Django

Again, by using 2-way communication data of the gyroscope and lens IS info, the in body EIS is capable of accurately compensating shake/movement instead of just guessing it through an algorithm in post warp stabilization.

I meant close or superior in terms of actual stabilization performance, not overall usability. I prefer IBIS too, especially for stills.

As explained above, EOS R's EIS communicates with the gyroscope as well as the lens IS to give you a result close if not superior to 5 axis IBIS. Stabilization in post simply guesses camera movement which often induces artifacts due to misinterpretation, so no it's not the same. That said EIS on EOS R does add a crop and softness.. to a camera already blamed for it's (4K) crop & softness.. so a perfect solution it is not. I don't mind it that much and it works ok for me but I'd be lying if I said I wouldn't rather have IBIS on board..

So what? EOS R shoots 4K.. just not FF 4K. I always tend to shoot video in S35 mode anyways on my FF Sony cams. Most pros have been shooting S35 for over a decade. They don't really care that much if 4K has a similar crop. Many still shoot/deliver/broadcast/stream in FHD. That said they may not want to compromise with M43/APSC for their photography needs. In that regard it's ok for them to have a hybrid camera that shoots 30MP FF stills and doubles as a FHD FF/ 4K crop sensor video B-cam. The only serious flaw I see with EOS R is RS. YMMV.

Every cam has its limitations but yeah if it's a Canon it's gotta be a "bug" and if you enjoy the cam then you're either a "shill" or an apologist. SMH. Sony cameras overheat, their codecs max out at 100mb with no Intra or 10-bit out options, zombie colors and have poor weather sealing. Nikon Z has no internal log & average to poor AF system. XT3 has no IBIS, no FF stills & poor battery life. GH5 poor low light, bad AF, small sensor..etc. No camera is perfect, pick your weapon(s) of choice and make the most out of it.

@liork EOS R is a hybrid camera and first & foremost a stills oriented one with a 30MP FF sensor. The body can accept EF & EF-S lenses (first canon dslr/hybrid to do so). It also shoots FF 1080p video & FF 4K Timelapses. Only for 4K video does it apply a 1.74x crop which is close enough to Canon's 1.6x crop on its industry standard Super35 cine cameras. With a native APS-C/M43 camera you cannot get native FF stills or video period.

If i were you, a 1DX2 & C200 owner.. i'd definitely pick EOS R over Z6 as your mirrorless C-cam. No brainer even. I think you will find this video test very relevant & informative: Regarding AF i must agree with him that the transitions aren't as smooth as on C line (or 1DX2) but accuracy and low light AF performance is on par if not better. IQ wise EOS R provides a very high bitrate ALL-I codec which results in a nice thick image consistent with 1DC/5D4/1DX2. Rolling Shutter is imo its biggest caveat.

You guys seem surprised a $6K flagship camera beast like 1DXII trumps base level mirrorless cams..?! That said, EOS R does hold an advantage over it with the inclusion of peaking, focus guides, canon log, 10-bit out, EVF, MP4 codec, flip out screen & light weight. Not bad for a third of the price if you ask me. Of course 1DX2 excels in other areas, but at this point I'd wait for the rumored Mark 3 for ultimate Canon DSLR. If anything though this makes a strong case for Dual Pixel AF still holding the crown over the competition which some like to claim have "caught up".

@DBounce Z6 is surely one of the nicest featured FF mirrorless, but as a Canon shooter going that route would mean a whole new lens investment. And for an A/B cam setup, double the cumbersome in lens transport. It's just a lot easier having one lens bag, same log/color matrix profile & same great reliable AF system on both cams. @Kisaha I think as mercer said it's a question of perspective.. and needs. I understand that on some aspects Canon specs are disappointing, however I like to look at the glass half full and Dual Pixel AF & internal Raw are the important things that matter to me. Again if I want 10-bit 4:2:2 just slap on a recorder (on both C200/EOS R). EOS R is like a mini C100/C200. Especially with the upcoming Vari-ND adapter. The internal ALL-I MP4 codec is actually more robust than on both C models. C100mkII can't shoot in 2K/4K(up to 60p), let alone Raw. Or 1080p at 120fps. Or has MF focus guides. The Dual Pixel is primitive compared to C200's implementation. C200 sits just nicely in between C100mk2 & C300mk2 imo.

I regularly rent the cams you mention (especially FS7 & Ursa Mini) for jobs but ownership wise i'm on a EOS R + C100. I was days away from buying C200 (even had a down payment) and postponed the purchase when the Canon mirrorless rumors heated up. I can confidently say now I will definitely be upgrading to C200 (just waiting for the right time & deal). BTW, here in EU they cost around 7000€, and you can find them for much less second hand when they pop up. I plan on using the combo as such: BTW, nothing wrong with going other routes (GH5+EVA1 / A73+FS5/FS7 / BMP4K+UMP) I'm just a sucker for Canon ergonomics, color science, lenses etc..

A growing number of pros (perhaps even the majority these days) are oblivious to broadcast standards as they shoot solely for web/digital platforms. For those types of shooters, especially one man bands.. the C200 is a very compelling solution. AF is still in stone age on cine cams so that alone can make the difference. Internal 8-bit codec will be fine for corporate interviews with controlled lighting & minor grading. Slap on / rent an atomos for the times you really need that 10-bit 2K DCI. Then when time/budget allows it go RAW for that uncompromised IQ/DR. Or just switch over to RAW for that quick money shot. That's how i used to do it during 5D3 ML days.

To each his own but imo, internal Raw is nicer to have in a proper cine cam than 10-bit which is now available in a few hybrids cams including the $1500 Super35 sensor XT3. Besides 8-bit Canon files are pretty robust color wise despite their limited codec specs. Here is a long term C200 review that sums up nicely its strengths:

True. Furthermore, EVA1 needs external recorder to shoot RAW. C200 needs external recorder to shoot 10-bit 4:2:2. Going beyond that, C200 has native EF lens support, dual pixel AF, EVF, nice big usable touch LCD. EVA1 has dual native ISO, a higher res 5.7K sensor, better DR. I'd be happy with either tbh hehe..

..more like +30K: Canon EOS Full-Frame Cinema Camera In EOS R related info, here is a 8-bit Clog tutorial & (almost) free EOS R LUT pack that includes an ARRI Alexa LUT: The Alexa LUT is pretty nice i'll try post some examples in a few.. Merry Xmas!

Here is the videocentric version: After 2 months spent with the camera, I can honestly say it's my favourite Canon to date

Yeah those codec bitrates look insanely efficient.. if true Sony is up to some serious number crunching... keeping their promise of "exceeding our customers expectations". In any case, XEVC would probably be for the Cine line (XDCAM, Cine Alta) which btw use ultra fast XQDs & SxS media. ..and Alpha series would be getting a lower XEVC-S codec right?

i think they pretty much dealt with every scenario: overheating, freezing, weather sealing failures, mount failures, sensor dust/scratching etc.. keep in mind they were shooting a lot in multi-cam so that required multiple backup units to face such issues/failures.. to give a bit more context, it was over a very long shooting period (18 months or so) and under harsh element conditions (beach, desert, mountains). in this particular case, the reasoning i think was let's buy several compact bodies that are easy to travel with, discrete in sensitive areas and pretty much disposable.

Yeah 10-bit out option is greyed out in FHD.. which makes recording with my Ninja Star kinda useless.. Hopefully Canon unlocks this with a firmware update. it's a very silly limitation.

I know of another unreleased project shot by an award-winning indie director that also used a bunch of A7S2's for principal photography. They also used a camera per lens approach which allowed to shoot in multicam in order to get more authentic dynamic/energy on scenes & save on budget. A7S2 was chosen as the film was shot only using natural light and contains many night scenes. In that aspect A7S2 is pretty unique with it's still incredible low-light performance. Overall i think they achieved what they wanted but the producer did share with me some horror stories of camera failures (they went through at least a dozen bodies). They eventually had to pickup FS5/7's to complete the film (and FWIW their next project will be shot with 'camera per lens' but on C200's). My feelings towards this topic is that yes, the latest hybrids are technically capable of giving beautiful big screen IQ and can even do tricks big cine cams can't, however the reliability, ergonomics, rigging etc of a lot of these consumer cams is still the biggest risk/limitation, especially for big productions or even pro events where failure isn't an option. The sub-$10K compact cine cams are imo where the real breakthrough has happened for pro video as they give ARRI/REDS/VARICAMS etc a run for their money. The latest mirrorless hybrids can be good B-cam solutions to those though, especially for drone/gimbal shots.

A7SIII will be priced at around $3.5K. And at that price point it will need to be a lot more than an A7III with 4K60p & better screen/EVF. Besides Sony said that with A7SIII "we want to exceed customer expectation". Read into that what you will but I'm expecting something big...such as 8K. A7R/S II took the camera world by storm by being the first FF 4K mirrorless cameras. Now that CaNikon & Panny joined the party, they need again to pack some major heat imo.

Not to mention Pocket 4K (like most cine cams) isn't weather sealed which allows it to have those big cooling vents above the mount..

Sounds like it's a lot more than bug fixes / heat management and that “for time frame, it may require longer than you probably imagine” : ..Sony also shoots down the 8K theory inside a MILC before 2020..

Digital Bolex claimed their GS CCD sensor helped give better motion and hence was more filmic and I'm inclined to agree with them given the tasty footage it exhibits. ARRI Alexa/Amiga have the lowest RS (2-6ms) out of any non Global Shutter cine cam, so you can't really lump them in the (average) CMOS GS camera category. EOS R & Z7 have severe RS in 4K. Fuji XT2/XH1 are also pretty poor.. that said, it didn't prevent me from buying both XT2 & EOS R which i both consider "filmic" in the right hands There are ways to avoid RS.. except if you're filming from trains etc..

I'm not saying you're not on to something... but the A7SIII rumors have simply been all over the place to the point of it reaching unicorn status. Sony themselves have sort of admitted going back to the drawing boards and postponing its release.. It's one thing to have a great sensor but materializing it into a stable/viable camera is another. As for sensor data sheets, I don't want to argue with numbers but they don't always reveal the full picture (no pun intended). Many claimed A73 > A7S2 in low-light but really the cam got there by "cheating" with heavy use of NR at high ISO values. Getting back to 8K i think it will be put in the Mark IV Sony cameras, just in time for the 2020 Tokyo Olympics. That is the roadmap deadline the Japanese tech industry has set for 8K consumer product roll-out.

Don't most of these off shelf sensors go to non-Sony manufacturers? Has the A7S/A7S2/A7RIII etc sensors ever made their way into other camera brand models? Sorry, but i'm just not sure these sensor announcements translate into A7S specs.. I certainly don't see a +30MP sensor inside A7S3.. typically high MP are for R series.. 20-30MP for the mid-range A7.. and sub-20 (12MP so far) for the A7S. Low megapixel still means better low-light performance. Sony has narrowed the gap with A73 using BSI sensors & NR algos, but in reality A7S2 > A7III in low-light.