Jimmy

I have a brick for my BMPCC that gives about 12 hours shooting and negates that issue a bit... the internal battery makes the system good for travelling, i find. Eg... I will have two batteries to give me about 50 mins shooting in my kit bag, then whenever we are moving from place to place... I plug the camera into the brick that is in my main backpack and it charges again, ready for the next location. If I am going into the unknown, the brick comes with me... if I know the location and can gauge how much time I will need to get my footage, I might leave the brick in the car or at the accommodation etc. The Micro should sort that issue out anyway though, and add slow-mo.

I've been looking around the internets, but can't seem to track down all these full frame, industry leading stills cameras, that also shoot 4K/60fps (4:2:2, high bitrate).. being sold by Sony, Panasonic etc for $1000. Can you share the links? I also think it's a bit shameful that in early 2016 we can buy for around $100 some phones/cameras from "insert Chinese brand" that record 4K video, but are being asked to pay a minimum of $1,000 for the same thing from sony and Panasonic... Because that is 100% how the real world works, especially comparing apples to oranges. God only knows the shame that Arri must feel about their prices... Not even 4K lolz

They do have a trick up their sleaves that could change things.... They own the cineform raw compressed codec. REDcode's patent means the big boys can't do raw wavelet compression (iirc) so cineform raw could be very valuable to licence (and use in gopro products). With DJI bringing out the m43 interchangeable raw drone cam... Surely go pro will be looking in that direction?

Ahh right.... shame. I know they claim big numbers for the sensor, but didn't think they actually marketed that those numbers were for video too! Interesting price/specs... But i'm not buying another Sony unless the IQ improves dramatically. Screw 8 bit, 4:2:0 and poor colour science.

14 Stops, amazing, if true. Proper game changer. How it will pack down into an 8 bit 4:2:0 codec will be an issue, but sounds promising.

I'm assuming the 14 stops you mention are in still mode?

That's hardly "technically precise" is it?

Because MJPEG is an 8 bit codec, i think.

Yep... of all the compromises to make... filesize and transcoding has the least impact on the creative side of things (for my particular workflow, at least)... Far rather the option to have 4K/60p with the only codec they could get it working with, than 4K/30p with, say, H265. The lack of C-Log is the only thing that is really frustrating me. If this thing is capable of 14 stops and some lines of code are potentially all that is stopping it happening... Now that is frustrating.

Unless things have changed since I sold mine... Without the raw option, the Odyssey only records 8 bit 4:2:2 1080p ProRes and it is just a slightly better version of the internal 1080p. The device only really improves when you are going raw or raw > ProRes

Thanks Abraham... Great info. There was obviously a reason for mJPEG, glad to see it confirmed. I really do think it is a great looking codec for 8 bit 4:2:2 .... Hard drive space and transcoding isn't a killer blow for my particular work flow. Hope the guy is right about the DR... that puts it at least in the 12 stops range of the 1DC... 1080p sounds promising too.

Hahaha, this is why I am excited for the 1DX II... 4K/60p and small, weatherproof and, hopefully, good DR and low light ... almost perfect for adventure shooting.

It is quite big and bulky... That is why we sold ours (alot of my work involves things like climbing mountains, glaciers etc). In terms of image quality, it is very good though. I think it beats RED MX and the colours are more natural than Sony's baked in looks. It is very, very versatile too (plus things like NDs, XLRs etc).

Incredible AF.... I know it is not everyone's thing, but that could be really helpful for gimbal work, interviews etc. Canon, add C-log then take my money.

Yes, you need the RAW package

"More capable"? That is very much determined on what you need/don't need. Even in terms of IQ, each have pros and cons.

Not sure mate, I always go into AE

You make a good point here.... We are all looking at this purely from a video perspective, but Canon would have very much had the frame grab feature in mind for stills/hybrid guys. Personally, i think mPEG is fine... It means we get 4:2:2 by default, and the 1DC footage already shows it holds up really well, even with an 8 bit signal.

If it had 4K/60p and held the 14 stops DR that are being reported (be it raw or 10bit C-log) then it would still be a competitive price compared to, say, RED Raven (even cams like Ursa mini and FS7). If they can get a 1DC II in at $10k and hold the 14 stops, i'm in.

Good to see Larofet bemoaning the lack of C-Log (I thought these "paid" testers never spoke badly?) ..... I am sure, with enough pressure from the big hitters, especially hollywood, that they will release some firmware.

There are very few shots that need anything more than 60fps... Especially if you shoot narrative. 4K/60p in such a small footprint is a big deal for ALOT of people. As is dual pixel AF (let's forget that you also get a class leading stills camera). Even if it is not really for you... At least try to be unbiased enough to tip your hat to what Canon have seemingly achieved. I can;t help but think that if Nikon had launched this exact product, last week, your reaction would have been quite a bit different.

You've gone completely Jeckle and Hyde here Andrew. You are forever saying that, while feature laden for video, a camera like the FS7 is too big for your shooting style.... A camera comes out that offers you 4K/60p AND a small footprint and you call it a bullshit feature because the filesizes are a bit big and you have to transcode (you know, like you did when you were championing the NX1). All of a sudden codec practicality trumps everything else? Seems very, very odd.... Like you are almost disappointed that Canon have done something fresh. All this before even seeing any footage too.

We don;t know what it "only" adds yet. DR and stuff are unknown. If you are shooting 4K... "Only" adding 60fps is a big, big deal.. If you need AF, then "only" adding that is worth alot too (therefore reducing the price of the 1DC for anyone who likes said features). As a techhead and someone always on Canon's back about never pushing the envelope, seems a little odd how you are underplaying all this. Zero reason? What about processor power? Heat issues? As I said before... If this is the only way they could get 4K/60p onto a DSLR, then isn't that great news that they did? Even Sony haven't managed this feat yet... Or Samsung with their insane processors.

The lack of C-log is a strange one, so the PPs need to be able to hit at least 12 stops to get me thinking about a purchase. Hopefully enough pressure can be put on Canon to firmware the c-log and we might, just might start hitting DR that has never been seen before on a DSLR (alongside the already exciting prospect of 4K/60p and AF). I do think the C-log omission could signal a 1-DC II though, maybe ready for NAB?

Maybe... i'm glad they did. 4K/60p with a high bitrate and 4:2:2 and the best video AF in the business is a very impressive and useful bragging right. Can't believe that Canon have just seriously pushed the envelope and people are moaning about a codec. mJPEG might be old and use alot of space, but it can produce some amazing results.