Django

That is some very nice footage @Flogbox what lens(es) you use?

@currensheldon do you have any links to some of that 8:1 / 12:1 BMRaw test footage?

very impressive RS numbers on the G2 thanks to about double readout speed : 4.6k - 7.59ms 4k crop - 6.32ms 2k crop - 3.16ms

right ok nevermind that suggestion!

sorry i don't know that much about speedboosters but i was thinking something that would allow for example: EOS R >> RF to RF Speedbooster >> EF to RF Vari-ND adapter >> EF lens & EOS R >> RF to RF Speedbooster >> RF lens

I guess an RF to RF speedbooster could potentially also be interesting to take advantage of the new RF glass but so you could pop on other adapters on top no?

Yeah I guess Kipon have got that CaNikon smart adapter for Z mount but no NiCanon for RF yet huh? As for speedbooster mount well yeah EF to RF definitely.. a lot of manual EF cine glass to choose from too. Nikon for me would also be nice (mostly got AIS & AF-D glass).

wouldn't they have to develop a DX Z-mount lens line-up first? That could take some time, their focus is already on getting the FF S line out.. also i keep hearing APS-C has peaked and is on it's way out. could be true now that CaNikon FF bodies have reached the $1K mark. personally, i wanna see Nikon do a pro (D5) type MILC & a cine cam. wishful thinking though I'm afraid..

Lol wait.. you're the one that brought up NASA uses Nikon for still photography.. in a Canon thread.. on a video-centric forum.. and I'm the one turning things into a pissing contest?!! Cmon man, you went there. All i did was post a relevant link to an article which btw you thanked me for finding interesting. Why now the hissy fit?? Woke up wrong side of bed? This place is like a ticking time-bomb, always with the drama.. especially if you dare say anything remotely positive about Canon, then all hell breaks loose, SMH. FYI i started out with Nikon, shot on them for decades. Still own much of their glass & an FM2. Why would I feel remotely threatened by astronauts shooting stills? So please mate.. take a deep breath and ask yourself..

I think an IMAX production shot by actual astronauts in space makes for an even better story/case! They could have used anything and tested ARRIS/REDS/CINEALTA and even a $200,000 Phantom F65... only to settle with a 1DC & C500.

Re: NASA.. Eye Piece: How I Trained Astronauts to Shoot the Stunning 4K Footage in A Beautiful Planet from Space

FWIW i've done work on most platforms including big screen projects. The digital content company I'm invested in uses mostly Sony (FS7) gear these days. We rent whatever fits the budget/project. I'm not brand agnostic. That said for personal ownership, Canon does make most sense for me currently: on an ecosystem level they offer DSLR/MILC/Cine bodies, and a vast range of still/cine lenses usable across them. I wish Fuji/Nikon could do the same, maybe I would switch back to them. DPAF is also the only AF i can trust as a single operator, it's kind of a big deal to me and for sure what locked me in their system for video (most cine cams have garbage AF). I could go on about the other subjective reasons why Canon appeals to me but you've probably already heard them all! That being said my choice of gear and "defense" of it on these forums doesn't imply Canon is the perfect company or is beyond criticism. But I do find the vehement online bashing towards them isn't always justified and doesn't really reflect itself so much in the real world, these academy award winners being the case in point, without glorifying that too much or anything..

This guy begs to disagree..

4 out of 5 of those docus were shot on C300 II (Minding the Gap was filmed over a 12 year period starting on a 5D and ending on the C300). While the 5D4/6D2 & EOS R/RP may have disappointed many in the video specs field, it is worth noting the C line is still going strong inside the industry. And it's not a "snob" thing.. That would be more ARRI/RED territory.. For under $10K the C300 II is the perfect run'n'gun camera: Built like a tank, Long battery life, Dual Pixel AF (game changer for single operators), WideDR profile.. .. and it can shoot 12-bit 444 2K & 10-bit DCI 4K internally. Meaning its broadcast & cine friendly. Those are all facts, not subjective fanboyism. Meaning that's before even considering Canon's colour science, lens selection, ergonomics, UI..etc. Another important factor is reliability.. and Canon has some of the best pro customer service, especially right there near Hollywood with their Burbank repair facility. So while internet trolls & spec sheet observers are quick to attack Canon on their lower-end offerings and "behind technology", many others are just busy making money & winning academy awards using their "outdated" professional gear.. Go figure!

I dunno if buying a secondhand 7-year-old FS700 + used shogun is really worth it... just to get 4K 10 bit 422.. in 2019.. At that point might as well get a Z6 + Ninja V and get access to 4K 10bit + ProRes Raw.. and enjoy a compact FF camera with IBIS, strong AF etc..

YES! Please ask them if they have or will consider FF speedboosters for EOS R in order to rid the 4K crop! I think most EOS R video users would buy that and it could even boost some camera sales! I have noticed the price of their speedboosters has substantially increased ($700 for those MF ones) but the quality also seems to have greatly improved in their Mk2 versions Looking on FlickR right now at those Mamiya lenses you mentioned using has got me excited at the possible rendition on a Canon, good times!

Haha.. LOL at you never trying 4K setting yet ? (4K crop is 1.74x btw) You could just enable Movie crop mode in FHD to get an idea of the FoV..? Cool, although slightly disappointed Kipon isn't making EF / Nikon F to RF speedboosters (yet?). I guess EOS R 4K users aren't really on their radar. Would be great to get rid of that crop. Btw, that's the Mamiya 645 speedbooster right? That does sound pretty sweet.. please make a video reviewing that configuration or at least post some pics! Would be cool to see some video footage as well... MF lens video is still something quite rare.

.. not in RAW as far as i can tell.. sub-Super35 category also. impressive little cine body though.. all these new Shenzen companies are really giving the cine market a good run for their money!

shout out to @Mattias Burling for covering the new Kipon Elegant prime lens series for RF & Z mounts: How does the lens perform for video? is the aperture ring smooth? is there any contact info recognized by EOS R (F-stop, focal range, metering etc)? Also is that an RF to Minolta speedbooster at 00:30 ?! How close do you get to FF in 4K when using it? What's the optical quality like?

Cool.. something in-body (a la Panasonic FZ) would be amazing though:

most surprising to me is the h265 inclusion... i guess we're at that point when mobile camera technology surpasses flagship FF cameras!

Speaking of NDs, it still boggles my mind why no company has yet built an MILC with internal NDs (closest being Canon with the Vari-ND adapter..).

What Sony did with the FS5 mk2 is quite clever though. They included the RAW + Super Slowmo paid upgrades, added Venice color science and lowered the price to under $5K. Once you add an atomos, the 4K IQ and HFR is pretty outstanding and unrivalled at such a price point: I think they will be milking this camera for another year or two (or until the competition offers better).. who else even has 4K RAW 120fps on their roadmap? Only Red currently i can think of..

FS5 mk2 is under $5K. It has compact modular form factor. Auto Vari-ND. 10-bit 422 FHD. And comes standard with external RAW up to 4K 120fps / 2K 240fps. I am assuming Sony are taking a back seat right now as no other company really gives them a run for their money in that segment.