% (varies by state). I think if they had simply named this the a7000, there would be substantially less bitching in internet forums. I think the features warrant that naming, though I really wish they'd gone with a fully articulating screen, and included a headphone jack.

My Black Magic Design Pocket Cinema Camera has in-camera raw recording, and it's full price is only $995 (but which I got on that $495 special, woot!). I look at these cameras that require multi-thousand dollar add-ons to record 4k raw and shake my head. Sorry, but the tech to record 4k raw is not that strenuous anymore. Even a little UFS microSD-size card can handle that bandwidth.

Hey, I'm not saying Nikon is unable to produce what we all want, and Canon certainly isn't, either. I'm saying they are both apparently DECIDING not to, for whatever reason. Canon seems to think protecting their Cinema line is a good business decision, but they'll find out the obvious when Sony and Panasonic eat their lunch in this market segment. No idea what Nikon is thinking. I'm pretty sure they wish film would make a big comeback.

I'm sure Sony and Panasonic are ecstatic about the 5D Mk IV. Nikon probably has yet to notice.

Oh man, if the FS5 had the A7S II sensor with IBIS, that would be brutally fantastic.

XQD is based on a PCIe connection, and was picked up by the Compact Flash Association after initial development. Panasonic would have no reason NOT to choose it if they want. XQD 2.0 has a theoretical top speed faster than CFast 2.0's theoretical top speed.

"Wait for us, we're the leaders!" - Canon Looking forward to GH5, LX200, and the Sony a9. Yeesh.