Django

Truly a testament of how well the C100 has aged and its relevance today. It is still my current A-cam for most pro shoots not requiring 4K/Raw. Especially if you record externally to 10-bit 4:2:2 in order to squeeze all the juice out of it. But it doesn't do that well outside base ISO. The DPAF is basic. No HFR. No Raw/4K60p. I will be upgrading to the C200 ASAP.. but yeah its a little overpriced, like most Canon gear!

Yeah you probably can but good luck getting these features working from their servo cine zoom series: Auto focus function (Continuous AF, One-Shot AF, Focus Guide) Image Stabilization Remote control of zoom, focus and iris via camera REC start/stop from ZSG-C10 Grip Peripheral illumination correction Chromatic aberration correction Lens metadata record T-stop/F-stop number display select

@DBounce I've heard from several sources now both A7III & Z6 share the Sony IMX410 sensor ( @androidlad stated they even share exact same RS). This isn't a bad thing, quite the opposite as Sony makes some of the best sensors. Of course Nikon tweak them to their specs. Fuji do the same. Canon are stubborn and like to develop in-house (perhaps afraid their DPAF tech leaks out if they went to Sony) and this results in serious sensor tech lag. The Z-mount S lens series I'm not that impressed with, including the new $1300 14-30 F4. That's quite overpriced for such slow zoom. Canon's drop-in NDs are much more elegant solution imo (both in legacy zooms & now via the EF RF vari ND adapter): Nikon's silent AF & low focus breathing architecture are certainly nice but nowhere near Canon's CN-E line or Fuji's MK cine zoom series for serious film makers. Don't get me wrong Nikon are doing big things but they still have lot's of catching up to do to seriously compete with Canon, Sony, Panny or even Fuji on all-around video as an ecosystem/platform imo.

Well competition is healthy so I'm all for it.. but you can bet 1DX3 will be no slouch in the video department either. It may be their final 1DX DSLR and they'll give it everything. Especially with the Tokyo 2020 Olympic spotlights around the corner. As for Nikon going "hog wild on the video side"..yes and no. All they've done so far is hand over the keys to their HDMI protocol to Atomos. Fuji did it internal on their own. You'll need to go external for Log & ProRes Raw on the Z. Internally its really an A73 (they share the same sensor) with nicer body & color science but with worst AF & no log. Like I said earlier elsewhere though, I'm more concerned with lens line-up when looking at a system and the ecosystem when looking at video. In both cases, whether in current Native/Cine glass or cine bodies upgrade paths.. I see Canon/Sony with a clear advantage over Fuji/Nikon.

Nah Atomos just went public. It's in their own interest to remain independent as a third-party partner to all major camera manufacturers. All Nikon really did here so far is give Atomos the keys to their HDMI protocol and let them run with it. Kudos to them for being first. Sounds like you really enjoy complaining about Canon gear (I've heard you repeat this stuff a few times) Maybe its just time to look elsewhere? FWIW, not my experience with this cam at all (nor have i read any review out there mention such severe issues). No banding on dark exposure or at +0.5 stops. No freezes. No issues at 1080p60. Shot plenty of handheld 4K with no visible RS (static shots / slow pans). EOS R has it's limitations & flaws but calling it a disgrace is just being overly dramatic... Maybe 1DX2 got you spoiled

Well internally Z6 already downsamples it's 4K from 6K doesn't it? What would 5K add to 4K timelines? extra crop /warp stabilizing wiggle room? DCI 4K? Not bad i guess. It also still remains to be seen the actual benefits of ProResRaw even at 12-bit linear. What kind of DR/IQ increase are we talking about VS 10-bit log? It's known to FS5/FS7 shooters that 12-bit raw isn't always worth the hassle VS 10-bit log, especially in low light conditions. Not trying to cast any doubts just genuinely curious about these aspects. We're kind of on uncharted territory here (as far as MILCs).

Well again Sony also left out S-Log in their directly competing $4.5K+ flagship. oh and that one couldn't even shoot 4K60p. At some point you gotta let go though.. 1DX2 came out in 2016. Give Canon a break. it's still untouched in a few areas actually.

yeah selling the C200 (or 1DX2) over this announcement would be a massive mistake imo! Especially again if you are invested in EF glass. Other C200 strongpoints: 4K60p, CLog2/3, Battery Life, NDs, XLR, DPAF, DCI 2K/4K, Internal Raw.. just to name a few. No way Z6 gives you 80% of that. We don't even know what the DR increase will be with ProResRaw (didn't seem that big a leap in FS5) and Nikon still needs to fix their AF in log (which hopefully won't transpire to Raw). nothing wrong in testing a new system, especially as promising as this one. i have GAS for the Z6 filmmakers kit myself (the sucker in me just wants that Pelican case). btw about the beefy codec, you don't have to shoot ALL-I on EOS R if you wanna save space and don't see a difference. to me ALL-I isn't so much about being more bendable but it gives a bit of a thicker IQ and has better motion cadence imo & reduces artefacts on certain scenes (like water/foliage). YMMV.

Fair observations. The way I see it with the EOS R you're just getting those skintones looking good in C-log (internally even) right out the box. No external recorder needed. No AF issues when shooting Log. Very quick/light grading needed. Fat ALL-I codec. No over sharpening. Again as a b-cam to a 1DX2/C100/C200 it just fits the bill in a no frills kinda way. As an all-in-one single solution though: the Z6...especially paired with an Atomos V.. is going to be a beast. The lens options (especially for video) is the only thing i'd be concerned about. Always comes down to the glass (bodies change while glass remains). Especially for mid to high-end cine glass where I'd rather personally invest in a more cine cam friendly EF mount than F mount. Or even for rental, EF cine glass being a lot more prominent.. but hey that's a different story i guess..

Meh. Segmenting a camera (by its specs/tech) into a range of products is neither surprising nor exclusive to Canon. Take Sony: FS5 can only do 10-bit FHD at 50mb max & 4K 8-bit 100mb max using XAVC-L. It can output 12-bit raw signal direct via SDI. FS7 can do 10-bit 4K60p intraframe at 600mb using XAVC-I. But to record Raw you'll need the $2000 XDCA extension unit. So you also have raw paradoxes there too (where an inferior product in the range can't do 4K 10-bit internally but can do easier/cheaper raw & slo-mo).

What I got from Jeremy in that interview was “we are currently recording 12-bit” i.e 12-bit is possible but he says right after “it’s up to Nikon” about potential restrictions and that he’ll be “pushing” them for max output. So both outcomes kinda seem possible depending on Nikon’s final word. It would seem rather silly of them to go through all that effort only to deliver 10-bit Prores Raw though..

Why would they withhold those features on their top of the line flagship? Maybe C-Log breaks the crazy fast AF as it does on the Nikon Z? S-Log was also absent from the top of the line Sony A9.. They are action sports optimized stills camera. Zebras/Peaking doesn’t make so much sense on such a DSLR (no EVF / Tilt screen). As for no 10-bit out FHD on EOS R, now that I agree is a strange omission. I hope a firmware upgrade changes that. Wish those IR editors had pushed Canon on the subject..

wait is continuous eye-AF supposed to come to video as well? now that could be huge if done right!

Magic Lantern I'd say are responsible for popularising Raw video to a wide demographic. Canon only started implementing it on the C300 mk2 (externally) and just recently internally on the C200. Reading that article seems to confirm their hybrid specs are limited by tech not just protecting cine line. EOS R kind of proves that by including a higher bitrate internal codec, Clog, 4K, DPAF & 10-bit out. Aside from the crop & RS (which are certainly sensor / tech limitations) it is basically like a mini rawless C200. I could see their upcoming high-end pro model having Canon RawLite internal or at the very least external. Especially now that Nikon have upped the ante. This Canon sensor leaked here by @androidlad could very well be the one in that higher end model: https://www.eoshd.com/comments/uploads/monthly_2018_12/CanonGS.jpg.5e3f44aaded642bf900782c3924a8325.jpg Imagine 5K Raw with Dual Pixel AF.. and Global Shutter. I'd be set for the next half-decade..

Surely, given you have access to a mac with FCPX. You should then be able to convert to any codec including ProRes4444.. We're all aware of the benefits but also cons of using external recorders. I'm not complaining, just saying I wish it could have been internal (just like i also wish N-log could be internal). ML got the 5D3 (a 2012 camera!) to shoot 14-bit 3K Raw internally. The main issue going higher was the 100mb/sec card buffer cap. Z series should manage with their super fast XQD/CFexpress. But i don't know, maybe ProRes Raw is too much to handle CPU wise. Or maybe it's a licensing deal with Atomos..?

This is big news but i think it's worth mentioning that ProRes RAW currently only opens in FCPX. If you are on Adobe, Resolve or PC it's going to be a no go (AFAIK). That is pretty limiting compared to other recent Raw codecs like Canon Raw Light which has native support in FCPX, Resolve & Avid. It's also bit of a shame Nikon couldn't work out to record ProRes Raw internally. They opted for those expensive XQD/CFexpress media cards, why not take advantage of the speed they offer to record high bitrate internally?

Hard to believe David Lynch once had the number one show on US network television, or that MTV was the go-to channel for indie music.. I don't follow much British TV (or any TV) these days but Black Mirrors is certainly one of the more imaginative shows out there now imo. Still haven't gotten through all the alternate endings of its latest interactive episode. Would love to see a BTS about the process/filming of that.

The Z6 is full readout with no line skipping or pixel binning. You are thinking of the Z7 which does do that. The downsides are poor RS, external Log only and it appears the AF becomes unusable with Log on. So yeah there still is no perfect hybrid mirrorless for video today. Maybe next gen Canon/Nikon/Sony..

Definitely have a look at FHD Crop mode. It is indeed supersampled from 4K and has super good sharpness/detail that rivals C line FHD. The way i have my EOS R setup is FF FHD on Movie Custom 1, FHD Crop mode on Custom 2 & 4K on Custom 3. By pressing mode and selecting C1/C2/C3 i can very quickly switch modes depending on the scene and double the focal length of my primes. Personally, I love the ergonomics. I use the grip though. Its quite different from any other camera so it might take a moment to get used to it. The customisation of the camera is pretty deep, i really enjoy that too.

Canon 1DX2 is still the only FF camera that can do 4k60p in early 2019. Fact. Dual Pixel AF is still the most reliable AF for video. Fact. Sony has been maxing out 8-bit 100mb codecs for some years. that's another fact. XT3 doesn't have IBIS. It's the smallest camera of the pack. Still got number 1 position in the ranking. Fact.

It already sucks that you gotta go external to shoot log on the Z but it also breaks the AF?!! WTF.. That is super wack and really should be pointed out to potential buyers.

well the Canon, A73 & XT3 are indeed the cameras it is being pitted against in this roundout and arguably their internal AF would perform better than with the above convoluted solution (operator even states he wished he had an added monitor to pull focus so add that to the list). EOS R & GH5s flip out screens come in particularly handy for gimbal work. IBIS certainly has its limits, lens IS, EIS or a gimbal are certainly valid if not better options. All i was trying to say is that P4K (and BM cameras in general) need a lot of extras for solo work and that all adds up to the budget. Less so with current hybrids.

Also by the time you add a decent speed booster, follow focus, gimbal, evf & batteries.. you are way way over $2K for essentially a pimped out M4/3 video only camera. not trying to slam the P4K (any form of raw is a blessing) but in the end it may not be as cheap and easy a route as some may think..

Well, there is always something better coming around the corner, I try and not obsess much over that or else you're just chasing the dream. As a working pro my only concern is what tool fits my needs now. I'm invested in a system, and i don't intend on switching everytime the competition drops a newer, better body. When Canon drops that pro body you're talking about well I'll upgrade to it, simple as that. Limitations, i try and work around them, every camera has its strengths & weaknesses. IBIS is neat, however, we got along fine before it and no cine cam even uses it to this day. I'd hardly call it a deal breaker even if its a nice convenience. Canon's smart EIS (using gyroscope & 2 way lens IS com data) is a workable alternative & might even prove to be better in some cases. For stills, i look at the system as a whole: lenses, color science, ergonomics, AF, flash options etc.. that is what is going to get me the picture I want, not a sensor/chart comparison. Yeah Sony sensors are the best, but I still prefer what Fuji & Nikon do with them.. YMMV.

EOS R certainly wins most hated camera of 2018 award! Yet despite it's on paper limitations and for sure poor 4K RS performance, its a camera I very much enjoy shooting with.. and the perfect B-cam to a 5D/1DX/C100/C200. Canon did get a few things right: the only FF MILC with a flip out screen, the FF MILC with the highest bitrate ALL-I codec, the most reliable and smoothest AF in the game. Those 3 things alone should give it some points. The IQ as stated is indeed just cinematic. That word gets thrown around a lot but the reason it applies here is thanks to the thick codec, alongside 1:1 resolution and lack of digital sharpness on default in C-log, paired with the acclaimed Canon color science. Then you have the smaller things: Smart EIS, 3 custom movie modes, custom ring lens control, MF bar (works for me personally), touch & drag AF, MF focus guide, AF override..etc Finally when the Vari ND adapter will become available.. well that could just be a game changer. Now i do understand, none of this makes up for the poor RS or severe crop factor. So yeah dog this camera all you want if those 2 are deal breakers to you. Just wanted to add some perspective as one of the very few owners of this camera around here. And FWIW i do think Fuji, Nikon, BM & Sony have all kicked it out of the park much further than Canon and certainly deserve the praise. Happy NY everyone ?