Django

The guy has done his homework.. he is heavily invested in Canon glass, that’s why he chose 5D4 & 1DX2. Sony/Nikon DXO scores are therefore irrelevant. He wants the best FHD in Canon ecosystem. 5D4 & 1DX2 are soft in 1080p & shoot 4K in MJPEG making downscaling cumbersome to say the least. Cinema line models pros/cons have already been covered and he’s not interested in switching systems as you lose Canon DPAF/CS. EOS R is I think the only option that hasn’t been mentioned. In FHD crop mode it shoots a very detailed 1080p downscaled from 4K. Unfortunately it retains the severe RS and heavy crop.

..well here is a recent test showing just that (C100 external to ProRes upscaled to 4K vs C200 4K internal): other than high ISO noise level, IQ is astonishingly similar imo!

no, after going back & forth I went for a used FS7 with speed booster. I now get FF coverage of my Canon glass in up to 4K60p 10-bit. I do miss DPAF & color science is nowhere near canon so may still consider C200/C300ii.

Haven’t followed this discussion closely but C100/C100mk2 with even a Ninja Star recorder will give you super sharp 4K downsampled 1080p with minimum compression. Definitely the cheapest way to get the best FHD quality out of Canon ecosystem imo (ML RAW aside).

XH2 or XT3S (XT3+IBIS) would be an instant cop.. crossing fingers.

Nice upgrade but some strange omissions indeed. No touchscreen for that A9 AF also seems like a gross oversight (when the $6,500 C200 does it). Guess we’ll now have to wait & see what the FX6 will bring to the table..

Yeah if anything this is looking good for A7S3 release. Sony had to give FS line a substantial overhaul before introducing a lower-tier alpha bombshell.

Be careful not to confuse product segmentation & tech limitations. The 4K crop is because Canon likes to do 1:1 read-out for 4K. That is why the 1DX2 has 1.3x crop, 5D/EOS R 1.74x/1.8x & EOS RP 1.6x. It isn't some kind of on purpose crippling. Sad truth is Canon are lazy & slow to adapt. That is why they recycled the old 5D4 sensor inside EOS R and still haven't implemented IBIS anywhere. By the way, EOS R may be top of the line MILC for now but it isn't actual flagship status as they've hinted towards upcoming pro model.

@Mattias Burling Any word on Kipon about a EF-RF Speedbooster? In other news Canon just announced Eye-AF & Subject Tracking improvement firmware:

so i take it the goal here was not to exceed expectations..

Seeing as this cam is on a line above the already $10K C300 mk2, I think it is safe to say this will be in the $15-20K zone. So I'm sorry pal but nobody will be selling their FS5/FS7 for a C500 mk2! Not even close to being the same market. If this camera does succeed it'll be in the rental market.. Personally I'd be more interested in a $5-8K RF Cine cam from Canon.

My only regret was that I didn't buy it earlier.. so sorry I gotta go with Mattias on this one. Best affordable entry level lens imo too. I paid $450 for it at B&H by the way with a free filter, so more like 400 euros which is a steal.

Who said anything about investing 5-8000€ ? EOS R is 2300€ and all I had with me most of the time was the 500€ RF 35mm F2 IS Macro (super versatile lens). I used my summer vacation as an example but EOS R is way more than just a travel camera. I've used it on several personal & professional projects this past year. Also I haven't "gone Sony". I've been on multiple systems before, one doesn't cancel the other. I use whatever is the best tool for the project/situation. Sometimes it's Canon, sometimes its Sony.. Or Fuji.. Leica.. RED etc. People online are way too bent on this monotheist brand agnostic sentiment imo..

I recently purchased an FS7 for work related purposes, and while I'm delighted by the specs & robustness of the high bitrate codec.. SOOC my EOS R smokes it in colour department. EOS R was also the only vacation cam I had this summer across southern Italy & Sicily. Shot mostly standard, one-handed with DPAF. Footage is just marvellous, hardly any correction needed and not a single out of focus shot including tricky high altitude bits above Etna volcano. Couldn't think of a better camera to travel with. So yeah sometimes specs aren't everything.. Now about lack of 24p, it is quite odd since Canon cameras that lack it do offer 25p in PAL modes so it seems they "cripple" NTSC region only (US/Japan)?

newsflash.. camera companies segment their products! while canon may be more obvious at doing so, all others do it as well. fuji only does IBIS on XH series, panasonic released S1 with crippled audio, Sony keeps low bitrate codecs on alpha series to protect XDCAM line. etc while removing 24p as a R&D cost saving feature is simply a ludicrous theory, some other limitations may well be hardware barriers.

Well it's an APS-C camera so there will be a 1.5x crop regardless of resolution.. just sayin'

Push Focus on EOS R with the 50mm F1.2 wide open is blazing fast (like maybe 0.4ms). AF continuous takes about a second to transition a focus pull from +2m to near distance (with the AF settings I have). It's even faster on my 6yo C100 mk1 DAF.

"Affordable" for RED means +$5K... BMD is imo the only ones truly bringing affordable RAW cameras to the market. Mattias brings up a good point though, if RED code is indeed lighter on your NLE.. you might be saving big bucks on a computer system upgrade.

SR2 only so take it with a grain of salt but this would really make sense for Sony to do as well as pave the way for A7S3: https://www.sonyalpharumors.com/sr2-sony-e-mount-camcorder-rumor-fx9-with-6k-full-frame-sensor-and-dual-base-iso/ If true.. 2019 would really be the year of 6K cameras!

I have no idea about "mount licensing fees".. always assumed camera companies would encourage whoever to use their mount as that means more lens sales but who knows.. my guess is BM went EF as it's the most popular/well-known mount.

One thing RED did right to outsmart BM is use RF mount: future-proof, allows numerous adapters including canons Vari-ND adatper..etc All new Canon mount cams should go RF imo.

I just bought an FS7 and as I mentioned in the thread I started about it, the skin tones SOOC are vastly inferior to what I effortlessly get out of my Canons. Thankfully though the beefy 600mbps 10-bit 422 XAVC-I codec makes up for it and grading has never been easier. Slight temperature/tint adjustment. Throw down the Venice LUT and I'm in the zone. Still that's an extra node or two (times as many clips as you have). The FS5 mk II sole and unique "upgrade" (more like a fix) was the Venice CS. That kinda says a lot about Sony CS! To be fair though, a lot has been improved since A7S2. We're still nowhere near CaNikon/Fuji CS but things are more neutral now. Canon does have some kind of magic sauce when it comes to skin tones & red signal. It just really pops. Seem to remember it has to do with how the RGB is processed.. The original 5D for stills and 1DC / C100 / 5D3ML for video are still my favourite Canons when it comes to CS. Leica CS (pre-M10) is yet in another league imho.

..what do you think about THAT?? LOL

kinda underwhelming on the video end. specs are identical to last years entry-level A73 aside from Eye-AF.. then again yeah, R model is landscape / studio stills oriented camera line.

Not surprised. It's too late for a Mark III type body. Sony needs something fresh after all the competition FF releases, Mark IV Alpha design makes sense. Next A7S might be A7SR or some moniker like that..