independent

Agreed, but I meant specifically the rolling shutter. If the R5 readout is 25ms, it isn't terrible, but it's no C500ii at 15ms (cinema5d). Perhaps the 6K or 4K modes will have less skew. I'm a bit confused about the math. How can the R5 @45MP can have better rolling shutter numbers than the 1DX III @21MP, given they share the same ADC? @androidlad ?

@androidlad Any idea why the rolling shutter seems much worse than this?

Panasonic Varicam LT. Most compact, balanced shoulder cam I’ve ever used. RED DSMC. Started the brain/sensor in a box flexibility. Blackmagic Pocket (OG). Cinema in your pocket.

I think anybody who is interested in the highest image quality would be interested in 6K, and when 8K comes out, that would be of interest too. I wouldn't get the 6K to shoot 4K. I would get the 6K to deliver higher quality 4K. As far as the lack of 4K Braw on the Pocket 6K, I believe the HQ Prores is similar enough. I love the metabones speedboosters, but they didn't make sense economically. A P4K w/ the metabones speed booster was too close to the price of the 6K, and our team unilaterally preferred the 6K's image to the speedboosted 4K's, even with the crop difference. We did a variety of test shots, and the 6K was just cleaner, more detailed, etc. - and better in low light. I think the speedbooster may have added some blooming effects too. As far as lenses, if you have MFT lenses you love, enjoy them! I used to have a full set of Leica-R lenses, declicked, Leitaxed for my red EF mount, CLA'ed every 2 years. I never used them beyond my personal projects because they were a pain in the ass to match other lenses and didn't have usable focus marks. I stopped waxing poetic about those Leica lenses, because I find that lighting, camera features, and usability in production had a much greater impact on the final image. We had no problem w/ the pocket 6k (or 4k) powering situation because we simply treated it as any other professional camera in a cage. Conveniently we used Sony NP-F batteries that we had on hand for some of our lights, Atomos recorders, etc. I think the problem is DSLR/mirrorless users who expect all-day shooting as if they have a photo camera, which it's not. But the Pocket 4K/6K have been the most compact pro video camera we have ever used, even rigged up. We used them often on gimbals. I wouldn't call the 6K's fan as loud (have you heard REDs?!). If you work in sound, you might want to compare the db levels w/ other cameras. It's audible, but only if you're using the onboard mics. Our sound mixer, boom ops, post audio production crew haven't had any issues with the 6K fan noise relative to other cameras. Other ambient noise is always more of a problem, A/C, traffic, etc. As far as bitrate, we generally shoot 5:1 or 8:1 compression ratios on multicam shoots to stay within the bandwidth of our RAID setups. For single cam, shooting 5:1 or 8:1 probably wouldn't change your 4K editing setup at all. And let's say if you're doing a long project like a feature film; I'm not sure if storage space would be that much of a factor in your total budget. Let's say you were to compare the 6K to the 4K, at braw 5:1, with a shooting ratio of 10:1, so a total of 15 hours of footage for a 90 min film. The difference between the two would be 5 TBs. Considering enterprise drives go for about $25/TB, you'd have to shell out $125 more dollars. Double or triple that for backups, and that's still pretty much nothing.

The difference between 8.8 MP and 21.2 MP is objectively significant; it is 240% the pixels. But you do need monitoring capacities to resolve that difference. On a 5K monitor, the increase in detail of the 6K makes the 4K seem out of focus. No complaints about the EF mount. Nearly every cameras can take EF lenses, from MFT to cinema cameras such as ARRI, RED, and Canon. We've cut BM 4K/6K footage w/ the Canon C200/C300 II and lens matching was a key consideration. It's been more practical to standardize lenses for flexibility on set or in the field and consistency in post. As far as media, the Samsung SSD's give you 500gb under $100, which I think is the cheapest for any camera system. And we’ve had no issues cutting the footage on Mac pros, Mac mini’s, or MacBooks. If you already work with 4K, you may not have to add anything to upgrade your RAID setup except to add more drives. That being said, 6K is not for everybody. But for commercial shoots, it's been very good to us. Especially for fashion - the ability to pull or capture 21MP stills has been a boon. 6K also gives a bit of peace of mind considering the push to 8K, knowing that your work will hold up better in the future.

6K for $2K? I think there's no competition there. For the record, our studio had access to both 4k and 6k cameras. Once you review footage from both on a quality 4K or 5K monitor, it's not close. The 6K doesn't give you a minor increase in detail, it's significant. Everybody in our studio was struck by how...transparent the 6K looked. It looks like still photography. You can pull great stills from this, and we did for several major commercial shoots before covid. Color, skin tones, were noticeable better as well. The 4k looked almost out of focus in comparison. If you're delivering in 1080p, who cares, but if you care about 4K, the 6K gives you much better 4K. We immediately cleared out the 4K cameras and replaced them with 6Ks. The metabones speed booster XL on the 4k was deemed not worth it considering it pushes you close to the price of the 6K. With the 6K price drop, it's the same price now.

From Canon USA: "Additionally, the EOS R5’s IBIS will work in combination with Optical Image Stabilization found in many Canon RF and EF lenses."

EOS R was great except for the rolling shutter. So not good for moving handheld shots, e.g., run and gun. Even gimbal movements had to be very slow and controlled. Didn't love the external requirement for 10-bit 422 recording, but the Ninja V did add much more functional (monitoring) and recording (cheap SSD caddy) options. It was also good for gimbals because it was so lightweight and compact. The R with the Weebill-S was a very compact package. Once you figured out how to best mount the Ninja of course. What made it especially tantalizing was the metabones RF to EF speedbooster adapter. Gave me an extra stop and near full frame on all my canon lenses. Hot damn what a cheat code. With the DPAF, the EOS R was close to checking all the boxes. So was the Sony A7III. If Sony adds internal 4K 422 and incrementally improves the other features that made it such a successful camera when it was released, I'd at least take a look. The people who care too much about brands are those uninterested in making life easier for themselves.

Can't get better image quality than the pocket 6k or 4k for the money.

Pocket 8K

Not good. So similar to the A7III. But slightly better than the EOS R and 1DX III’s awful 30ms. I think 20ms is the upper limit at which one wouldn’t notice it too much. The pocket 6K was generally fine. 16ms seems like the standard number at which rolling shutter is fairly controlled. But most of those cameras at that number are not full frame and obviously not 8K. I hope the R6 does better.

Maybe full frame model dropping. With flip screen.

I imagine rolling shutter won’t be great for either the r5 and r6. Cinema lines instead. Although I hope it won’t be as bad the the R. It was a deal breaker for me.

I don’t think it’s a matter of figuring of the tech. It was canon’s internal and market strategies that delayed the features that are now released. Just like apple, which is always many months ahead. And just like Sony. In very short order, Sony will drop something similar. They already were close to a complete camera with the A7III.

If it has full frame 4K, 10-bit internal codecs, IBIS, and of course dual pixel AF, it’ll kill in $2K market.

Rolling shutter?

Truly don’t care about personal preference. Everybody has an hole in his ass. Just not a fan of misinformation, or more generally, people not knowing what they’re talking about. Plenty of that going around the world already.

Are you lost? I just posted photos that depicted the dominance of shoulder-mounted handheld shooting (and the absence of easyrigs) on major film and TV sets. Just go back a page. If you mean personally, I moved into NYC over a decade ago to work for a major media company, which eventually led me to work or visit sets for Boardwalk Empire, Daredevil, Luke Cage, Jessica Jones, a couple Food Network shows, and quite a few commercials from HP to local companies. I also live within walking distance to a few studios, and I've either done work or visited them often. I also live in a neighborhood in Brooklyn where they shoot every weekend on some street, including Aziz Ansari's Master of None, Girls, Mr. Robot, etc. How many easyrigs have I seen? Not many. I also live close to Vice, where one of my friends works. He's the one who introduced me to easyrigs, and I thought they were more trouble than they were worth, but that's just my opinion. Unfortunately, you and the other guy are committing the classic logical error of generalizing based on your extremely narrow perspective: "I use an easy rig. That other guy uses an easy rig. Therefore, everybody is using easy rigs." No, most guys are not using easyrigs. Again, you said, "when shooting dramas or commercials, I'd say most guys are using an easyrig more than a tripod or dolly these days" Yes, that's pure, organic, grass-fed bullshit. Enjoy whatever you like, but don't spread misinformation about the industry.

Rolling shutter?

8-bit and massive rolling shutter, highly likely. Also, I'm somewhat put off that "animal detection" is so conspicuously advertised. This is marketed for cat videos?

Actually, indirectly it does. I stated that Canon could help position a new camera between the C200 and C500 II (let's say the new C300III) not only with merely codecs, which would be disappointing, but incorporating new features such as in-body stabilization (preferably the sensor type and not electronic). I then proceeded to dump on the easyrig (really, tongue-in-cheek), because for a lightweight camera like the C200 or C300 with non-cinema lenses, the in-body stabilization will be a game-changer by allowing many more usable handheld shots without camera support. It doesn't replace the tools in the toolshed, but it will let you get away with much more. Less dependence on sticks, dollys, gimbals - or easyrigs. As an analogy, Canon's development of tracking autofocus has been so good that it's actually not only useable, it's better than a focus puller in many situations. So a true 5-axis stabilization feature will be revolutionary in terms of faster setup, more useable shots, greater shooting envelope, etc. And I don't think it's a feature that's talked about enough. I'd say that for many interested in the Canon C200-C300 range, being able to shoot lighter and faster would have a greater impact on your productivity and viability as a professional than things like Full Frame, internal ND filters, etc. that get talked about so much.

The point is calling out horseshit and misinformation. Who said they weren't used at all? I specifically stated that they made sense (in my opinion) in some cases (height differences, documentary, live events, and reality). I also specifically stated that claims that "most guys are using an easyrig more than a tripod or dolly" for dramas and commercials ran absolutely counter to my observation and experience. As for you, personally, I find your own arguments weak. You said you saw easyrigs on Netflix sets all the time. Instead, your only evidence was an easyrig promotional video and one online review that was clearly shilling. I have zero problem with anybody using it - do whatever you want, I don't care. But please don't spread misinformation about the industry.

On the other hand... Here's Roger Deakins from Skyfall. Shooting a moving train from his shoulder, TRACKING shot: Emmanuel Lubezki on Birdman: Interstellar (Imax): Dunkirk: Arrival (Bradford Young): Witcher: Handmaid's Tale: Veep: Marriage Story:

So you pulled one instance of ONE cinematographer who used an easyrig for ONE scene or ONE shot as evidence that it's a dominant, standard, or prevalent method of professional handheld shooting? On top of it all, the piece you quoted misspelled Greig Fraser's name. Why would it bother spelling the DP's name right when it's clearly shilling? By the way, the same (and phenomenal) Greig Fraser has used gimbals, the Movi15, drones, and all the regular traditional camera support that any competent DP would - whatever he feels right for the job. Including: Lastly, still waiting for your response of easyrig's prevalence on the Netflix shows that you've worked on. If you simply google "behind the scenes Netflix," brace yourself. You might see a shocking lack of easyrigs.