AccordingToMe

Had a 5D mk3. Bought a C100. Was really happy with both products on their own, but didn't like to have two setups and sometimes decide what camera to bring along. I then looked at the total price for both cameras, including the needed support gear. Sold both and got a 1Dc. This was two years ago, as I got one of the first 1Dcs when they were launched. Take a guess if I have been a happy camper since? People laughed at, and mocked, the Canon 1Dc at launch. It's no secret that Andrew was among the loudest voices in that crowd. Now it's the "camera of the year" here at EOSHD. There is lots to think about here. ​

A lot of water under the bridge, so I have to summarise. I used to have a 5D mk3 and now own a 1Dc. Actually, measuring a chart in log is the ONLY way it makes sense. I agree that the result will never be conclusive since DR stops might show up in the chart that eventually proves to be unusable: color pollution in the highlights and excessive noise in the shadows. There is no common standard and "image overclockers" like Sony and RED have their issues. It's the price they pay by going for a marketable spec that looks good on paper. Some manufacturers lack the integrity and discretion, since their customer base don't ask for it. But even worse than this is a single individual that subjectively grades the files until they fit the agenda of the day. I know for a fact that the 1Dx/1Dc (and probably 6D as well) has a higher dynamic range than the 5D mk3—and I do mean in raw DR, comparing photos in Lightroom. The 1Dx/1Dc have technical specs that support the idea (larger photo sites, more advanced processing), but the proof is really in the pudding. The 5D mk3 still suffers from noise and banding in the shadows, something that has been plaguing Canon for many years. The 1Dx/1Dc and 6D sensors (possibly the 7D mk2) are different. I can lift shadows on my 1Dc in Lightroom by 4 stops without encountering the famous Canon banding. It is the distinguishing feature difference on the stills side. The 12 stops in Canon log (I think it's fair to say 12 if you are going to compare to other, significantly more optimistic numbers from other manufacturers) are what were left over after Canon discarded what they didn't feel lived up to their design standards. It isn't the highest number they could have come up with. The whole Canon Log image is usable without color artefacts. I agree that going after more than 12 stops in 8 bit seems like over reaching. 10 bits? Well, that's something else… ​I am very happy with the level of detail I get out of the 1Dc. It's of little point discussing this, since I think it's largely up to individual taste. I would say this: as long as the image processing doesn't add artificial detail by haloing, and the detail is strictly optical, I'll take as much as possible. I think this 1Dc 4k screen grab has enough detail for my taste (click to open): ​ ​

​Beautiful colors.

​ Why would you want that? The 1Dc shoots 4k 422 internal. It puts out 1080p 8 bit uncompressed that is a nice HD derived from 4k with a 1.3 crop, but the 4k 422 500Mbit/s is already on the CF-card. The 1Dc does not output anything better (or equivalent) to what it already captures internally.

​It doesn't matter what you do, you will never be able to crush the blacks on the 1Dc on Canon Log. Canon Log has 0% reflectance setup at IRE 7.3 (code 32 in 8bit code space) and IRE 0 is at code 16.

​Do you feel that the challenges from jcs are irrational and random, or could it be said that jcs is making a reasonable case and argument?

About 11 usable stops for 1Dc seems consistent with Adam Wilts review from March 2013. When he stretches it in post he gets to 13 stops. Doesn't really matter. The point here is that Canon Log is a beautifully designed picture profile specifically for 8bit after carefully evaluating both technical as well as psycho visual aspects with many screenings before experiences DPs. There is a DR craze going on with the false notion that a camera is supposed to capture everything from the darkest shadow to the brightest highlight. Welcome to amateur hour. Just as the photographer/cinematographer carefully selects his/her framing, he/she also carefully select what light to include. Blown out highlights should be beautifully rendered. Light falling into shadow creates drama. It should be obvious that both the Canon 1Dc as well as the A7s should be able to create satisfactory images. The error will fall on the operator. The 1Dc captures the image internally to CF-cards with no fuss, which is nice.