newfoundmass

I can't really see where there's a problem

I'm not sure how to do that. I'm not the most computer savvy ? I used to be able to do multi cam with effects with no trouble though! And I think my system is pretty good.

Updated to Resolve 16 from Resolve 15. When doing multi cam with 1080i footage it drops frames like crazy, whereas with 15 it was as smooth as butter. I am using a laptop with Intel Core i7-7700HQ @ 2.80GHz, 16 GB of RAM, and NVIDIA GeForce GTX 1060. Any ideas / suggestions outside of using proxies?

Indeed. Someone as skillful as Mattias could use any camera, but the Canon EOS R helps him achieve his vision easiest. The $200 challenge should have shown people that it's not just about specs. We're incredibly lucky to have so many tools at our disposal, whether your budget is $200 or $2,000,000 there's no short supply of cameras that can help you create your vision. The issue with Canon, and I think some people maybe forget this, is not that their cameras are inadequate but that they take features away that hinder creativity while every other manufacturer has done the opposite, at least to some extent or another. Do you need 24p? No. Do you need DPAF in 4K? No. Can you use excessive crops? Yes. You can still create works of art with these cameras, even if it hinders your creative vision. But why should you have to, when you can use a GH5, X-T3, a6400, or hell even an old T3i? You shouldn't have to deal with those limitations because Canon decided they wanted to segment the market more and take away features in their lower end models that they've included for years.

That's an unnecessary shot. @Mattias Burlingalways emphasizes that it's the right camera for him and his work flow, which is more than fair. Just because it's not an ideal camera for you doesn't mean it can't be for him. We all have our preferences and what's important to us. For him SOC color is more important than other specs. And that's OK. I don't see why it bothers people.

I'm guessing early next year they'll announce the GH6.

The FW code is really ridiculous. I get why they do it but a 4 week wait?!

Which is why ultimately I'll probably wait until the end of 2020 I think keeping them is the smarter move for now unless you're in a position where you need to "upgrade." Better to see how things play out I think.

The S1 is $300 cheaper right now in the US (maybe elsewhere too?) I'm not sure though if it's permanent. Yeah, that's one of the reasons I haven't pulled the trigger. It's nice to be able to adapt lenses but I'd like to have some decent afford native lenses to use too.

With the price reduction it's really tempting but the cost of lenses is just way too hard to swallow. I'm so impressed with the stabilization. What a feat, really.

I've seen a lot of Canon apologists but this 24p stuff might take the cake.

Their reason is obvious: they don't want filmmakers using these cameras. I'm not really sure what part of that is hard to understand. I'm sorry but your argument is quite asanine. Just a few posts ago you argued that Canon might have to pay extra license fees for 24p, which is ridiculous, and now you're acting like an expert? The mental gymnastics you're doing right now to argue what is blatantly obvious is insane. Seriously, you wrote all that man to excuse CANON, who has a history of handicapping their cameras! Please, think that last sentence over a bit. All that, like the reason Canon cripples their cameras, goes without saying. No one said otherwise.

Why is Canon even releasing EOS M cameras at this point? What was the last lens they released for it?

That's the thing, every camera company has all the necessary code already written. The hard part was finished years and years ago and now it's just a matter of going in and changing fields to lock or unlock things. They could literally change a zero to a one in the code unlock 24p.

<brain exploding gif> If Canon is at a point where they have to cut 24p as a cost cutting measure then they're on death's bed. That's not the real reason, but still. "Guys, we gotta cut expenses." "Let's cut 24p." "You're a genius Roger, you just saved the company." Canon includes 24p in their sub-$200 Vixia camcorders! ?

Canon accidentally sets off filmmaking revolution, 10 years later people act like there hasn't been a decade of people using these cameras to shoot films.

IT'S CANON! The company that has a history of removing features even as they charge a premium! They're not saving money cutting out 24p, BUT even if they were it'd be fucking indefensible and NOT "smart" at all. Seriously, what planet are you living on?!

What kind of mental gymnastics do you gotta play to try and spin getting rid of 24p as a "smart move?" Yo, like Canon of you want, there's nothing wrong with it, but c'mon.

I don't disagree that it's preventing innovation, but what's the most likely outcome here? Apple cementing itself even further. We're exchanging one greedy overlord for another.

It was their first foray into mirrorless, I'd cut them some slack. They did quite a bit right out the gate, more than I expected. They also probably don't want to introduce internal RAW in their entry level full frame mirrorless camera.

While true, a lot of revenue would be lost by the influx of third parties that would be able to release accessories that Red was once able to sell for thousands of dollars. Those Mini Mags that started this I can almost guarantee have a significantly higher profit margin than their actual cameras. Those cameras need those "proprietary" accessories to function, and are a huge part of RED's business. RED cameras were designed that way for a reason. Creating your own ecosystem, while using patents and legal threats to keep others from selling third party products, wasn't an accident.

I was referring more to the major players. Yeah, in a battle between Apple and Red I'm not sure any of us win. It may open up compressed RAW for most of us, but giving Apple even more control and dominance makes me uneasy. Which may be Apple's intention. I know some don't think they have any interest in a camera company, but they're making moves in the streaming market, which ultimately leads everyone into producing their own original content. Apple looking to gain a foothold into the cinema industry isn't unrealistic.

I'm hoping they'll find a way to make Fusion more intuitive for the rest of us, because I really have tried to learn it. I honestly feel dumb for not being able to figure it out.

There are plenty of reasons for manufacturers to be resistant to adopting ProRes, between licensing fees and concerns about giving Apple that kind of control over their business. Companies like Blackmagic and Arri don't really have a reason not to use it. The rest? Not so much. And RAW video? I think you'll see a lot of them doing what they already do, which is protect their high end lines that will have it. The only one that I could see giving RAW video to lower end cameras any time soon is Panasonic.

How so? There are quite a few companies that allow recording to ProRes or Raw externally. Wanting them to die seems rather irrational. Atomos does need to diversify, but I think people are in for a rude awakening if they think that ProRes and/or RAW video will become a feature for all cameras any time soon. There is a reason Nikon was the ideal partner for Atomos to unlock RAW via HDMI since they have no cinema lines to protect. There's a lot more preventing that stuff from happening than RED.