mercer

Shooting B&W will fix that right up. How much DR does F Log have?

Yeah this is just silly. I can’t believe it doesn’t have 24p in 1080?!?! Huh? I think what this proves is that Canon does not see low budget video users as a target audience at this price point. With that being said, I’m sure it will be a nice camera but they just saved me $600 because if I want Canon 4K or 1080p DPAF, I may as well just get an M50... 1.6x crop 4K crop on the RP or 2.5x crop on the M50’s... whatever. At least I can shoot 1080p at 24p on the M50.

Also, Canon Watch is reporting that the sensor is NOT the same sensor that is in the 6Dii.

Idk, from the specs it seems that h.264 is intra and MP4 is IPB.

That’s true, I’ve always liked ProLost Flat and Marvels and even Technicolor was pretty good under the right circumstances. And of course I purchased EOSHD C-Log a while back for my old M10, so that will work too. Lots of options. You’d give up ML Raw for this camera?

I do wish it had some kind of Log... even if they had a Flat Profile like Nikon has or a Log-Lite. But all in all, I’d have to say that for the price, Canon delivered here and this could be a purchase for me. I don’t really understand why anyone would try and compare the a6xx Sony series to a Canon FF Camera? Even with a 4K crop, it’s still a FF camera for photos and 1080p.

So after looking at the specs, it appears that h.264 is intra frame and the MP4 is IPB? Or am I reading it wrong?

I used B+W but I think Hoya makes one that’s a little cheaper. I’ve even heard of some really cheap Chinese ones on eBay but I don’t know the quality. I think Tiffen or somebody makes a combo IR Cut Variable ND that could be useful. Also remember that the Pocket has a lanc input, so you could pick up a native zoom lens and work it through the lanc. And the IS on some of those 14-42/14-45mm zooms are pretty good. Just remember to get a cage that has cord clamps, the ports on the side of the camera are very fragile.

That makes sense. I only do personal work, so any fear of dependability isn’t an issue. With that being said, I’ve been shooting fairly regularly with ML Raw for almost two years and never even had a dropped frame. The nightly builds are solid. But with that being said, I don’t think I’d use either camera for weddings where ease of use, storage and quick post is of major concern. These are cinema cameras, shoot your short films with them. And this is a bonus for both cameras... once set up, they are point and shoot cinema cameras.

Yes ML Raw is a little more involved but you don’t have to deal with the crop factor. With a mix of the camera’s weight and Canon IS lenses, you can really get some stable, handheld footage. As far as dynamic range... I’d say the 5D3 with ML Raw has about 11.5-12 stops... way more than enough than I need. It’s usable up to 1600 ISO with 3200 in a pinch. You really have to ETTR ML Raw because of the chroma noise but the Pocket has bad moiré and aliasing where the 5D3 has none. Storage is about the same except you can use cheap SDXC cards with the Pocket. Both are great cameras but I prefer the color from the 5D3 and find it easier to grade. YMMV. But seriously, buy an IR Cut Filter. The benefits of the Pocket is the ProRes. Aliasing and moiré is handled better in ProRes and it’s an easily editable codec in any NLE. In fact, since I use FCPX, I have contemplated picking up a Micro for ProRes and 60p... but I know myself and I’ll rarely use it and reach for the 5D3 most times.

I know but I think you were taking the plus sign too literal... I believe he meant the + to be an “and” 1.5x. So I don’t think he was writing a formula.

Amazing camera, I’ve owned two of them and a Micro. Get yourself an IR Cut Filter and always shoot at 800 ISO. But he warned... once you start shooting Raw, it will be difficult to go back to compressed codecs. And if you really like the Pocket, wait until you try FF Raw with the 5D3. Have fun and good luck with it.

Idk, probably like 3 or 4. Lol. According to a Bloomberg article, Canon was hoping to sell 20,000 units a month. I couldn’t say if they’ve hit that goal or not.

Well maybe some mad ones around here but the majority of eos-r users didn’t buy it for video, and you can be sure the R will have more photo features.

Yeah if you can get clean 1600 or 3200 out of any of these cameras, then you should count yourself lucky. Maybe I’m too old, but I still cringe when I go over 800. And in most instances the image does suffer a thinness when I do.

I just like the idea of a two handed steadicam. I’ve been looking for info on the Flopod for the past week or so for the same reasons.

You are not kidding about having more than enough equipment. I have enough lenses to make a movie a month without having to use the same lens in more than one film for a year or two. I appreciate the kind words. As a hobbyist I’ve been lucky to be able to build my film as I go along. I don’t recommend it and I don’t think I would do it this way again but it was so organic with this film that I think it will be a benefit in the end. I’ve seen a lot of work from that guy and he tends to make any camera he shoots with sing. I believe he DPd Noam Kroll’s recent feature film and even his RX100V footage is pretty spectacular looking. I think he has a P4K now and I learned from his IG page that some of my fears... IR pollution and the red channel clipping are real concerns that he recognizes. Hopefully they sort that out, luckily I have a camera that I feel gives a relevant image for the next couple of years, at least. If something better comes out and I need that something better, then I’ll upgrade... until then, I’ll use lights if I need better lowlight. And to think he used the 12-35mm 2.8 lens in that film. I’ll be interested to see what Sage does with the GH5s when he incorporates GHa into it. What he’s done with the GH5 made me a believer... even though I still think the Alexa looks better and he should just use that camera to shoot a film. Lol.

You may be right, but I vaguely remember an article or interview stating that Canon will not release an ILC without 4K video going forward. I mean, their $600 M50 has it.

@anonim I have really been warming up to the GH5s lately (except for the yellowish greens) and if I was seriously in the market for another camera, the GH5s would be at the top of my list... or if Panasonic would give it Raw signal output. For the time being, what I have is more than enough.

I can understand how that would be annoying but a lot of manufacturers, unfortunately, do that. Look at the a6300/a6500 or the GH5/GH5s, in both instances an arguably better camera was released 6 months after the original. With that being said, I doubt that Canon will have Canon Log in the RP... which they should, but knowing the way they segment these cameras, it’s unlikely. But... there was a rumor a while back that Canon was going to release a 7D version of their R mirrorless line that was going to be more video oriented but since most of the specs that have leaked aren’t video related, I doubt the RP is that rumored camera. Once again I am left with waiting to see a spec vs price aspect of the RP. For me to even consider getting one, it needs Canon Log, 4K DPAF and I’d like a S35 crop at the most... although crops don’t really bother me all that much. The icing on the cake would be IBIS but that is so impossible it’s not even worth hoping for.

Lol, was that a serious response?

@Sage do you have any matching, ungraded shots from the Alexa in LogC and the GH5 in vLogL?

It looks really cool and I was going to back it but all of the $199 offers were sold out and I don’t know if I really want to pay more than that for it. But I do like the design.

Looks good. Are you in the Northeast? It snowed here last night too.

Well, it’s actually closer to 1.7x but still. Yeah I don’t love the crop but as far as 4K quality, the eos-r actually has the highest bitrate all-i codec that no other FF camera offers... as far as the crop... take two steps back... lol.