gt3rs

correct.

I tested clog3 4k60, 8k 30 and 8k 30 raw with zebra 1+2 and 55+-5 and 95 and it always work. Bump iso to 25k to a bright source and 95 pattern should show up and then dial iso down until it changes to 55...

This is what I'm saying since a long time Canon RAW and the new RAW Light is fast and easy to edit on a good PC in Resolve on a 4k timeline, 8k timeline you need more than 8GB VRAM.....

Really cool that they listened to feedback, with the new firmware you can use the transmitter as standalone recorder: 'Always' recording mode: When this mode is activated, the transmitter will start recording audio as soon as it is switched on. It will continue recording until it is switched off, regardless of whether is it connected to the receiver. This means that you will have a continuous recording from the moment the transmitter is switched on, making this mode suitable for using the Wireless GO II as a standalone field recorder. Note that in this mode, the ‘mute’ function will not affect the on-board recording (although it will still mute the wireless transmission).

IPB Low with Clog enabled is still h265 10bit 4:2:2. My high end gaming notebook can play back 4k 60fps in real time on a 4k DCI 60p timeline with couple of nodes LUT + sharpening + basic color correction but is all done in CPU (ca 70% cpu usage), ALL-I cannot playback at 60fps in realtime.

This is truly surprising as the compression ratio is more than any C camera from Canon. 8k RAW at 1.3 Gbits/s is very very good is basically in the same ballpark as 8:1 RED 8k RAW

I agree it would have been cool to have a 10bit 4:2:0 option

Quick test both Zebra 1 and 2 shows up and I have it set at 60 +-5 and 95 in CLog3 (100 does not work in log)

Why not in RAW? I think most people that use RAW they then deliver in 4k anyway so you get the same benefits but you can control how much NR is applied compared to CLog that has some NR going on. Depending if I punch in or not I do apply more or less NR.....

It is interesting as they said in their test: https://www.slashcam.de/artikel/Test/Der-Dynamikumfang-von-Canon-EOS-R5---R6--Panasonic-S5-und-Sony-A7SIII-im-Vergleich.html that the R5 is actually on pair or even a tad better than the A7S III even before the CLog3..... "Im besten Fall sehen wir den Vorsprung der Panasonic S5 gegenüber dem restlichen Feld (Sony A7SIII, Canon EOS R5 und R6) bei maximal einer nutzbaren Blendenstufe. Sony nimmt den den Marketing-Mund mit 15 Blendenstufen am vollsten und landet dennoch in unserer Einschätzung auf dem letzten Platz, was auf den ungünstigen Mix aus Rauschunterdrückung und Kompressionsartefakten zurückzuführen ist. Es handelte sich bei unserer Betrachtung jedoch noch ausdrücklich um ein Vorserienmodell. Wir warten bereits sehnsüchtig auf ein Serienmodell der A7SIII, um dieses Verhalten noch mit mehr Messungen untersuchen zu können. Auch lässt sich mit dem gewonnenen Eindruck eventuell noch an den internen Parametern der Kamera einiges "drehen". Die von Canon genannten 12 Blendenstufen scheinen uns dagegen eher etwas untertrieben. Sowohl die R5 als auch die R6 können in der Dynamik gut mit den aktuellen 14+-Spitzenreitern von Panasonic mithalten." It is so hard to measure DR that is not really worth to look at numbers imo. In RAW R5 DR is more than fine if Clog3 brings it there (as I expect) then I really don't see why people would complain....

From where does it comes this number?

1:18 min "continues" 8k raw..... impressive..... probably under the sun will be different but from where we started with this camera is a huge improvements

Just did the upgrade. The big news for me is RAW Light as I shoot mostly RAW. RAW Light files open in Resolve 17.1 whiteout any issue and editing speed seems to be similar to the normal RAW. I need to do some more testing but the size saving is big ca 40% in >=25fps and 50% in 24fps, this is very welcomed.

28-70 the biggest issue are NDs..... I'm going back and forth if to buy it or not, currently using EF 24-70 II with vND adapter..... Is also quite heavy so on gimbal is a bit of a drawback. Quality seems to be top notch but could never test one....

Seems like a logic step to make a R5c with active cooling, hopefully not too much more expensive I may sell the 1Dx III and have my R5 + R5c..... let see in 7-8 months. C70 to me it does not really compete with the R5 (c) as is really a cinema camera and not on hybrid with internal NDs, more DR, a lot of customization, TC, serious audio and so on..... but then with ND adapter and unlimited recording R5c would be almost a perfect hybrid. Happy to have CLog3 and more edit friendly codec especially for 4k 120fps..... rest I mostly shoot RAW. I really wish they would make 4k 120fps not conformed with audio, it make no sense not to offer it. Now I use the Rode GO II internal recording for this but synching is a pain.

h265 10bit 4:2:0 would be welcomed for broader hw decoding support. Canon Raw Light if we go by c500 ii datarate it will not be smaller.... r5 8k 2.6 Gbts c500 ii 6k 2.1 Gbts CLog3 was just about time let see....

Even in IPB not sure you would really see a difference

25p at 1/50 or 50p 1/50 with dropping frame in nle should look the same, assuming ALL-I and that the camera 50p vs 25p quality is the same. For the R6 should be exactly the same as also the bandwidth is basically almost the double in ALL-I.

I saw that, pretty cool indeed. This one is also a great technical challenge to fly a cine whoop up there.... the fun part is the turn on the top and downhill...

I did reach out to Rode, btw super quick in answering, and they said GO II has no time-out, so it will continue recording as long as it has battery if it lose the connection to the receiver. This solves one of my biggest issue so I did order a set and got it today. I can confirm that it will record continuously even after 1h of loss of contact with the receiver. To note that if you turn off the receiver while the transmitter is connected recording will stop, rightly so. If you turn off the receiver while outside the range obviously the recording continues. Also the range seems improved compared the original GO, I really had to go outside my studio and walk quite a bit to lose connection to the transmitter.

Resolve 17.1 now supports hw decoding of h265 4:2:2 10bit. For intel you need an ice lake and tiger lake cpu. For Mac an M1.

Just to be clear is one of the best vND filter that I have used and very convenient.... if you use a vari ND that has 0 color cast, shift, x patter..... happy to learn what it is because is not my experience.... Changing from clear to vND and back seems not worth compared to have an additional normal adapter imo ....

Just to be clear is one of the best vND filter that I have used and very convenient.... if you use a vari ND that has 0 color cast, shift, x patter..... happy to learn what it is because is not my experience....

I use it quite a bit and it is better that my tiffen vari ND for sure ( a lot of people claim the tiffen is good I find it quite bad) and way more practical.... as with all vari ND is not perfect. But I'm far from being an expert in color grading so your mileage may vary. It does not come with a transparent filter and the transparent one is expensive so I have a normal adapter same price as the filter and is also a backup.

We did an Heliski video in the central Swiss Alps "Sustenhorn" It is a glacier you start around 3200, and go down to 1600m. We waited almost a month for having good conditions and be there alone.... This one is a good example that I would not have it if taking only photos as it was not planned to do this small jump and did not catch the crevasses there until I saw the video: same this one IBIS+IS helps a lot when you don't have time to put out the tripod..... this if from an insta360 on my helmet while I was filming For these cases I mostly don't take pictures anymore I pull frames, no fear to miss something and 8K RAW or still RAW is not a huge quality difference, I wish it had an open gate mode. I do one run with higher shutter speed and one with lower but for sports like this even higher shutter speed for video imo is not a huge issue as most of the people are so used to gopro and co action footage that are all taken at high shutter speed..... The 1Dx III stayed on the heli as backup..... too bulky...