Django

this camera is getting interesting.. RAW LT options is a nice surprise. Looks like Canon finally has an efficient RAW codec. by the way what resolution & crop factor does this correspond to: 2976 x 1570 (Super 16mm) ?

The C70 codec is definitely soft compared to the C300 mk3. This guy shows a direct comparison: C200 is also very soft when using XFAVC vs RAW Lite, so hopefully on C70 the RAW Lite will add the missing sharpness/detail. I must say adding such a compressed RAW codec on the C70 really seals the deal for me on that cam. Was not expecting such a major firmware update from Canon neither.

It's a high bitrate h265 so like any camera using that codec its a PITA if you're using a non M1 Mac. But if you upgrade to even the most basic $999 M1 MacBook Air, the codec becomes a breeze! Can't comment on the Raw but file sizes alone sound like a nightmare to manage. Well concerning "photography features" imo either two things: they'll remove the EVF like Sony did on FX3 or the price will be indeed be upwards $6K. And at that point the R3 could be a competitor. Or R6 + second hand C70 which is the combo I'm looking at right now. There will be a catch with the R5C imho. cripple hammer or insane price.

It kinda sounds to me like Canon is pulling a Sony FX3. So basically a rehoused R5 that allows cooling. Canon have never put any exposure tools like WFM outside of the C line so I wouldn't expect it here either. Personally I'd still pick a C70 over a R5C for video. ND's, XLR, all day battery life, DGO sensor, exposure tools, anamorphic support etc. All that matters more in the real world to me than resolution or even IBIS.

It can't be viable for Canon to have two mounts to cater to. Clearly the future is RF. And hence at some point they have to kill off EF. Personally I have an R6 but no L series RF glass. I find them too expensive and plasticky. I like vintage glass on modern sensors anyways and some EF designs are really starting to feel "vintage"! The RF lens range is also still pretty incomplete. Still not a 35mm L series lens which is insane imo (the 35mm F1.4 L EF II still being my all-time favorite). As for DSLR yeah they will be missed. I still have my 5D classic. Do love optical viewfinder and all-over ergonomics and reliability. My R6 feels like a toy in comparison and single point AF on the joystick feels cumbersome. It's like something got lost in translation with the jump to mirrorless. If I were a sport/action shooter no doubt I'd cling on to any 1DX vs mirrorless.

Sounds like the C70 may not be for you. But really you just can't compare it directly to a S5, R5, A7S3 etc. You should compare it to your C200. So yeah no IBIS is pretty standard across all cine cams. I think I prefer the Alexa type DGO sensor to a dual-gain ISO sensor. It's not so much about high ISO but the fact that you can pull back so much clean shadow information. Just need to expose to protect highlight. About the AF, supposedly the last firmware update improved it substantially. Maybe a C70 user here could confirm? Finally the RF mount + Speedbooster, I think is the main appeal of the camera! You're stuck on EF glass in S35 with C100/C200/C300/BMPCC6K. Here you get FF FoV + extra stop on your EF lenses so lowlight is actually improved. You can also use adapters so RF mount all the way. The R5 downsamples from 8K. BMPCC 6K. Of course they're going to be sharper. That said, C70 seems sharper than the very soft 4K coming from C200/C300.

What's wrong with its build quality? I mean I'm sure its no RED/ARRI but does it feel any worse than a C100/C200? All the C70 reviews I've seen say it feels a lot more solid and substantial in hand than let's say a BMPCC6K. It's all relative to what you compare it to I guess. R5/R6 feel a bit on the cheap side compared to their DSLR counterparts imo. R3 looks like a major step up in build quality.

I remember testing the XC10. On paper it seemed like an affordable C-line camera but in practice I remember problems with WideDR & CLOG. I dismissed that camera immediately because of that. Getting back to the C70, a super nice feature is the possibility to import LUTs directly in the CP settings. So you could bake in CLOG with a tailored LUT. This alone is a game changer for my workflow. I have this setup as well on my FS7 in Cine EI mode (usually with Venice LUT). For fast turnaround projects with a specific look in mind this comes clutch. Again key feature missing from the hybrid R line and the A7S/FX3.

I think that has more to do with the XC10 and its 1-inch sensor. WideDR on the C100 worked great with no noise problems and that's also an 8-bit camera I also use an R6 and yeah the 5.5K oversampled FF 10-bit 422 h265 codec in CLOG3 can achieve excellent results. Dare I say the IQ might even be slightly better than C70 thanks to the oversampled 4K? But the DR isn't great and neither is the RS. And then you have battery life and the overheating. I had an all-day interview recently and was using R6 as B-cam to a C200 and the timers started dropping after about 2.5 hours of shooting. It never actually overheated but I had to pull out battery in between each take. Nightmare situation. Its because of that I want to replace it ASAP with a C70 for commercial work. I'll keep the R6 for establishing shots, gimbal work and photos but never again for any prolonged sit-down situation. This also excludes the R5, just not worth the stress. I guess the R3 is the only latest-gen Canon hybrid without overheat. Well the Komodo shoots in 6K and its 4K is oversampled from that so of course it has sharper more detailed resolution. In tests I've seen the 6K RAW is just phenomenal as far as DR highlight recovery. Best in-class. Still I'd probably just get the BMPCC 6K Pro because of the ND's and 1/3rd price. It ain't RED though!

Nobody has an A7IV, it hasn't released yet. Here was a thread here about it: https://www.eoshd.com/comments/topic/56655-sony-a7-iv/

Gorgeous! C70 ticks so many boxes for me. It really sounds like the perfect cam for my needs (A-cam for an R6 replacing C100/C200). I feel its really under-rated because of its form factor and no RAW or 6/8K. At it's price point it's competing with the C300ii/6KP/Komodo/R5/R3/FX3/FX6. All great cameras but the C70 really sounds like that perfect balance between all of them.

Also I just realised C70 has anamorphic support & de squeeze (1.3x & 2x) meaning its compatible with the affordable SIRUI 1.33x lenses now available in RF mount. I think that seals the deal for me on the C70!

Interesting, I'm actually hesitating in between a C70 & a used C300 mk2. They're about the same price. Could you expand on why you find the C300 much better ergonomically? I always thought that tall form factor with the clamshell display & XLRS on top was poorly regarded. The more compact DSLR form of the C70 seems more versatile while still maintaining the side buttons etc? The RF mount with the speed booster is also a big advantage. How do you find the FF IQ with it? I heard the speed booster holds up much better than Metabones on EF glass IQ wise. The only drawback I can think of on the C70 is the SD cards. I hate SDs. They always crap out. Oh and the C300 mk2 has that 12-bit 444 2K option which has got to give the best colours after RAW. The R3 looks awesome but has all the caveats of hybrids. Btw, can you magnify while recording on C70?

C300 mk2 does 4K 422 10-bit and 2K 12-bit 444. It totally crushes the 1DX2 IQ.

It's my impression from the online reviews that only h264, h265 & ProRes 422 HQ will be available at launch: 8K/30p capture and 4K-from-8K, with ProRes 422 HQ option 8K/60p, 12-bit 8K N-Raw and 4K ProRes RAW to be added with f/w it'll definitely be interesting to see what kind of bitrates and compression rates will be available!

While this camera ticks many boxes, it remains a 6000€ sports hybrid.. just like A1/R3. I think it takes a very specific (Nikon) consumer to drop that kind of cash on that type of mirrorless. It's great news though Nikon have finally made all these breakthroughs, and one can only hope some of it trickles down (ProRes/ProRes RAW/NRAW) to a more affordable all-rounder like a Z6 III. Competition is good for us consumers no matter what system you're on!

First Nikon Z I'm genuinely excited about. 8K60p / 4K120P. Internal Log, Raw, ProResRaw & ProRes 422 HQ!! No overheating problems and good RS performance. I mean damn could this be the full spec no compromise pro hybrid?! Even the price is a nice surprise. Well done Nikon!

If the latest rumours are true, Z9 will be without mechanical shutter. I don't understand how flash sync would then work ? I guess we'll find ut tomorrow..

There's a sports guy on this forum (I forget who) that shoots 8K & 4K120fps on a Canon R5 for video AND stills. I thought that pretty clever. Of course its debatable wether not we're really talking photography (as an art form) anymore but I always assumed that in pro sports shooting the ends justify the means no matter how ridiculous the camera specs or the lens..

My point exactly. Those DXO charts don't give you the full picture. Maybe Schott likes an optical viewfinder, DSLR ergonomics, no AA filter etc? Maybe he doesn't like to use adapted EF lenses on a RF mirrorless (I can tell you first-handed the performance isn't the same). Like I said some people even still shoot film. DXO charts are irrelevant when it comes to subjective preferences! In any case the 5DS at 50.6MP is hardly a camera to shrug at even by 2021 standards. Can't say I agree with this. We were all amateurs/hobbyist before becoming pros (not to mention none of us are pros 24/7). Thank god I didn't limit myself to compact p&s or smartphones. Nothing wrong with hobbyist/amateurs going FF. An R6 or A7IV is mid-tier prosumer gear anyways. Just saying.

120fps is in DX crop mode only at a reduced 11MP. So essentially 4.2K @ 120fps in APS-C.

5DS/R is still a studio workhorse. Few FF cameras still surpass its 50.6 MP resolution including R5. And with the lowpass filter cancelation its sharpness is another asset for certain types of photography. Like a lot of filmmakers, my passion started out with photography at a young age. My first SLR was a Nikon and it got me infatuated with FF lenses. Fast-forward to the Canon 5D series which was my gateway into FF digital. I actually still own and use my OG 5D mk1. It has this look I attribute to early digital sensors I can't get from newer Canons. Same thing with Nikon which I actually went back to right around D700/D750. D700 also has a special mojo sensor imo. Same with Leica and why I'm sticking to the pre-CMOS (CCD) M9. And then obviously there is film, which has made a huge comeback (well some will argue it never left). So yeah basically I agree, not only do I think still bodies plateau'd a long time ago, there are instances where older tech gives out a nicer image, subjectively speaking. Kind of like how in cinema the OG ARRI Alexa still gets praised even though the sensor and resolution are archaic by current tech standards. Let's not even get started with vintage lenses! That said this is all coming from a sort of irrational nostalgic pov where mojo trumps DR, Resolution, AF etc. For video/cine its indeed a different story. codecs, resolution, AF, exposure aids, media storage etc have been constantly evolving in the last ten years. Things like eye-track AF can be life savers in solo run & gun situations. Having such a reliable AF means I can focus on other things (no pun intended) during a shoot.

8.6K 😉 Just kidding but it's going to be up there with R3 as its their flagship pro sports shooter. Other interesting rumours about it are internal N-RAW and/or ProRes Raw. No mechanical shutter as I guess those readout times pretty much eliminate RS?

EOS R has that horrible 1.7x crop when shooting 4K. Its basically a FHD FF camera. Also it doesn't do internal 10-bit 4:2:2 or Clog3. I had EOS R and honestly do not miss it one bit for video. R6 on the other hand has the nicest FF IQ I've seen on any Canon. The overheating on R6 is real but since the latest firmware updates I haven't experienced ANY overheating. I've been on ALL DAY 4k shoots and no overheat. I don't shoot more than 10mn clips though so my user case may certainly be different than others but thankfully for me the overheat has become a non-issue. I even left the camera on accidentally during 12 hours once and it was ready to shoot the next day no problem so it looks like they've been using some clever power management which wasn't the case at first when it was timer based. Btw, Potato Jet made the A7IV overheat in like 12 minutes in his 100 degree test. I guess if you're shooting in that kind of heat, most hybrids will fail after X amount of time.

The gap is closing imo. Especially in daylight conditions. It's in mixed lighting Sony white balance infamously struggles, not a big problem to fix in post though. Video comp? Quick google search pulled this one out: