Django

Camera got slammed by Sony Northrup

I think we have to distinct making tweaks and applying a LUT which is what most of us (myself included) are doing and advanced pro color grading which is a complete artform imo. I got into shooting log & grading mostly out of a necessity because i'm generally unsatisfied with most picture profile in hybrid cameras (aside from Fuji Eterna, Nikon flat) which are often way too sharp/saturated/crushed blacks, need the extra DR and need to fix exposure, wrong camera AWB, color science issues..etc. So I'm usually just trying to get things looking correct and then i might apply a LUT for certain look. I might go full manual if i have the time. I've been experimenting with ACES recently and it looks like it might be a game changer as far as workflow. On a side note, I do wish hyrbids would either allow LUT import in camera or offer more filmic picture profiles for fast turnover projects. Pretty sure Sony has the most complete picture profile settings (a little convoluted though). I also like how in Fuji's you can adjust shadows/highlights. My personal favorite PP is WideDR on Canon's C line.

Such a slap in the face for A9 hybrid shooters. The one feature they've been asking since day 1 and that's available inside their "basic model". This reminds me of the FS5 mark 2 announcement when the only thing they added was a new picture profile (which could have been delivered to FS5 mk1 via firmware). People love to harp on Canon but Sony at times are similar if not worst.

Well Sony has been doing FF 4K without crop since A7SII (2016) and 6K supersampled 4K no crop since A9 (2017) so if anyone is making them look bad its Sony (they supply Nikon & Fuji with their sensors btw). It's painfully obvious Canon are lagging behind in the sensor department. No BSI. No FF 4K. Average DR. As the recent interview on IR confronted them on that, they're only response was "we're aware of it. we're working on it". We'll just have to wait & see. It's certainly an embarrassment at the moment.. Canon are certainly smart about their segmentation though. They've stated upfront EOS R isn't a replacement to their DSLRs & Cine cams but rather a companion to them (hence not pushing for a better sensor than 5DIV/1DX2). Sony are more individualists, they believe in making as many different cams for individual segments (R series, S series, A9, A6..) Nikon seem to follow that approach with the Z6/Z7 (one is more oriented towards video, the other still shooters).

5D4/EOS-R RS in 4K is 31ms. Terrible but yeah not quite A6xxx bad. Canon supposedly has a GS FF sensor in the works. Remains to be seen in what camera line that will appear..

I think the 4K lobby has been pretty successful at this point in time. 4K is like a brand. And youtubers are pretty sensitive to that. RS on the other hand is a technical term which outside these forums very few people probably know/care about. That doesn't mean it shouldn't matter to us but within the intended target audience: 4K > RS.

People can LOL all they want but I think it really takes shooting & working with the EOS R footage to appreciate it.. or not. But until then, a spec sheet isn't going to give you the full picture. And again as part of an ecosystem it makes total sense. We shoot Sony at work and personally, I'm not at all a fan of matching my Canon gear with the A7III etc.. I'd rather rent an FS5/7. And even then its a bit annoying because Sony keep changing their colour science. Canon has done so too but at least gives you the option on EOS R to choose in between original C100/C300 log & the newer C200/C300II log colour matrix. Its little details like that which make life easier. I hate losing time in post with that type of stuff..

sorry i have no idea who they are. i wish i could take bravery credit for watching that but i just scrubbed with my macbook touchbar until i hit that frame. took about 5 seconds.

boy as Andrew said that is one ugly convoluted solution when you think of the self-conscious demographics they are so desperate to appeal towards..

Huh? The RS is considerably worst than A7S (16-24ms) & A7S2 (25ms). It's known to be the absolute worst of the worst at a whopping 36ms. Possibly some kind of record. For the money what else are you going to buy? There are tons of second-hand options.. XT2 to start with. If you want new, save up a little more & buy yourself a decent camera.

Spoken like a true Sony fanboy. This camera is a dud. Sony pulled a Canon by recycling the same 3-year-old sensor that already had issues with its abysmal RS. $100 cut ain't fixing that.

XT3 has AF-C in video. It even does face & eye tracking. I'd buy an XT2 (or XH1 if you need IBIS) over this mess of a camera. Rolling shutter alone (36ms!) makes it a no go, especially for the intended travel/vlog market its intended for. Of course the cluelessness of that demography probably has never heard of RS and will be swayed by the hype/pricing.

Damn so you went from Fuji, to Nikon...and back to Canon in a matter of weeks/months huh? you must have good return policy! Must have been a though choice for sure, especially with the big Nikon firmware announcement.. I've been through a lot of system changes myself and at one point had Canon, Fuji, Nikon & Sony all at the same time! Felt kinda schizophrenic tbh. Things changed when i got my C100 and decided to go multicam with the 5D as a B-cam. I then realized the strength of remaining in one ecosystem. So when EOS R was announced it was kinda a no brainer for me. That said with all the fierce competition & backlash against Canon, it hasn't been an easy choice to defend. The limitations/flaws are real but the ergonomics, DPAF, C-log, color science & overall cinematic IQ do make up for them imo. As a sole all-in-one camera, i don't know though.. but as part of a MILC/DSLR/Cine combo cam trifecta, it's kind of the only game in town.

@IronFilm This guy seems to believe the C100 outputs more than 8-bit: Canon C100 + Atomos Ninja2 10-bit Workflow Correct. Color science was tweaked in C200 (probably to closer match Alexa)

Sony doesn't take away IBIS? They did just that with this A6400. They don't disable 10-bit internal? They did so on FS5 vs FS7 and never implemented 10-bit internal or external in their alpha range (unlike Fuji, Panasonic, Canon & Nikon). Still the same 100mb XAVC codec in their third-gen FF cameras. Sony may be aggressive with pricing/specs but they segment products like anyone else. Please stop drinking the kool-aid.

RIP (2013-2016)

it's decent just nowhere near what a modern sensor like C200 is capable of

For sure i'd go nuts if that were to happen (mini compact Super35 cine cam with 16mm bolex style hand grip design housing extra battery, XT3 sensor, XH1s IBIS & X100s NDs). Made in Japan. Please Fuji! Who knows, they did revive their medium-format system out of thin air..

Right I meant in video camera bodies. With no cine (body) line to protect they are in unique position (as are Nikon) to implement features pros want that are usually kept for the more expensive cine market..

Just to be clear no one said they are not "embracing video" or that they aren't on the right path. They just still have a lot of catching up to do imo before being serious alternatives to Sony, Canon, Panasonic or Fuji. I applaud their effort but Fuji (a much smaller company with virtually zero background in video) gave the XT2 internal log & 120FPS via firmware update. XT3 can do 4K60p, 10-bit internal, DCI4K/2K etc. They made the MK series on X mount. That's what i call serious development. Nikon are certainly on the right path but it still remains to be proven how far they'll go i.e put internal Log/Raw, fix their AF issues, give DCI4K/2K, develop 100% cine lenses, maybe even consider a dedicated video camera..

I usually rent when it comes to cine glass.. in that perspective the CN-E glass is a lot more widespread than the Nikkor which is virtually non-existent at rental houses. For sure the FS7+18-110mm is the standard rental kit we often use at work.. not much mojo though, i wouldn't use that for my personal / more artistic work.

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.