Django

..what i said was correct: ARRI/RED/BMD offer internal RAW & Prores. Canons/Sigma FP do RAW & H26x. Digital Bolex is RAW only. Z9 does RAW, ProRes, h26x. Prores (4444) & h26x: Varicam line, Venice line etc.

my point precisely..

you're missing the point. I'm talking about price increase within same class/category models (i.e GH / A7S etc series).

FYI, over cranking above 100fps has been around since pre-digital age..

Different sensor tech DGO vs Dual ISO. S5 should do better high ISO, C70 less noise at base ISO. Speedbooster on C70 should help mitigate the need to crank ISO if you've got fast glass. That's what I figured. Not a fan of 30fps, but yeah it gives more fluid motion and is popular on social.

Depends. Very few cams actually offer both ProRes & Raw options. Basically ARRI, RED & BMD. RED & BMD have very efficient compressed RAW which incites to shoot with it. ARRI has ProRes 4444 XQ which may tip the balance the other way. RAW is always going to require a few extra steps so also depends on amount of footage and time/post constraints. For the fastest workflow shooting Prores with a baked-in LUT is preferred. So really, YMMV.

Also ProRes on GH6 seems to be much less image processing heavy so more organic image. No RAW tho. Overall a great looking camera, the main "issue" I have with it is price.. M43 was initially affordable (GH2 retailed at $900!). Obviously the features are night & day.. but this general camera trend of each new model costing more is kind of annoying.

Cined measures 12.8 stops of DR on C70 vs 12.1 for the S5. So it's pretty close. Latitude is where the C70 seems to really shine with low noise floor. also keep in mind when shooting 4K120p the DGO sensor disengages and the DR drops and the image gets noisier. By the way out of curiosity what frame rate was the video shot/exported, it looks 30p in some shots?

Canon have great image processing imo. Among the best h26x compression. The image always remains organic, not over sharpened or denoised. The 10-bit h26x files from R3/R5/R6 are really nice and the chunky 410mbps XF-AVC on R5C/C70 even better. Of course they also do internal RAW which is fantastic. ProRes is really that intermediate codec between RAW & h26x. Other than being a pro standard with consistent flavours, its true that historical benefit was always the low-compression intraframe encoding allowing excellent scrubbing for editing. 10-bit h265 for example is a complete no-go on intel Macs. Not really an issue with +M1 silicon anymore. But still, it's nice to know that ProRes will run perfectly smooth on any editing machine, even quite dated ones. But on pure IQ level, nothing beats RAW and now with internal 12-bit compressed RAW like BRAW or Canon Raw Light, which have very efficient bitrates it's the way to go in-cam if you want max flexibility and IQ. Getting back to GH6, Cined best describes the difference: So, you actually have a nice choice here: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But looking at the noise floor in the waveform plot it seems that it also has a lot more noise processing going on internally which cannot be turned “OFF”.

Why would Canon make a m43 sensor? And if it did, you'd think Pan would license DPAF. As for R3: At the heart of the EOS R3 is a back-illuminated, stacked sensor – developed exclusively by Canon. Maybe @androidlad knows something about GH6 sensor manufacturer?

I'm currently on Canon/Sony/Leica systems. I've been on Nikon/Fuji as well. GH6 is the first Panasonic camera I'd consider. That's kinda saying a lot. From the footage I'm seeing, it looks like the colour science has been greatly improved. Add a very detailed 5.7K ProRes IQ and enhanced dynamic range, and that's a winning combo imo. Lack of dual or why not even quad pixel AF is baffling though as Andrew's hilarious intro decries. I mean if OM Systems did it on their first MFT attempt. Why can't Panasonic get it right on their 6th iteration? The other image quirks are also of concern. Especially after all the release postponing. Did the new sensor manufacturer mess something up they need to fix in firmware? Whole thing is a bit curious. This camera needs more testing as everyone has been rushing to deliver their hands-on review. 99% ?! 5.7K / 4K120p / ProRes / DR boost are extra video capabilities well worth their weight in gold. Apple & oranges though really. FF vs MFT.

Just checked the CineD labtest and it says a bit more than that: About 12 stops can be identified above the noise floor, plus a faint 13th and a hint of a 14th stop. What's most interesting is DR increases in H265 to 11.5-12.8! They conclude: So, you actually have a nice choice here: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But the DR latitude test is really where this DGA/DGO tech usually shines and sure enough: All in all, that leads to 7 stops of exposure latitude (3 over to 4 under)! Wow, that is really good for an MFT camera – it is actually on the same level like the full-frame Sony a7S III which is using a 4 times larger (full-frame) sensor. The best (consumer) full-frame cameras like the Panasonic S1H or the Sony A1 manage 8 stops of exposure latitude. For reference, the ARRI Alexa Mini LF that we tested here showed 10 stops of exposure latitude (5 over to 5 under). So all in all pretty damn impressive results from this little sensor!!!

@Eric Calabros "Isoless" is more of a photography camera term isn't it? In any case for video, Panasonic introduced Dual Native ISO on VariCam and Sony Followed suit on Venice and that particular tech trickled-down to their mirrorless video oriented cams: A7S3, GH5S etc. This ARRI inspired DGA/DGO tech works different and its purpose is indeed to "boost DR" not high-ISO performance like Dual Native ISO sensors. By the way, dpreview gives this interesting tidbit of info: Panasonic is being distinctly tight-lipped about the fabrication process, which strongly suggests the camera isn't using the Stacked CMOS technology that's underpinned the latest generation of high-end cameras. Although we don't have absolute confirmation, we think it's extremely likely to be a BSI design. The GH6's sensor, which we're told is 'not made by the company everyone always assumes we use,' features a dual output gain design. This is not to be confused with the switchabledual gain sensors we've seen in an increasing majority of modern cameras, but instead is closer to the design used in Arri and some Canon cinema cameras. The sensor has two, parallel output paths and at high ISO settings, the output from both paths is combined to give both highlight and shadow detail.

BRAW, ProResRAW, CanonRAW etc all do 16-bit linear to 12-bit LOG. None of them can compress RAW in-cam due to the RED patent, including ARRI. Gotcha. I figured Miami because it's also a fashion capital, didn't realise there was a scene in other parts of FL, my bad. Paris of course is the number one fashion capital. Being that, there are multiple "leagues" here that cover pretty wide range of venue & budgets. Never done/seen an outdoor show at night with no lighting though, that's gotta be rough! I recently got the Rode Go 2 that records a safety track on the transmitter at 32bit float. Haven't had the need to test it yet but it's nice having that safety net on wireless. Still this is one field that is moving kinda slowly. I do think 32-bit float should be making its way into cameras.. Yep that's what I've heard as well, if anything shoot to the left as there is more latitude on underexpose than overexpose. Agreed, which is why I'd avoid cranking ISO on C70. On dual ISO cameras it's different.

Fashion shows at night with no lighting? I'm here in Paris, FR so maybe we do it different out here.. you're in Miami right? This nocturnal footage is shot at 800 with the speed booster on the 35mm F1.4L (so effectively F0.9L equivalent) and looks so clean: Obviously not how you'd wanna expose a fashion show but still I'd try and keep closest to base ISO (800) for maximum DR & latitude. Heat definitely seems to affect data rates. On the R6 at least. C70 has a fan so maybe different. Test, test, test! Seen that test, but keep in mind the A7S3's dual high ISO only kicks in at 12,800ISO. Your S5 does so at 4000ISO. ..of course dual gain will help the c70 but it's not a super high-ISO camera like a lot of dual native ISO cams. You should be fine though under 6400. But like you say, tests on YT are all over the place. Only way to know is for yourself!

While S5's DR is solid, the tests I've seen show about a stop under. The latitude tests were good but showed strange iris artefacts. Also dual ISO and DGO work completely different. C70 only has a base ISO of 800 so it will surely not be as clean as S5 at 4000ISO. From what I hear it's better to underexpose on C70 to keep closer to base ISO and lift mids/shadows in post. You'll have to experiment and let us know what works best. Is there any proof Canon have fixed the problem? I kind of doubt that. Your screen hinge is probably same as others. I'd definitely get it replaced by Canon for the more robust solution but would probably wait for it to loosen up like in that video. If not you definitely risk getting the repair turned down.. What does the warning say? I've had too many issues using V30 cards on my R6. Sometimes it works perfect all day, but then all of a sudden I might get the warning card is too slow and the recording stops. Way too risky on a paid shoot. I'm using Sony TOUGH cards and what stresses it most is 4K60p 10-bit Log. I'd really to some extensive tests before ordering the 1TB V30 cards.

There seems to be a design problem with the hinge: The guy ended up getting it fixed by Canon and says its better then new now and I see others are reporting the same: I figured I'd share my experience with the Canon C70. After purchase, the flip out LCD quickly became loose and clicky. I sent it to Canon Canada through my vendor and they did a great job fixing it. Way better than the original hinge. The only issue was how long the repair took. They had to order in a part which took about 2 weeks, so in all I was without my camera for about a month. I've been seeing the issue come up a lot in Facebook groups, and I've been advising people to send theirs in to be fixed, I only hope that the Canon repair centres are stocking up on the necessary parts so that the repair time is quick. So If you have a loose LCD, send it in. The repair is worth it. https://community.usa.canon.com/t5/Professional-Video/Canon-C70-loose-LCD-screen/m-p/333954 I guess this is what herein2020 was referring to: So is the hinge on your brand new C70 "fixed" or does it feel flimsy enough to end up like the one above?

FYI Andrew has a GH6 in-hand but like others is silenced by NDA until official camera launch tomorrow..

Agreed, not to mention that DGO tech is lifted from nothing other than the mighty ARRI Alexa's Dual ADC design.. And with Canon RAW getting included this camera gets even closer. As for Sony, must admit I am still on the fence with FX6. I had C200 & FS7, and only kept the FS7 as I favoured it 8 times outta ten. The FX6 pretty much improves everything and adds the E-NDs which I think is a complete game changer. It seems much better build than C70 and has more professional I/Os like SDI. The IQ is pretty fantastic too. Excellent lowlight and low RS. Yes its the same sensor as A7S3, but with the FX image processing gives a much more organic/cinema IQ. I also like the idea of having native FF support of my E-mount Zeiss lenses. No adapter, no speed booster. Still, can't shake off the wonders of that DGO sensor. I love having clean shadows. Curious to know more about how you are finding the IQ. And of course also when RAW becomes available next month.

ARRIRAW is supported natively in Resolve but with a limited number of settings. Best workflow is to use the official ARRIRAW converter. Never claimed resolution would fix those specific issues, just saying there are real benefits to high resolution for other real-world requirements. There is always a trade-off somewhere. I have great respect in ARRI for their overall dedication to IQ across the pipeline but there are other companies doing interesting if not better achievements in other related areas such as Komodo's global shutter for instance. That said, I do think ARRI's Dual ADC tech is absolutely key to their DR and latitude, and that is certainly something I'm glad to see trickle down to more affordable cameras.

GH5 has good battery life I'm sure but Canon cine-cam BPA batteries are next-level. A Canon BPA-60 will give you approx 400 minutes, that's over 6 hours of continuous shooting! I like the physical battery life indicator as well: ..super handy to quick check the levels of your spare batteries! it's little things like that, that can be life savers on the field.

Despite its name, the FX3 isn't a "real" cine camera imo. It's a re-housed A7S3. Plain & simple. Sony we're pretty lazy and didn't include any OS features from the FX line and obviously its missing eNDs, XLRs etc. R5C is also a rehoused R5 but at least Canon gave it a true EOS cine mode with Lut support, assist tools and even dual ISO. If it had IBIS and full HDMI, it would be close to the perfect hybrid. In the end both are halfway houses to an actual Canon C / Sony FX line of cameras. I much prefer C70's approach of taking top of the line C300mk3 DGO sensor and putting it in the most compact DSLR type form factor while still retaining ND's, XLRs on the body and bigger all day battery-life.

You're not alone with that thought, which is why many including myself left the system. The option to turn off chroma NR should definitely be there, especially since unlike in RAW stills there is no getting around it in video.. Like I've been repeating, this an infamous issue in the Fuji community. It's kind of a taboo subject though. Whenever it gets brought up, people usually dismiss it by saying shoot RAW. I still think its quite jarring as the jpg film simulations are a huge part of the Fuji-X philosophy. Again, for videographers there is simply no workaround this issue, hence this topic should really be brought to Fuji's attention imo.

Yeah not a fan of SD cards in general (consumer media with associated problems). And its true V90's are expensive and limited in size (I also use them with the R6). You do get two slots so it's more like 512GB before you need to do a physical swap. Not ideal if you shoot long events that require no interruption though. Kind of a shame to have to down res to 2K just because of that! Keeping the S5 for lower-budget gigs, rough-environments & handheld IBIS shooting is smart, I'm also on a cine cam + mirrorless setup depending on the job. Kind of a shame to keep hearing about the screen & joystick quirks, Canon's hardware is usually flawless. Guess quality control is slipping or maybe its just first-gen design quirks. The obvious main advantage should be IQ. I think you'll notice night & day improvement with your previous C200, which I've also owned and was really noisy and 8-bit. Being able to go FF with the speed booster is also super nice, just get the normal $100 adapter for your EF-S lenses.

A quick search on GFX forums confirms this: Same with my GFX 50S. The OOC jpgs have heavy chroma NR applied (with in camera NR -4). Developed raw, with NR off or low, moire false-colour artefacts become apparent (colours between dead white stalks in field below), though small coloured objects are retained - such as red berries on distant trees, even the subtle colour shifts in the autumn leaves is lost. The chroma NR removal of fine coloured information in the OOC jpg is great loss IMO. The bayer CFA of the GFX is v.prone to moire and false colours on hard edges, but not x-trans - with those sensors OOC chroma NR need not be so high. Fuji X jpg engine chroma noise reduction setting very high