Django

- DPAF (slaughters Panasonics DFD AF) - Native lens selection Nothing odd about it. If ain't broke don't fix it. 1D line has never been about resolution. And I'm pretty sure we're approaching mechanical limits for FPS. What does matter and has vastly improved in the Mark III is: 10-bit HEIF (vs 8-bit JPG) AF (28 times the resolution, almost 100% coverage, new deep learning AI tech, eye AF) MF Peaking, Focus Guide FPS (16 to 20 vs 14 to 16) CFExpress (five times the buffer depth) Twice file transfer speed ..etc This update is a lot more substantial than lets say the A9 II which rehashes the same sensor, AF system, burst rate.. and (8-bit) video specs!

I rarely shoot pro work as a one-man band these days so yeah I’ve got access to a sound operator whenever needed, other times a wireless lav system might suffice. XLR inputs aren’t for me the main reason I use cine cams. Having multiple (SDI) video outs for director/recorders, proxy recording, ND filters, battery life, no limit recording times, in-camera LUT support, Paint tools, Cine EI etc are the types of features I’ve grown to rely on. Still I find it quite amazing you can now get 10-bit, 5.4K RAW video inside a FF hybrid stills camera. Wasn’t expecting it this soon in a Canon either.

I’m a C200 shooter and am considering 1DX3 as an A/B cam. C200 can’t do 10-bit or FF. Come to think about it the 1DX3 + Atomos V could probably replace my EOS R, 5D, C200 & FS7! ?

What about the A7SIII / A7S?? I thought it was being announced soon? A 15MP Sony Mirrorless Camera will be Announced Soon

Simple: none of those cine cams can shoot stills. 1DX3 is for hybrid shooters who are invested in Canon ecosystem and will be using it as a A/B cam. Besides, the C200 can't shoot 10-bit, and the EVA1/FS7 can't do internal RAW nor do they have DPAF. The FX9 is $4.5K extra and can't do internal RAW either. So on the video level alone, the 1DX3 punches way above its weight/class despite what all the naysayers have to complain about it.

Again I do not see many limitations to the 1DX3 aside from its price tag. 5.4K internal RAW is actually a first inside a FF hybrid. Just like when 1DX2 introduced 4K60p inside a DSLR in 2016. As for the Pro EOS R, I believe that won't be EOS R MK2 but a much more expensive high-end model. They need to move those pricey RF L lenses, and if those are anything to go by I don't think Canon will go low on specs for their eventual flagship high-end model.

I find the overall specs pretty impressive, especially for an action/sports DSLR. But it's clear that at this price point & form factor, 95% of the people on this forum are outside the target audience. If/When these specs trickle down to the Pro EOS R model with RF mount & IBIS, is when people here might take notice.. Btw... the only other hybrid cams that can do internal RAW are the BMPCC 4K/6K, both of which are crop sensors that can barely do stills and have zero AF & the Sigma FP, also a lousy stills shooter with no EVF and an AF so poor it makes Panasonic's DFD AF seem stellar. Again no AF during RAW shooting seems a reasonable compromise imo (most pros shooting 5.4K RAW will be using manual cine lenses anyways).

10-bit DCI 4K60p, 5.4K RAW.. etc yeah yeah another bad joke from Canon! Thank god Sony is here and will now include 10-bit in the A7S Unicorn. Get with the times, Sony is the new Canon. A7S3 should have dropped 18 months ago, hell they're already on mark IV generation with people still waiting for the mark 2 successor.. ?

^ lol.. I'm confused as well. here is what cinema5d (which is the site androidlad used for his DR assessment) has to say about their own DR tests: One word about image scaling: if you scale the Sony FS7 image from UHD to full HD (1920×1080), you get an increased dynamic range in IMATEST of about 0.3 stops in the Sony FS7 example (resulting in 12.4 stops), as the downscaling averages 4 UHD pixels into 1 FHD pixel thus lowering the noise. Another argument for 4k acquisition and 2k delivery. What happens by downscaling and how is the dynamic range increased? Well, the signal value of four neighboring pixels has a high degree of correlation (luminance will be roughly the same), whereas noise for those pixels in general should show no correlation as it is random. Now, by downscaling (or averaging) four pixels of an 3840×2160 image to 1 pixel of an 1920×1080 image the signal value should stay very much the same, but the noise value will reduce because noise is random (uncorrelated), hence averaging (or in mathematical terms the root mean square value of noise which is measured in the recorded image) scales with the inverse square root of the number of samples that we average. Hence 4 pixels into 1 gives a factor of two (sqrt(4)=2) higher signal to noise (SNR) ratio. Higher signal to noise ratio for a given luminance = higher dynamic range. The cinema5D Camera Lab is Back – Dynamic Range Tests also interesting to note there an increase in DR with h265 10-bit intra vs h264 and a full stop of gain from UHD h264 (12,1) to h265 UHD->FHD (13) in the XT3 results.

Don't forget it's 5.6K RAW so downscaling to 4K should give better signal to noise ratio (hence increased DR). Anyways I guess we'll have to wait for real-world tests to find out..

all that test shows is that 2016 1DX II footage has similar DR to the 2013 1DC using CLog1. not sure how you make the jump to the 2020 1DX3 having similar DR even though it's a new sensor and camera that can shoot Clog2 & RAW, none of which the aforementioned cameras could do.

C-Log should definitely add an extra stop of DR. Usually around 12 stops on Canon DSLRs. Raw should give you extra wiggle room so perhaps 13.

1DX II didn’t have Log so I think we can expect better DR in this model. Overall pretty great specs imo. Looks like we’ll finally get FF 4K no crop on a Canon hybrid. 6K RAW internal is a pretty big surprise and if FF no crop a class leading feature on a hybrid system. No AF on 6K RAW & 4K60p seems like reasonable compromises for everything else you’re getting.

F900 recorded internally to HDCAM tapes which was a 144mbps 8-bit codec. However the cam could also record 12-bit uncompressed via external hard disk as 2002’s Russian Ark was shot. In 2003, Sony introduced HDCAM SR media that could record 10-bit 444 with data rates up to 600mbps. So actually the 21 year old F900 was light years ahead of the A7iii as far as recording options! Of course that doesn’t take away the great IQ from A7iii but codec wise I believe it is in last position compared to its FF mirrorless competitors.

Actually the kings of DR is D850/A7RIV with 14.8 DR (DxO rating) followed by Z7 with 14.6 stops. I know the Z6 has better low-light and no line-skipping but any idea how Z7 will fare with the RAW upgrade? I think I read it will only output it in DX/APS-C mode? I still need a high-res OLPF-less hybrid in my arsenal, wondering if Z7 might be a worthy choice.

Hey better late than never. I've shot with the Z6 recently and really love its ergonomics, Z-mount primes & overall IQ/color science. With ProRes RAW it only gets better but yeah it's really a big shame you've got to A. send your camera in to Nikon B. no internal RAW (or even log right?).

You can't talk about the new MBP without talking about its potential shortcomings and alternatives. Just like in any other gear thread. I understand it might be annoying if you have no interest in switching systems but it's inevitable these things will be brought up. Btw, a pretty thorough video was already posted showing the video editing performance increase you can expect with the new MBP.

Yeah the whole point of upgrading is to say adios to proxy workflows etc.. That said I'm going back & forth myself with various (Mac) options but also including a Lenovo ThinkPad / ThinkStation for my pro audio/video needs. Lenovo is the only PC brand that imo competes with apple (no surprise they used to be IBM) on specs/reliability/design etc. The new ThinkPad P1 Gen 2 offers Xeon/i9's, dual SSD drive options, 4K OLED display (!), a multitude of I/Os (USB-C, USB3, SD card reader etc), arguably the best keybed experience and of course upgradability. In a rather sleek sexy black matte carbon package: That's all pretty sweet for a laptop VS the 16" MBP and the 4 USB-C ports forcing you to always have dongles connected etc.. I have no idea though performance" wise what that laptop is capable of compared to a MBP 16" and again I'm really weary going back to PC land because of virii, hardware compatibility issues etc. but damn I'm pretty tempted to pull the trigger (crazy cyber monday deal too at the moment!) especially considering I don't use FCPX or Logic.

It’s a different business model though. ARRIs get mainly bought by rental houses and Hollywood studios. REDs are owned by successfull DOPs & production companies. Hell the Raven was even sold on the Apple store: https://web.archive.org/web/20170903102810/https://www.apple.com/us_smb_78313/shop/product/HK8Q2ZM/A/red-raven-camera-kit-final-cut-pro-x

Sony only competes with RED on Venice level. Sonys mirrorless offering is imo in awful shape for serious videographers & filmmakers in late 2019 with one of the lowest bitrate 8-bit codecs and no clear competitive video oriented solutions (cough *A7S3 AWOL*). And even when you step up to the FS/FX line, Sony has no direct internal Raw options unless you fork out for a $2K add-on device. In short, Sony shouldn’t even be mentioned in this discussion imho. When you think of RED, you think of their game changing compressed RAW. REDs move into sub $7K cine cameras is mainly to counter BMD, Z cams, C200/1DX3, and all the other cams that may offer RAW, BRaw, ProResRaw etc for under 10 grand. As compressed RAW patent holders, REDs main concern is that if they can’t beat the competition in court, they can try in camera shops with something like the Komodo.

RED’s vision to have an affordable entry line goes way back to when they were talking about 4K for $4K. That never quite materialized but it seems now they finally might achieve it with 6K for $6K. It still does seem kinda too good to be true so the skeptic in me is either anticipating a price hike or specs not being met and indeed in any case a very limited number of actual production units. Their last mainstream project, the Hydrogen smartphone was a total flop with long delays, promised specs not being met and then ultimately the project being killed. Wishing them the best on this one as I really want a Komodo with those specs and price point but time will tell if that’s really the case..

SB’s usually degrade IQ to varying degrees, especially edge sharpness so I’d like to see the Metabones SB 4K compared to non-SB 4K as well as FF FHD. And obviously AF speed (with latest firmware EOS R has finally got a usable continuous eye-AF so that might be a good stress test). The control wheel feature with clickable function is also a super nice added touch, I don’t even think the official Canon adapters have got that click function (which Metabones claims can be set to DoF preview etc) so I wonder how that works.

It’s about time so I may order one although my biggest complaint with EOS R’s 4K is the horrendous rolling shutter. ..incidentally global shutter on Komodo is a massive appeal and could potentially kill 1DX3 sales for action videographers etc..

I think they also need a solid semi mainstream hit after that smartphone fiasco plus all the recent bad press they got. Some of those revelations like the cheap rebranded SSDs etc could honestly sink sales from such a niche company. It sounds like an effort to avoid criticism that they are now using non proprietary media storage. Anyways, this may well be my first RED product ownership and that does get me excited. Can’t wait for some more details..

APS-H? interesting.