Django

Actually, while picture profiles are the same in both modes, in video mode on EOS R / 1DX3 in the Log settings you have two color options: Neutral matrix & Original EOS Cinema. One could argue that for a video centric color accuracy test, cameras should be tested in their various log modes and have a standard Rec709 LUT applied and then compare results. I have a feeling that Canon in the Neutral matrix setting might be more accurate.

Mostly websites, forums.. my personal experience is pretty poor with Sony but it’s mainly because of WB issues. A7S had a massive green cast, A7S2 gave bart simpson skin tones. On FS7 i shoot in Cine EI mode so WB becomes irrelevant but you still gotta work on it in post. Fuji I found had one of the best WB and a nice roll-off. Film simulations are fun too.

well they use the same sensors to begin with... other than that I'm not really a fan of such tests it's like pixel peeping for color. thankfully there is no color accuracy category at film award shows

Don't worry about the R5 bashers. Haters gonna hate. Watch em come around in couple months.. CS is a tricky subject, there are a few dedicated threads about it here. Most of them don't end well lol.. Canon is known for their warm skin tones and Reds that pop. Clog is also pretty easy to grade. RAW 14-bit is glorious. Pleasing CS doesn't necessarily mean accurate colours though. Strangely you will often find Sony on top of color accuracy rankings. In the real world however, Sony are often last in the CS preferences. doesn't help their WB craps out as soon as mixed lighting comes in. That said I love Venice CS and shoot almost exclusively with the Venice LUT on my FS7. I haven't worked with recent BM cams but generally speaking the ProRes & RAW footage from them grades beautifully. My problem with BM is they can be unreliable cameras. Some Ursa Mini 4.6K had magenta cast issues for example. Very difficult to get rid of.

Oh I agree with you. I just don't think it's in Sony's philosophy to let imaging outgun cine division like that. It wasn't Canons either for years, story has it R5 was made possible by cine & imaging divisions working hand in hand (I assume last time that happened was with 1DC). I hear you on the cycle thing. They could also be kicking it back watching the completion unfold all their cards and step in later with a sledge hammer. Dangerous game though.

I don't see 8-bit RAW as a "flaw" but your initial FP review made it sound like a disappointment: Andrew Reid: 8bit and RAW are not good bedfellows, when people tend to look at RAW, they’re attracted to the fact that it’s such a high bit-depth because of the dynamic range is one of the biggest reasons people use RAW, and 8bit curtails that (like in Magic Lantern in 10bit / 8bit modes) This was probably before you had time to spend working on the actual 8-bit RAW footage. So I take it your opinion has changed? I have no doubt 8-bit RAW beats A73 8-bit. But how does it hold up to 10-bit RAW? What about file size? I also noticed FP had a few more cine/video oriented picture profiles such as the O&T you showcase in the article. What is your opinion on these profiles? Its really hard finding good video profiles on consumer cameras. I can only think of Eterna & Leica's Cine as really good dedicated ones. This appears crucial for the FP as it lacks Log. Any word from Sigma about that btw?

Deep Impact is a 90s flick, it was shot on 35mm film with an ARRIFLEX. Strange example to bring up in a CS discussion about digital cinema. I wanna say CS isn't an issue in Hollywood. They shoot the flattest log or RAW footage and then send it to a pro colourist who will dial it in. Recent Canon Cine Log tries to copy ARRI's Log C. Sony FX/FS have Venice CS. S1H/EVA1 I'd assume aim towards VariCam CS. Those are the industry standard. On most consumer cameras, picture profiles & log follow other standards. One of the reasons why cine cams rule imo is they can load custom LUTs and you can also paint in camera. Very practical when you're going after a specific look and don't have time/budget to grade log/RAW footage.

R5 took everyone by surprise. That said, the main problem as pointed above is FX9. An $11K camera that caps at 4K60p 10-bit. No internal RAW either. I doubt Sony will let Alpha series equal or trump XDCam series. Alphas seems mainly geared towards photographers now. Ironically Sony has become the new Canon.

Everyone has been pushing video lately, including Fuji & Nikon.. two outsiders. It's totally puzzling to see Sony take the back seat when the mirrorless market has never been so crowded & competitive. Surely they have something up their sleeve but it's a mystery why they are taking so long. My theory is they want to wow the public but keep getting sent to the drawing boards. They'd rather show nothing than tarnish their reputation as spec leaders by coming out with a non-showstopper. It's a double edged sword though as their alpha cams are falling way behind. edit: FX9/FX6 definitely don't leave much wiggle room for an A7S3.

What is sad is you’re trying to argue a case against someone deeply invested across multiple systems, including an FS7... while you’re out there blowing hot air “bashing shitty products”. Ridiculous indeed. You are just a troll man. Go away.

wow dream lens in every sense! I need to up my vintage glass hunting game, I never seem to come past these esoteric FD lenses. Sigma FP is also a fascinating camera. I wanna hear more about it. I tried it briefly at the store and was super impressed with build-quality, compactness and overall concept. That said it does have some major flaws: fixed screen, no EVF, no mechanical shutter, no IBIS, poor AF, poor battery life. pretty much a sensor in a box and then for video: 8-bit RAW internal, no Log.. and pixel-binning? Pretty niche camera at $2000. Hopefully some firmware adresses some of this, but I have to ask who is this camera for? Stealthy 007 agents? Action cam? DOP Scouts (Director's Eyeview certainly one of the most surprising features)? Seriously I can't quite figure it out. Yet oddly I do want one, just cuz it's so cute/unique (that's the gear slut in me speaking tho).

Whatever. At least I gave you an expressive response. All you got is hot air. Clearly sour Sony didn't deliver and now looking to jump ship to the company you been bashing for years. Hate? I find that hilarious actually. As for EOS R. One mans trash.. well you know the saying.

Lets move on from the catfighing. Color science preference is a pretty subjective field. Super8 I'm curious what do you find is so horrible about the BM P6K color science? I watched the footage and didn't notice any distinctive flaws. Personally I'd say all current gen cameras have pretty good CS. Sony still struggles in mixed lighting. Black Magic had tint problems on some previous gen models, but not anymore I think. Canon are renown for their skin tones. Shoot RAW or Log anyways if you wanna grade and add your own flavour.

What a bunch of nonsense. You think you know me but you don't know shit. I'm probably one of the most brand agnostic persons around here. While I have my preferences when it comes to camera companies for various subjective reasons, I started photography on Nikon equipment and still shoot film with them. Did a lot of work on the D750. I was one of the first here to go all-in the Fuji hybrid revolution with XT2. My favorite camera is my Leica M9P. I've owned the A7S2 and I also currently own a Sony FS7, my professional workhorse. Finally I won't hesitate to rent a RED/ARRI or whatever if budget/crew allows it. Oh and I won't even go into lens manufacturers. So you see trying to pigeonhole me as a Canon fanboy is pretty ridiculous. Its not cuz I enjoy a particular camera, that I hate others. I stand by my word about EOS R. As flawed as it may seem, for my personal usage its a great hybrid. Laugh all you want.. IDGAF. I work within camera systems. The body is only one element.. That said, I never stated EOS R was perfect or better than any other camera. I only defended it against attacks of those that thought it was a useless POS. Most of whom never even picked one up. And that's one thing I don't understand in these forums is people talking shit about gear they have never touched or have any intention of using. That to me is true fanboyism. Cuz see you're attacking me for a camera I appreciate. It's so stupid man. Doesn't make me a Fanboy. It does however make you look like a Hater.

I knew Sony would flake on us... again. A7S3 is vapor ware. XDCAM managers are too afraid to give Alpha line the kind of power it would need to compete. They’re basically in limbo over that camera. Meanwhile Canon leapfrogged the whole industry and are going for the kill. Its funny listening to the R5 bashers, most of them shook fanboys. When Canon falls behind, they get ridiculed. If R5 had normal specs, they would say they are late to the party. Now that they’ve exceeded everyone’s expectations, they claim it’s overkill. In Japan 8K isn’t that far fetched, some channels are already broadcasting it. Apple has had 5K iMac’s for years, and I saw today on YT an 8K laptop review. Speaking of YT they already stream 8K content and it already looks pretty crazy on my 5K iMAc Pro. 8K will allow you to crop & get even better 4K. While nobody here really needs it, it’s still cool it’s there and trust me it will pave the way for other 8K cams, computers, monitors etc. And first and foremost content. 4K120 is also pretty damn sick considering 4K60 is still absent from most FF cams. I won’t even talk about internal RAW, ergonomics or CS.. Anyways it’s funny seeing how the tables have turned in just a generation gap!

I'm honestly thinking about dropping my C200. Can't really justify keeping it alongside the FS7 in the current climate (even though on CS, ergonomics, DPAF & RAW capabilities it crushes the FS7). I'm holding small hope for a middle codec but if not it'll be up for sale soon which really bums me out.. 😒

In terms of I/O, EVF, Ergonomics, ND, exposure tools, LUT support, battery life ..etc any dedicated cine cam obviously crushes a sports DSLR or even a MILC! I think that's pretty obvious. The news here is that on resolution, codecs and HFR.. Canon is not only no longer putting out inferior specs but superior ones in some instances which is quite surprising. I have no doubt that Dynamic Range & Rolling Shutter will still be on top of the cine side. But still I don't think many saw this coming, especially from Canon. I'm also glad they're starting to unlock their "lower end" cine cams. Also a sign they are shifting strategies for the better.

You seem awfully sure of your predictions. Almost like some of you are strangely anxious to see such limitations arrive. Against that train of thought I have one model name: 1DX mark 3. 5.5K Raw, 4K60P. FF. No crop. Full pixel readout. 10-bit. Passive cooled body. In a few ways that camera already surpasses the C200 / C300 mk II specs. Clearly Canon are changing strategies. They are maxing out their flagship DSLR/MILC range. Even if those limitations you speak about exist, they will basically be law of physics limitations. I don't see how that could possibly be considered pulling a "cripple hammer"? They just announced a bunch of updates for their cine line too btw: Canon U.S.A. Announces a Host of Firmware Updates for Professional Imaging Products Looks like instead of crippling their consumer cams they are now looking to upgrade their cine range specs. Surprising to finally see SDI + HDMI support on the C200. I'm really hoping they go all the way and unlock 10-bit codec.

Why are you getting so worked up bro? I gave a sensible explanation. all you seem capable of is personal insults. Who's the one not only acting insecure but immature? Nobody here care what your work buddies use/don't use. Topic isn't "Show & Tell School Day". I never had an interest in Panasonic cameras. You don't see me in Panasonic threads talking shit. Ease up or GTFOH.

Sorry my bad.. replace butt-hurt [Sony] fanboy with [Nikon/Fuji].

Looks like my comment has got some Sony fanboys triggered. Canon actually had their Cinema division work hand in hand with Imaging to produce R5. That’s how they leapfrogged the competition. I stand by my words, only Sony can compete in this FF hybrid battle due to their AF & sensor advancements. But they will have a hell of a hard time matching let alone trump Canon on this one. The specs are out did you not get the memo? 8K / 4K120fps + IBIS > 5.9K / 4K60p + EIS Obviously the C500ii has a slew of other advantages that are proper to Cine cams of that price range but on resolution, HFR, stabilisation.. YES the R5 outperforms the C500ii. And on the codec front they are similar which is also unprecedented considering the C200 doesn't even have 10-bit internal. Log options, recording times, media, I/O, NDs etc.. obviously all goes to the C500ii. What you can't seem to get a grasp on is that it's a first for to have a consumer line hybrid stills cam outperform a dedicated cine cam on both resolution and HFR.. as well as equate it on codecs and sensor size. That alone is huge and a total game changer. DR & RS? Of course it will probably still tilt towards the cine cams. C300iii even announced a breakthrough in the DR department. Canon aren't crazy, they will not stop developing & innovating their cine line, I never ever stated that. Their strategy however is to stop pulling the cripple hammer on consumer division. They've realised the +$10K cine market isn't the same as their consumer hybrids and that there is little to no risk of cannibalising these two markets. If anything, pros will buy BOTH cams for A/B purposes. Again this is a giant game changer as far as imaging/cinema strategies within a Japanese company. I know its hard to believe this is all coming from Canon, a brand many had lost all hopes, but it's true. These are all FACTS, not some dreamed up unicorn A7S3 R5-Killer Sony fanboy wishful thinking. If you don't realise that, then you're the one who should take your own advice and get a grip on reality.

With these monster specs, Canon is really aiming at crushing the competition, and possibly flushing out Panasonic & Nikon from the FF hybrid game. Sony are indeed the only ones that are capable of competing but that would mean making a camera with higher specs than their new FX range and that's going to be a huge dilemma for them. Heat management is also going to be a major problem for them in their current form factor, and Sony prizes themselves on their compact products, they hate the idea of going bulkier on future models (dates back from the Japanese miniaturisation philosophy on consumer electronics). I honestly don't see any camera company challenging these specs for the forseeable future. Its kinda nuts what Canon are achieving here!

Yeah well better early than late to the party! (by the way, R5 production is also delayed until probably Q3/Q4)

Also let's not forget the FF mirrorless market has become crowded: Canon, Sony, Nikon, Panasonic, Sigma, Leica.. Seems Canon wanted to leapfrog everyone in time for the Tokyo Olympics.

Of course it is real IBIS: For the first time on any Canon camera, 5 axis In Body sensor movement Image Stabilisation is offered which works in harmony with Canon RF lenses to combine Optical and In-Body Image Stabilisation to provide the ultimate in shake free super-sharp images and movies. https://www.canon.co.uk/cameras/eos-r5/