Video Hummus

The EOS R is that but I suspect it outsold the S1 and S1R combined two fold simply because it’s a Canon and has DPAF.

If the 4K120p is 3/4 of what the C300M3 does then it will be good enough.

Isn’t looking very compelling anymore, if it was at all. Wonder what Panasonic will do? They are being pushed right out of the market because Canon just neutralized their strength (specs).

Maybe a good reason for Canon not to cripple their products to “save” the higher end. I say give the people what they want and that is a Canon camera with no-crop 4K60p+ with DPAF and 10-but clog. The sports photographer will buy the 1DXM3, the wedding and event and landscape people will buy the R5, the vast majority of YouTube crowd will buy the R6, and the serious video production rental companies will buy the C300s and C500s and maybe R5s. It’s pretty simple.

🤔

Same. Maybe someday we will get a mini with a much better camera.

Is it me or does this not follow the original OG Mavic Air philosophy of compact portability with a balance of camera performance? It looks huge compared to the Mavic Air. Even looking at it folded there is so much wasted space. Why didn’t they evolve the original, great, design?

Choice-supportive bias. But you can buy almost any camera today and get excellent results with a skill. So skill is what matters. Andrew, are you still working on SL2 stuff?

They might save the 4K120p for a up-sell option for the R5. Dynamic range and low-light performance will be the selling factors for which one works best for your needs...and price of course. Has me seriously thinking about moving over to Olympus for my MFT stuff and taking the dive into FF with the EOS R5/R6. Only thing I don't like are Canon prices...ouch. Only way Panasonic will get me to buy a GH6 now is if it has amazing AF...which is probably not going to happen. Olympus gives me good AF and a good 8-bit image (maybe 10-bit in a future firmware update).

I have the theory that the specs are no lie, that there won't be too many gotchas (beyond rolling shutter issues and the like that plague a lot of high mega pixel cameras with current CMOS tech). Why? I think Canon has the perfect opportunity, while the market has stagnated, to surge back and make sure the Canon brand is still what EVERYONE thinks of in the photography and video. Especially since Sony seems to have held back/stumbled with the A7S and their APS-C lineup. They went from relentless innovation and spec refreshes to mediocre name changes. In other words, they starting pulling a Canon. Case in point. My daughter has started to become interested in photos and video...what did she want not knowing anything about cameras? She wanted a Canon. Because thats what all the Pros use. You see them on the sidelines of games. You see them being used by YouTubers. You see an ancient 5D Mark III being used by the photographer that took family photos a year ago... For her photography meant buying a Canon camera. I think Canon has been forced into throwing out their best stuff to simply survive, and the timing is good now. They cashed in for years on their same old tech in new bodies and with a few tweaks. Very little development overhead probably went into the EOS R. It was basically the same old sensor, tweaked for mirrorless, with underwhelming specs but a good 8-bit no fuss image. But it had their new mount...where all the real hard work and planning went into. IF canon delivers a 4K120p camera, WITH IBIS, WITH their excellent DPAF, WITH 10-bit no fuss Canon codec and color science...you can't ignore it. You would nave to have a very specific reason not to be interested in buying an R5/R6 and investing in the Canon glass. Because so far, it's specs satisfies almost everyone's needs out there. The best AF, great no hassle colors SOC, 10-bit, 4K, 8K for the ones that care, a modern, adaptable mirrorless mount... It's a play for the FF market. It's a play to push out Panasonic and Nikon, and seize the mirrorless FF market and lock in another generation of video/photo people into RF/EF and Canon mirrorless. Panasonic's situation is looking pretty grim. They need to sort out their AF or their FF camera's won't survive, for sure. Nikon is looking pretty lame as well, but not as bad as Panasonics position. It has me, an avid MFT fan, that has invested thousands of dollars into the system, to hold my wallet to see what comes, regardless of new MFT or FF announcements from Panasonic. Because the R5 and R6 could potentially deliver everything I've have been waiting for in a mirrorless camera. IF I can basically have a camera with a LUMIX tech sheet AND unbeatable AF...sign me up.

There are business that produce content that are in the market for $13K cinema cameras with All the onset bells and whistle that make sense in that environment. Then there are a whole bunch (way more in my opinion) of aspiring photo/video content creators and small one-man-band companies doing work for smaller clients that demand a mix of deliverables. These are the people that are doing work for travel agencies and local business that prefer the form factor of a R5 over a C300 or even a C100 and don’t have the weight of “industry standards practice” of this is how it’s done. The later want the R5. The former don’t. They are separate markets for the most part. The problem lies, and I’m completely speculating here, in the separate imaging departments at the cameras companies. The cinema division was the old world and should get the better specs and image and that the consumer electronics segment should be get hand-me-downs. That the segments overlapped when they really don’t and there is just a tiny grey area. People know if they need a C300 or not. They know the difference. A C300 isn’t anything like a R5. They are separate flagship products in two different markets.

Maybe they never thought Canon would give them what they actually wanted and not what they settled for in the R? It definitely upsets the current state of the camera industry. Sony is the only real competitor as far as AF performance goes so it seems like the industry is going to converge around these two brands with Fuji filling in the rest. Not really sure what Panasonic is going to do as they no longer have the resolution and FPS advantage anymore that they’ve had with the GH5 and S1H with 4K60 in MFT and now FF. In addition, 8K is, at the moment, a hard wall. Going higher becomes exponentially more impractical. Resolutions 8K and higher become increasingly more specialized (360, volumetric imaging, sports broadcasting) and make less and less sense for consumer consumption and capture. Thats leaves Panasonic Lumix brand in a tough position. They need to deliver trustworthy AF as good as DPAF with the best Varicam color science and high dynamic range to survive in the coming market.

48Megapixels, 12fps mechanical and 20fps electronic, IBIS, and tracking DPAF isn’t exciting for them? Seems to be the perfect camera for landscape photographers, wedding and event photographers, and corporate shoots. It definitely isn’t a family cam or anything.

I think most people are expecting this. Especially in 8K modes. RAW mode will naturally be limited by the insane bitrates! In practice it probably won’t affect most people. If you need longer recording times in 4K you would be better off with MFT or a cinema class camera anyway. Sub 15 minute record limit in 8K. Fine with me. Maybe not for you. 30 mins for 4K. Still fine with me. Maybe not for you. The Devil is always in the details with Canon.

These two. Sony was reaching a sort of critical mass with professionals that needed more video capability. So Canon seems to be swinging for the fences to win them back. R5 ~$4k, RF glass easily ~7.5K (holy trinity set), $1K in bits and bobs (EF-RF adapter, etc...) Thats $12.5K for a straight RF investment. Of course it is lower for people coming with EF glass, but eventually they will want some of that RF goodness. That’s $8K in lens lock-in (the ultimate form of lock-in for a brand). DPAF, 4K120p, and 10-bit clog are a tasty combo for many people, even Sony brand loyalists.

Yep 🙃

I can’t wait a few days. Spill the beans, man!

I know what a fecking tease. Pretty sure Andrew wouldn’t be excited about external RAW recording.

Since the specs are moving more into confirmed territory. I’m gonna say minimum $4,499 at launch. The 4K 10-bit 4:2:2 w/ Clog in h264 with DPAF up to 120p sold it for me and has me definitely holding on to my money even if a GH6 comes (I’m a MFT fan). I expect the RAW will have such a large bitrate it will be impractical with current CFExpress card prices and capacity. Anyway, good news from Canon stepping up their game.

Those R5 specs still sound too good to be true. If they do come true it will be enough for me to invest into R5 and RF as a whole. If the 4K capture is clean and DPAF works and I get 120p with AF...wow. Only problem is I won't need another camera for a long time....

Yes, the organizing features, keywords, show used media, favorites, rejected etc... are a sleeper features.

They need an extra 10 days tick the roman numerials from A7SIII to A7SIV.

I hope this is a sign that Apple is going to give FCPX some updates and new features. I know it’s not full featured or as good as something like DaVinci but I just can’t switch. It feels like home after so many years. It also has had solid performance and has maybe crashed on me a handful of times in the past 4 years. I bought FCPX on a student discount special. For $199 I got FCPX, Motion, Logic X, and Compressor. It was a great bargain. No stupid subscription costs. It could use some quality of life features that would improve its use: A neural engine that will speed up, and maybe even mesh with their accelerator cards, things like up-scaling, tracking, color matching etc... Built-in tracker to simplify masking in video. The tracker could be used for so many things as well (beauty mode for tracking a face, etc...) A more advanced stabilizer. More intuitive audio controls. Better integration with Apple Motion. Get rid of the cheesy effects and transitions and replace them with well-know effects and film orientated, low key ,transitions that can speed up workflows. Enhanced Performance with Mac Hardware! Go back to your roots. Give me something special. Integrated accelerating chips (a la T2) that give me edge when editing on an expensive 16” MacBook Pro or IMac Pro. If I was Apple I would definitely rip out the A13 Bionic Chip and repurpose it’s neural engine accelerator stick it in a Apple MacBook Pro. Makes so much bloody sense.

My post was tongue and cheek about not being able to see a DR difference on screens.

I would be pretty miffed if I got a defective or damage product. My trust of the brand would take a hit. There is a conspiracy in the camera world. How is it that all of them can’t seem to get it right. Panasonic can’t get their AF trustworthy. Sony Is allergic to 10-bit anything. Canon’s DR hasn’t been great and of course their schizophrenic cripple hammer and lack of 10-bit in anything sub $5K. FujiFilm, of all companies, has come around to having the best all-around camera for DSLM shooters since they released XT4 and even that has annoying niggles. My iPhone 8 Plus screen can definitely see the difference in DR mapping of those two cameras.