mercer

I agree. This lack of 24p is an alarming omission and hopefully stupidity like this doesn’t trickle down to the other manufacturers. With Sony and Panasonic refusal to update their lower tiered cameras in a few years with any meaningful upgrades, I’m afraid this could be a sign of what’s yet to come. Now obviously Sony has introduced some better AF but it’s pretty crazy that Canon now has a higher bitrate codec than Sony and Panasonic 4K cameras in the sub-$1000 market.

I’m not underrating anything. I really like the image from BM cameras... I’ve owned a few over the years and own a Micro now but there are just too many workarounds for my style of shooting. So I WOULDN’T pay $2500 for a BM camera, but that doesn’t mean I don’t think it’s a fair price for someone else if they don’t mind dealing with the inherent quirks. As far as your last paragraph, I’m unsure if you’re referring to me directly or just in general... but either way, support gear matters to people’s budgets... if that’s production or post-production... so shouldn’t those costs be considered when people purchase cameras?

It’s no surprise really. Canon had no reason to upgrade their consumer cameras with 4K. Sony and Panasonic had a vested need for 4K material. In the end, the demand for 4K won and Canon was left behind. Back in the 80s, Canon gambled with AF and it helped them, this time... DPAF hasn’t been enough... no matter how good it is. Of course, IMO, Canon has been so anti-4K that they have painted themselves into a corner and now with this 24p fiasco, if they ever have any interest in the consumer/prosumer video ILC market, they will have to start offering more.

I love BM and still find the BMMCC to have one of the nicest images but every BM camera I’ve ever owned has come with its own set of headaches. And anyone who has ever shot with a BM camera, should understand why they’re able to undercut the major manufacturers. Exactly. I think people complain about Canon on forums for two reasons... they’re either Sony/Panasonic fanboys or they just want to shoot with a Canon camera but the company makes it too difficult sometimes to justify the purchase. But any shooter should be able to make t2i footage shine if they had to.

I can only speak for myself, but I wouldn’t pay $2500 for a Blackmagic camera. But I may rent the 6K sometime when the demand drops.

I think the C200 looked the best in the studio shot... the BM cameras made the girl look sickly and two-dimensional in comparison. I even preferred the C200 over the Red Helium (I hope I don’t get a cease and desist order). With that being said, I still believe Canon is making a huge mistake taking 24p out of their “lower” tiered cameras... regardless of their reason for doing it. But at the end of the day, it doesn’t really matter, Canon does not offer an inexpensive camera that I am interested in, so if/when I am in the market for such a camera, I will look to another brand.

I use the MLV App, if I quickly want to get my footage into FCPX but if I want to go through Resolve to FCPX, or use Resolve, I use MLVFS... https://www.magiclantern.fm/forum/index.php?topic=13152.0 Basically, MLVFS is an on the fly CDNG converter. Resolve will recognize the .mlv files from your 5D3 as .cdng files so you can use the Raw Panel in Resolve and save a conversion step.

Idk, for what she’s doing... a Canon DSLR is probably her best option.

Haha, at least you’ll look hardcore on set with the PL lens. Dollar for dollar, though, Canon EF lenses are still the best lenses around for new lenses, but there’s no reason buying them if there isn’t a worthwhile, native camera option to mount them to.

The M50 may be Canon’s best selling camera... so there’s no reason to cannibalize their entry level mirrorless camera with their highest consumer DSLR. SIGH... I honestly don’t know the reason. Apparently, this stupid licensing fee theory is gaining traction but I think it’s much simpler... Canon will not put 24p into a camera that is cheaper, with a smaller crop, than the eos-r... simple as that. They invested too much into the R camera and lenses to lose sales. They are taking a huge bet on brand loyalty. The funny thing is... this whole fiasco has made me question my EF lens collection. I was well on my way to building a nice little set of EF lenses including zooms, primes... with a couple L lenses into the mix but if I can’t have a small Canon DSLR or mirrorless to use them with... why bother... I can just put the money towards some Samyangs instead. I love the 35mm f/2 IS, but I also love the 28mm 1.8 but paid next to nothing for it... so which one will I keep... Btw, I wouldn’t be surprised if they released a FW update to remove 24p from the M50... lol.

The digital calipers for the win. Sigma already have some FP accessories listed and the basic grip doesn’t add much horizontal size to the dimensions.

To add: I do acknowledge that I’m the weirdo here. It isn’t strange for people to want more from their tools. I’ve just realized what I need and how much I’m willing to spend for it.

Well said. Yeah, that video looks nice but if I’m being honest, that same image seems possible with a GH5s and Matteo Bertoli’s Buttery LUT. The IBIS is nice and was used very effectively during the space shuttle sequences but the controlled shots were definitely the polish of that film. The detail was nice in the lowlight interior shots but I think a little light would have been more effective to help the near blown out windows. With that being said, it’s hard to really judge it on a technical level without knowing more about the details of that shoot and that may shed more light on some of the specs that I am making light of. I do like that Varicam color, though.

Yeah the Z6 is getting stupidly low in price. I’ve always liked Nikon but with this ProRes Raw fumble, I think they may be better off bringing internal Raw to the camera to try and save the entire Z lineup. The Panasonic S lineup isn’t knocking it out of the park, either. I think they really need to release so close after announcement before BlackMagic figures out how to bring IBIS to their next camera in October... hahaha. Honestly, if the 90D ends up with 24p, it’s as exciting to me as any of these other cameras. Lol. And although, I am one of the few that thought Canon had some decent innovation with the EOS-R, if they don’t up their game soon... then they may as well become a 3rd Party lens manufacturer... a $20,000 cinema camera that doesn’t have Alexa or Red in the name, seems a little pointless when compared to what the other manufacturers are doing for a few thousand dollars or less. As of now, the FP is the only interesting camera for me. Hopefully, it lives up to the hype I’ve built it up to be.

Well, right before I saw the announcement, I was listening to a Film Riot interview with David Sandberg (Lights Out) and he mentioned that while on break filming the feature version of Lights Out, he snuck off with a couple actors and his Pocket cam to shoot some B-Unit stuff for the flashback sequences. And once in the editing suite, the editor couldn’t tell the difference between the Alexa footage and the Pocket footage and only the Pocket footage ended up in the final cut. Real stories like that, of affordable equipment used to their utmost abilities is what excites me... a FF GH5 with fans and vents for $4000... ehh... not so much. But it may have external HDMI ProRes Raw as soon as Atomos figures out how to do it... sounds promising. When do we find out more about the FP?

After today’s Panasonic announcement, I found solace in this thread... Although, I am certain the S1H will be an amazing camera, I am so glad that Blackmagic recognized the desire for good old fashioned 1080p raw and ProRes over 5 years ago. But times change and sadly spec wars have become the norm for the foreseeable future. Oddly enough, I kinda smiled when I learned there wasn’t internal Raw in the S1H because even at $4000, these large manufacturers cannot offer what BM offered 5 years ago at a quarter of the price or what the Magic Lantern team figured out 6 years ago in a full frame camera. I will admit that the first company that can offer internal raw and IBIS or DPAF, for less than $2500 will get my money. And here’s to hoping that Sigma will sell the FP for less than $2000, even though I suspect it will be closer to $3000.

I saw that too but they also only listed 120p for Full HD... so maybe this is just an instance where they omitted the words “up to” for some strange reason?

Haha, thanks. For single-coated lenses (or zero-coated lenses) the Rollei Zeiss’ are something else. Those binoculars really have a mid-century, robotic feel to them but I would have been happy with A New Hope look, let alone A Force Awakens! The Rollei Zeiss 25mm is one of the oldest lenses I own (it’s older than I am) but its flaws and its strengths make it one of my favorites. I even spent a little extra by putting a Leitax EF mount on it. Don’t get me wrong, the Zeiss ZF lenses are gorgeous and I find them to have an interesting mix between clinical and character but you don’t really notice it until you get the images into post. With my Nikkors, Rollei Zeiss’, and even my Samyang 50mm, I can see the lens’ qualities on the LCD while I’m shooting. Btw, if you like that 25mm, I’m pretty sure the Contax version is the same optical formula, just with better coatings. And if you like the Zeiss Jena, East German lenses, you have to try the 35mm 2.4 and the 50mm 2.8. What they lacked in quality control, they surely made up in image quality.

I can only speak for myself, but slapping on a Sigma Art lens or Canon L is a great option and I probably would have been smarter going that route instead of testing lenses for the past 6 months but whoever said I was smart. However, in the process I learned so much about what was important to me in an image and I realized I really needed less, even if I wanted more. What started as a goal of having 10 good lenses with 3-4 sets amongst them, I realized I only needed half that.

No, not without an external recorder. But with the experimental build and 14 Bit Lossless, file sizes are dramatically smaller without any loss in quality. Also if you use MLVFS file system for post, the files open up in Resolve without any transcoding to DNGs. The whole process is really quite simple now. Honestly, all Zeiss lenses, I’ve tested, work great with ML Raw. I’ve tested Rollei Zeiss, Contax Zeiss and the ZF Classics. Although, the newer ZF versions are a bit sharper, I prefer the West German made Rollei Zeiss. I find they have the perfect mix of sharpness, color separation and character with my 5D3. Here’s a frame from the 50mm 1.8... And here’s a frame from the 25mm 2.8...

I know a lot of folks love to ride Canon and think this is hilarious but this is not a good trend. Canon is still the number 1 camera company and bullshit like this could easily filter down to the other companies. Panasonic and Sony have already started limiting features in their lower tier cameras and the 90D is hardly a lower tier camera.

So when they released the M100 or the GX7 Mark ii or even the a1200 years ago, they were willing to pay these millions in licensing fees for 24p and obviously all a1200 users were no budget indie filmmakers requiring 24p per Canon’s market research. Now I am kind of a Canon fanboy but this is just ridiculous now and explaining away the desire for 30p is just silly. And I think you’re wrong, people love the idea that they can shoot their home movies in a similar way the professional Hollywood films are shot... in fact, Canon used that as a marketing tool for years.

I really don’t care what frame rates people shoot on but saying that 24p is only for cinema wannabes is so silly and goes against the entire point of the digital revolution in the first place. Cinema wannabes could easily say that people who shoot in 30p should just buy a camcorder because they obviously do not care at all about visuals so why both using an ILC. The reason for Canon omitting 24p from these cameras is way worse than protecting their cinema cameras... it is a sign that they are protecting their R line and what they don’t understand is that they’re taking away inexpensive options for young and poorer people to have access to an affordable 4K/1080p narrative tool. If they don’t have an ecosystem for these filmmakers to upgrade, why would they ever buy an R camera or a C series camera.

Shit... I have none of those things. How much does skill cost? My mistake, sorry.

Here’s the link to the site... https://www.back-bone.ca/rx0-mod/ If you have the company supply the camera and perform the mod, it’s $1399 for the RX0ii. If you already have the camera and just buy the DIY kit, it’s $399. Here’s a how to video for the RX0 DIY mod... This is the instructional video for the RX0ii mod... And here’s their promo video with some footage... The c-mount to d-mount adapter makes up the difference... I suppose since the mount width of d-mount lenses are so small, the adapter is inset into the camera. The video I posted above was shot with D-Mount lenses... so I assume they know what lenses they shot with.