mercer

Yeah but would the crop apply with ML? But even so, it would still make an amazing 1080p Raw with the buffer and CF cards. 60p Raw should be a breeze with DPAF. The 3.5K Raw feature of the Mark iii should be great as well. @Nikkor

This is interesting. I wonder how long before a proof of concept can become a stable release? And I wonder if the Canon Log version would need a workaround or make it impossible for them to crack.

Yes. That location was fantastic. And the corpses were wicked. I loved how surreal it looked hanging from the warehouse’s rafter. Such a great shot. And yes, I love how some cameras actually make your job easier. I’ve been shooting Raw with the 5D3 for the past year and I get starstruck every time I bring the footage into the computer. What lenses did you use? And was this all shot with available lights, or did you have some small LEDs for soft light?

Oh, lol. Sorry I wasn’t clear in my original post. I was talking about older cheap PL lenses., maybe some kind of Russian cinema lens. Or older Arri primes.

Since Fuji is known to add features via FW updates, to other/older model cameras, does anyone think any of these new features will trickle to the X-H1? I’ll be in the market for a hybrid camera within the next few months and one of my boxes to tick is IBIS and after looking at dozens and dozens of Flickr pages, IG #s and YT and Vimeo videos, the X-H1 is in my top three.

All of the RF L lenses are USM lenses, so they’re not technically focus by wire, it’s a combination of mechanical and focus by wire. The 35mm 1.8 is STM so that is completely focus by wire.

Thanks, I figured as much. I did mean S35.

That was sooo good! Beautifully shot and I loved the use of static shots... it definitely added to the isolation feel. I could totally see this as a strange, surreal prologue for a feature where you go back in time and show us how we got there. I recently got one of the biggest compliments I could ask for... somebody who isn’t into filmmaking saw one of my clips and said, “wow, that looks like a real movie,” and I can pass that onto you, without a doubt this looks like a film I would see in a theatre or streaming on Netflix. It’s a shame more forum members don’t visit this section, I’d much rather discuss your process then why Canon sucks.

It’s been a few years but when I had the NX500, I transcoded the h.265 files to ProRes in EditReady, and then obviously they cut like butter. But I’m pretty sure Andrew Reid recently mentioned that h.265 was cutting smoothly in FCPX.

Yeah I would love for a company to offer a 2:35 or 2:39 option. A 2K Fuji does sound nice though... too many options.

That’s the point I’m making. For only a grand more, you’re getting good 1080p with more AF points and better manual focus aids with more manual lens options. You’re also getting Canon Log and a handicapped 4K if you need it for the occasional shoot. And if you need a little more juice, you can output 10bit 4:22 4K. Of course, the X-T3 seems to be a damn good camera, so if the AF gets you 75% of what Canon offers, that could be a great option as well.

Yeah because that’s what I wrote and definitely the spirit behind my comment. Canon stock may be a smart move, do your due diligence though. I don’t care what anybody chooses to shoot with. I’ve owned more Panasonic and Sony cameras than Canon. But by the responses in these threads, people truly believe Canon will be out of the camera business because the EOS-R has a 4K crop. And I’m the one who’s out of touch around here... As far as cinematic footage goes... Idk, you seem to be a pretty good colorist, so I’m sure you can pull a nice image out of most cameras you shoot with. In fact, I would love to see you use the cheapest of cameras to their fullest extent. Everybody always says the talent and skills of the shooter/editor are more important than the camera, so a series of short films using entry level cameras could be very interesting and helpful to beginner filmmakers?

I’m going to have to buy your guide. I messed around with it for a week or so but couldn’t get a workable liveview... I’m sure it was user error. But since I love the 1080p FF Raw out of the camera, I still think it’s the best camera available for what I am doing.

Hmm... well if you’re a narrative, documentary, commercial, or music video filmmaker, you can get professional, full frame, cinema level results with a $1500 camera. I’m not even that talented but my work looked exponentially better after one afternoon of using my 5D3 and ML Raw for the first time. I’ve even received a reply on Vimeo of a test I did, that took less than 20 minutes to shoot, edit and color, that said the footage looked like it could have been shot with an Alexa. Family and friends have repeatedly said that my B-Roll looks like a movie they would see in the theatres. Sure, they’re benign reviews for some test footage and B-Roll, for my film, but I wasn’t getting anywhere near those kinds of remarks with any previous camera I used. So for me, a serious narrative hobbyist... a full frame cinema camera in a DSLR body for $2000 or less... umm... what’s not to like?

The fact of the matter is this... 95% of the people who will buy this camera are still shooters. If they shoot any video, it will be 1080p and they’ll use iMovie to edit it. Half of the remaining 5% will be vloggers and only half of them will shoot in 4K. The remaining 2.5% are video enthusiasts that shoot family videos or clips documenting their hobby and only half of them will shoot in 4K. But for a fair guesstimate let’s overestimate and say 5% or less of the actual customers will shoot in 4K. I fit square in the middle of video hobbyist/enthusiast and if I ever buy the camera, I would guess I’ll shoot 75% of my stuff in 1080p. So yes, the 4K Crop sucks, nobody is denying that, but as a company, Canon understands their market and when you honestly look at the market, no wonder Canon is number 1.

I remember when I had the NX500, it was 70mbps h.265 and it was compared to 120mbps, or so, of h.264. So out of curiosity, if 400Mbps in h.265 wasn’t not compressed, would it be at ProRes HQ levels?

Yeah wouldn’t 400Mbps in h.265 be higher data rates than ProRes comparably? I’d love to see some footage of the 2K. All-i h.265 at 200mbps should be gorgeous.

According to B&H, it has 2K up to 60p. That’s a cool feature. Any word on the bitrates?

So, did you go with the t7i or the 77D?

This is true and I am sure there are plenty of Canon fanboys that would do as you say, but I can honestly confirm that I am not one of them. I was going to buy a Nikon D7500 with a much larger crop than the EOS-R. Mostly because although I’d prefer FF 4K, to me, crops aren’t the end of the world. I shot aps-c and Micro 4/3 for the majority of my hobby, so a 1.67x crop won’t kill me. Maybe I’m just trying to make lemonade but I now have more lens options one of which being the 17-55mm f/2.8, or the Sigma 17-50mm or 18-35mm. The Sigma Art 30mm 1.4 is dirt cheap and should be a nice addition to the EOS-R if I ever get one. Part of me is hoping that the ef-s crop mode works in 4K, on top of the 1.67x crop... that will give me plenty of options for c-mount lenses. But to be honest, I will not be an early adopter and although I think the camera has a lot of strong points, I think it is overpriced by $300-$500. If this camera came in between $1600-$1700, I’d be more interested. As is, I’m going to hold off and see what price it is come Spring... or what Panasonic introduces. Or if used P4Ks show up on the market for a grand or less. There are not a shortage of options.

It’s funny that this is the only site that seems to exaggerate the crop. The same thing happened with the 5D4 where multiple sites decide it’s a 1.64x crop but here it’s a 1.74x. In multiple reports, the 4K crop in the EOS-R is 1.67x but by the time you finish a thread here, the crop is at m4/3 level.

Yeah these prices are absolutely ridiculous. I was adamantly against a new mount and felt it would have been in Canon’s and current EF lens owners best interest for Canon to make their FF mirrorless an EF Mount. But when the news of these new lenses leaked, I was tempted by the siren calls of a Canon f/2 zoom. Then when the sizes and weight of the lenses leaked, I became hesitant again but I figured they’d be released at competitive prices... $1500 for the 50mm, less than $2000 for the f/2 zoom, etc... but this is just outright offensive. The 35mm 1.8 seems okay and if it is anything like the EF 35mm f/2, it should be great. And the 24-105mm seems priced right but the draw of RF is the 28-70mm and 50mm 1.2, not a replica of the 24-105mm. With that being said, I assume there is some kind of AF motor inside the RF lenses that will accommodate Canon’s eventual upgrade of DPAF to QPAF, so it is a necessary evil. The real gem in this line up, for me, is the ND adapter. As a hobbyist, I’ll sometimes choose lenses based on filter thread diameter since I only have the one higher quality B+W vario ND in 58mm. I swear by my cheapo Bower Faders, but if I decide to get an EOS-R, or a future variant, the ND adapter will be a welcomed feature.

It may microwave some popcorn.

Sorry, I’m feeling feisty today. But yeah I’m not gonna lie and say I love this camera, but I can’t say it doesn’t intrigue me a little and it does have a bunch of pluses. As far as 4K 60p... well that was never going to happen, so I can hardly consider that a flaw. The a6000 doesn’t have 120p in 1080p but yes I get your point, 120p would have been a good move, although I would rarely use it. People keep saying that Canon intentionally cripples their cameras but I’m not so sure it’s intentional. They have delivered DPAF into their cheapest consumer DSLRs. But more importantly, they’re here to make money and I don’t know if I buy the argument that Canon thinks they are hurting their Cinema line by not including features in their consumer line. Why would Canon not want to capitalize off of one of their biggest markets... hobbyist/enthusiasts? Most likely, they don’t have the processing speed to accommodate no crop in this body without putting a weird 4K time limit of 10 minutes on the recordings. Look at Fuji, even with a minor crop of S35mm, they still have a time limit.

The problem is that the biggest critics were never going to buy one anyway. And if you look at the video specs, other than the 4K crop and no IBIS, the camera is pretty damn good and beats a lot of other camera’s offerings.