mercer

Yeah according to Engadget there is the 1.7x crop... ugh... so close Canon. Without IBIS and with the crop... $2200 is too rich for my blood. Oh well. Maybe in a year or two.

Yeah because that’s what I wrote...

So which is it? Caleb Pike or Jordan Drake? That slip and slide video looks great. At first view, I think it looks better than the ProRes out of the P4K.

Sooo jealous!

I don't use zebras, so does highlight alert work in video mode in most cameras?

I was looking closer at the specs and under the LCD panel information, it mentions zebras... well it says... "Highlight Alert The white areas with no image data will blink."

We don’t know if the EOS-R will have Canon Log yet, the camera will be officially announced tomorrow. Right now, everything is based on rumors and conjecture... some stronger than others.

Yeah that was a pretty severe crop but does it really matter to you... have you ever owned a Canon or even contemplated buying one? Do you foresee yourself ever buying a Canon? I think you’ve answered that in the past. I’m pretty sure it does.

Well, the last FF camera, with 4K, Canon released was over 2 years ago. Panasonic didn’t have a 4K camera without a crop. Fuji didn’t have a 4K camera without a crop. Nikon didn’t have a 4K camera without a crop. I believe Sony was the only manufacturer that had a 4K camera without a crop...

On the chart it specifically shows the frame rates for each mode... UHD, FHD and HD. Yet they mention that the ef-s crop mode doesn’t work in FHD 60p?

On page 8 of 15 of the leaked pdf, it shows this chart...

Who is to say it won’t take ef-s lenses? Supposedly there is an ef-s crop mode. Which is why I keep saying there may not be a 4K crop. Why would they have an ef-s crop mode? Would the ef-s crop be on top of the supposed 4K crop? Or will the ef-s crop mode be smaller than the regular 4K crop?

I love what you did with the balloon footage. I tried that but hated all of my attempts... so much blue, cool to see you pull the orange out of the sky.

Well, nobody knows that for sure. In fact, if you google EOS R 4K crop, EOS HD is the only site that it comes up as a fact...

Here is an upload from my phone, the contrast seems more like the original but it’s still not right... Ugh sorry... Anyway, I enjoyed messing with the files, thanks JB and Blackmagic for providing them.

I messed around with the Daylight Models shot a little bit. I went for a little more of a flat, matte grade. I really liked the color nuances in the whites and neutral colors in the set up, so here's my poor attempt... EDIT: Nevermind... as soon as I loaded it, the contrast was way more punchy than it shows in my NLE... Ugh. I really need to invest in a new computer with a calibrated screen.

Yeah this one does look pretty wicked.

And to add, a crop isn’t as big of a deal with mirrorless because there are a lot more fast, wide angle options with mirrorless cameras. So for me, price, Canon Log, DPAF and IBIS will be the deciding factors as I’m not getting rid of my 5D3 anytime soon.

Looks nice, add a touch more contrast and it will be singing. I love these BTS production stills. And it still makes me happy to see your stripped down Micro rig. I may forego the P4K for the time being and pick up a used Micro and I was curious how you expose your Micro footage in these scenarios? With my limited experience with the Micro and Pocket, I would zebra at 90% for ProRes HQ. Do you meter your shots? Zebras? Waveforms or False Color? And did the P4K’s sensor change your method in any way?

Well, even the 5D4 crop is exaggerated and it is, by a lot of reports, actually a 1.64 crop which is essentially S35mm. But to be honest, I am one of the weirdos that wouldn’t mind even a 1.9x crop because it is closer to M4/3... with the flange distance of the EOS-R matching M4/3, it will open up a lot of old C-Mount opportunities once the Chinese adapters start making their way to market. Dont get me wrong, I’d rather have no crop in 4K, but it is what it is. Once I’ve decided to invest in Canon glass, I’ve decided to invest in Canon cameras and Canon color as well. But if it doesn’t have enough of what I want, I’ll wait... a new camera will be released in no time. Or if I end up getting some paid work, I’ll pick up a C100... which I may do anyway. Either way, there isn’t a lack of viable cameras on the market. Don, since the lion’s share of my lenses are vintage manual primes, fifty or so of those lying around do become unwieldy. But no, they aren’t bad, especially since I doubt I could afford the EOS-R and an RF lens right now, so the EF-RF ND adapter would basically live on the camera.

Yes, but people around here act like Canon is the only company that protects their higher line of cameras. Panasonic protects their GH line. Nikon protects their D series. Only Sony goes balls to the wall but one could easily argue that Sony cameras are an exhibition of their sensor tech, so it would make sense for Sony to that. But... Sony still uses that 8bit 100mbps 4K codec they’ve been using for 4 years now... where’s the outrage? Sony menus are still a mess... where’s the outrage? Sony cameras still have the potential to overheat... where’s the outrage? Sony lenses are still horribly overpriced... where’s the outrage? Even though Sony’s AF in the a7iii is really good, it’s still at least a generation behind Canon’s last year models. With this release, Canon’s DPAF could be 2 generations ahead of their competitors in AF. And when they release QPAF, I don’t know if any other manufacturer will catch up. If the EOS-R gets Canon Log (which I think it will) Canon will be the only manufacturer to have a Log Profile actually designed for 8bit video. I’m actually brand agnostic, so I am not bashing Sony or Panasonic here. I will probably buy a Panasonic by Christmas and I have had numerous Sony cameras over the years. The Nikon D5500 is one of my favorite cameras I’ve ever owned. But I’ve decided to invest in EF glass, so I will be sticking with Canon for the foreseeable future. And honestly I may never buy an EOS-R camera because I am tired of using adapters... especially big, clunky mirrorless ones.

Well, I personally don’t understand all of the hate? This is Canon’s first truly photo/video mirrorless hybrid and if the $1900 price is correct, this camera will sturdily sit in the enthusiast arena. So for somebody like me, an amateur video hobbyist, this camera could be perfect. Sure I hope the 4K isn’t cropped, but even with a S35mm crop, it doesn’t kill it for me, I’ll shoot 1080p the majority of the time anyway. And the more I think about it, there will probably be a crop and they will reference it in their brochure as Cinematic Super 35mm 4K and even more that I think about it, the more I’m okay with it... it opens up a lot of lens choices. But as you said, I am not in that low level professional market that needs a $1900 camera for my job. So I can forgive 4K crop even though I don’t love it, but price, rolling shutter and the long shot IBIS will make me purchase or pass.

I’m going to wait until all of the information gets released before passing judgement. So far, if we are to trust the specs that were leaked, it looks pretty good to me, but price, 4K crop, Canon Log, 10bit HDMI out, rolling shutter, etc... are still up in the air.

Full frame is pretty special but it’s just another format. S35mm is still king for Hollywood narratives and a lot of Hollywood DPs supposedly own Fuji as their personal cameras. In the end, who cares? John Brawley has already proven that a S16 sensor camera can be used in 1080p ProRes on a network television show. All of this other resolution and spec nonsense is propagated by manufacturers at an attempt to gain an extra percent of market share for their stock holders. Pick a camera you like the image from, or the specs that get you hot under the collar and work on your craft and create.

Yeah I think you may be right here. I don’t think Canon is protecting their Cinema line as much as they’re protecting an upcoming 5DR.