Django

That's incorrect, EOS R shoots FF in 1080p. For stills, the extra 25% MP increase is definitely appreciated. 30MP is a nice IQ/file size ratio imo. Internal C-Log, 400mbps ALL-I codec, Dual Pixel AF, Vari-ND adapter, video exposure meters, no HDMI lag, vertical battery grip, better native lens line-up...

You misread me. Never said Netflix don't accept recorder footage. Just that they filter out potential transcoders (among other things) by requiring cams that fit their minimum requirements. Lines are more blurry when you consider ecosystems. GH5/EVA1 and soon S1 are all broadcast ready which can suit certain types of shooters. Besides GH5S shares same sensor as BMP4K which is clearly "cine" oriented.

Yeah but it became the industry standard for a reason. again the ecosystem. By the time FS7 was getting popular, most low to mid videographers had moved over to Sony Alpha mirrorless system. Same E-mount wether APS-C, FF or S35. Metabones/Adapters for every lens possible. Sony also came out with the cheaper FS5 and all that created strong incentive to rent/buy an FS7 when moving up. Very clever of Sony. Canon however was very slow to adapt to the mirrorless game with ageing outdated DSLRs and especially 4K. They missed that boat with until recently only the C300 mk2 & 1DC as the cheapest 4K options which were astronomically expensive and exclusive to EF lenses.. They are back in the race now with EOS R & C200 providing a strong combo and upgrade path. a RF C100 mk3, pro EOS R & 8K C300 mk3 will possibly put them back on the map. Videographers will always have a soft spot for Canon CS and their glass despite recent disappointments.. Panasonic are trying to go after that market with GH5/S1/EVA1 ecosystem. Problem is those 3 cameras have different mounts & sensor sizes. It's a mess and not really taking off.. they alienated their own MFT user base by going EF mount on EVA1.. and now expensive L mount for S1. Folks that'll switch systems easily need a consistent solution for their lens collection. BMD remains the only real pro budget cinema ecosystem alternative to ARRI/RED which is a different market then what the Japanese are going for.

Lol looks like you still didn't get it... I was attempting to explain to you why they have their strict camera policy. Nevermind. It is certainly expected to be a major showcase of Japanese high-tech superiority, just like PyeongChang was last year for South Korea (most expensive Olympics ever). Lot more at stake than gold medals

It's easy to transcode files / fudge metadata. and yes people do it all the time to get around broadcast requirements. again the approved camera list ensures no funny business is going on. .... timeframe seems to indicate somewhere before Tokyo 2020 Olympics.

You're not hearing me: there is no easy way AFAIK to determine if recorder footage is real 10-bit 4:2:2 X bitrate and not some other lower format transcode. Having a camera list with those internal requirements eliminates that doubt. Time code was just an example. And even though the Z6 actually provides time code it won't make that list due to the above. Z6 also has other big issues like the aforementioned HDMI record lag of 34ms / 9fps. It just isn't close to being there yet. But don't let that discourage you. The camera doesn't make the filmmaker good or "Netflix" worthy. FS7 or EVA1? Depends, i tend to look at cameras through an ecosystem eye. So like for me it would be C200/C300 mk2. If you're starting fresh and none of that matters, well EVA1 for the IQ. FS7 for just about everything else!

It goes without saying.. take a look, every one of the cameras listed can do those minimum specs internally and for good reason. If they just accepted a format (i.e. Atomos footage) it would be impossible for Netflix to control what is actually following the minimum specs and what is just transcoded footage. opens a whole can of QC worms. Hence the approved camera list. Like i said there are other unlisted broadcast/production requirements that those approved cameras meet, such as timecode (which is why the C200 isn't listed).

Z6 will not be approved by Netflix simply by "upping it's data rate". Minimum requirements are 10-bit Log 240Mbps internal. But that isn't just it. There are a bunch of other practical specifications proper to cinema cameras that exclude consumer mirrorless cameras from the list. That said, the list is only really for Netflix Original content. Meaning your project has already been commissioned by Netflix, you then gotta follow those "rules". There are exceptions though, Alexa Mini for example isn't on the list (as it is not true 4K sensor based) yet there is obviously Netflix Original material that was shot using it. Nikon doesn't even have a cine cam so I don't even see the Z series being used as B or C cams. Netflix requirements being put aside. As to answer your question: what is the best under $10K cine camera that meets Netflix standards: UMP 4.6K, C300 II, FS7,EVA1. EVA1 has the highest sensor out of those so perhaps indeed pulls ahead in the future-proof department. Camera has its quirks/cons though just like any other unit.

^ EOS-R has DPAF in 4K. I think you're confusing with M50.

1DX2 shoots 4K60p at 1.3x crop. So it isn't the only FF camera option. A7S3 will probably be first to do FF 4K60p no crop. As for S1 packing "so much more features". I dunno. It doesn't even have Log unless you wait & pay for it. Limited codec options (no ALL-I). Weighs almost double. And of course DfD AF that hunts all over the place. That last one is a deal breaker for me personally.. what good is great IQ if you miss the shot? YMMV depending on shooting style..

Ergonomics is a personal thing. I always use the grip on EOS R and the handling becomes perfect (much less without). Love the flip out screen etc.. Haven't tried the S1 yet and for all I know it's excellent/better. As for CS.. S1 does look great, closer to EVA1 than to GH5 imo (which had poor skin tones / magenta cast). Honestly I'd maybe consider switching to S1 + EVA1 if it weren't for Canon's DPAF. It is tempting though. Getting back to OP. As he doesn't need AF/4K and seems only to care about SOOC color, I'd go for the camera with best CS and highest FHD codec. That may still be EOS R?

your welcome, again nice work. basically just curious in what format it was shot and the grading level applied. i assume RAW ?

People like to throw the word organic around but this really captures it imo. Almost makes me wanna repurchase a 5D3! 14-bit RAW FHD >>>>> 8-bit 4:2:0 4K. RAW really lets you go hard on the grade without it looking fake/cartoonish. Worth the workflow effort for narrative. Great execution as well.. especially considering limitations. Getting some dope eery Lynch vibes from it! Care to share some more technical details about shooting/post?

Right.. kinda like you don't wanna say the S1 is heavy because your friend can carry a Red One all day. Anyways enjoy your new kit!

So you are seriously claiming S1 continuous AF is on par with Canon/Sony? No need to feel so defensive. I own various cams of various size/weights myself (mirrorless, DSLR, cinema). I use the right tool for the right job. S1 is on the heavy side though, it is a fact and worth mentioning imo.

Cmon now, continuous AF for video is clearly not the cameras strong point and isn't close to being in Canon league or even Sony I'm afraid.. There will always be heavier cam rigs to compare with but fact does remain S1 is by far the heaviest FF MILC.. it's even a few grams heavier than a D850! With the grip and extra batteries we're probably talking 1DX2/D5 territory. It's a valid factor to take under consideration imo. Lotta people go mirrorless to gain on weight.

That 4K60p is looking good. CS seems on par with EVA1. I like what I'm seeing. But hearing dude say "missed focus" 20 times in that wedding vid puts a big cringe on my face. What good is having superb "organic" imagery only to miss the shot? That said, stick some manual/cine glass on this cam and you maybe got yourself a mini EVA1..

Those numbers are facts, not sure how you can argue Nikon is similar or that GH5 is "suspect". Sounds like fanboy talk.

You are spreading around a bunch of misinformation here: The Z6 records UHD 4K at around 140Mbps in 8-bit 4:2:0. C200 shoots either 8-bit UHD at 150Mbps or 12-bit RAW DCI 4K at 1Gbps. 1DX2 does 8-bit 4:2:2 DCI 4K at 500Mbps. EOS R does 8-bit 4:2:0 UHD at up to 400Mbps GH5 does 10-bit 4:2:2 DCI 4K at 400Mbps. XT3 does 10-bit 4:2:0 DCI 4K at 400Mbps. A73 does 8-bit 4:2:0 UHD at 100Mbps. (edited) Sorry to say but Z6 is indeed at the bottom internal codec wise.

Ha now you know how we feel! And this is mild compared to any Canon thread.. CaNikon are the historical big dogs so they always have it tougher but people have to realise they are also newcomers to FF mirrorless. Both have done pretty well IMO for first effort cameras. Nikon put in more effort than Canon on the hardware side but kinda dropped the ball on a few critical features. Good news is that can be dealt with in firmware upgrades if users are vocal enough about it. Nikon doesn't really have a video department and videographers are a tiny percentage of their customers but hopefully, word will get back to them. I have a soft spot for Nikon myself, shot with them way longer than Canon. But lack of an upgrade path and slow adaptation to video kinda forced me out. I still think there is strong potential for Z series but Nikon has to be very careful not to screw up, they made some poor decisions in the past that cost them a lot. Alongside Fuji they are in a unique position to innovate with no cine line to protect, but its also a double-edged sword as far as R&D and experience.

Surely the fact that there is no exposure meter in video mode and no internal log doesn't help with the quality of the footage out there which the majority is probably shot without a recorder.

Yeah i know.. 2K 10-bit out is ok but still inferior to EOS-R 4K 10-bit out and of course C300 mkII's 2K 12-bit 444 internal! Plus SDI means you gotta buy a ninja flame or ninja V + SDI module ($900).. only to record a 2K signal.. meh.

still debating in between the two. had a go at some C200 raw footage and boy Canon Raw Light really isn't that light at 1Gbps! I feel like those data rates might just be too much disk storage space for me to handle and are going to cost a fortune in Cfast cards. So really I'm afraid the C200 will probably be used with the 4K (UHD) 8-bit 150mbps codec 90% of the time.. and then that just begs to question am i really making a huge upgrade worth $7500 from my C100 & EOS R that can already shoot internal 8-bit UHD 4K at even higher (400mbps) bitrate as well as 10-bit external (which the C200 can't even do)? Only thing I'll be gaining as far as IQ is less RS and maybe a stop of DR. On the other hand the C300 mk2 shoots nice chunky 10-bit 422 DCI 4K / 12-bit 444 2K internal.. is broadcast ready, Netflix approved straight out the box and has raw 4K out. It can record to 3 media cards at once internally, and 5 with the outs. Just seems like such a workhorse. But yeah, dropping $10K on a 4-year-old camera is a little nerve racking when second hand C200's are floating around at $6.5K..

If processor & resolution are strong RS factors (which I’m inclined to agree with) shouldn’t C200 have less RS since it uses dual DV6 digic processors running UHD instead of dual DV5’s doing DCI 4K on the C300 ii ??? @HockeyFan12 Please share with us the info coming from Canons sensor tech!

I see no reason to doubt the official 8.3ms claim.. cinema5d even rated it at 6ms: ..they’re probably a little off but we’re definitely in that ultra low zone it seems which is indeed an extra bonus point for the 300mk2..