currensheldon

Agreed that this is a great value. If the 4K crop is closer to 1.5x as expected, it even has a leg up vs the EOS R. Without the All-I, 10-bit HDMI out, and C-Log, the EOS R is still the better buy as a C200/300 B-Cam or professional mirrorless camera, but this would be a great enthusiast camera or travel camera. I don't vlog, but I can see vloggers digging it as well. Wouldn't be surprised if the marketing materials included a lot of vlogging images (and maybe why they included Eye-AF).

holy smokes that's cheap. Assuming that means that we definitely won't get C-Log, 10-bit HDMI out, or a robust ALL-I codec like the EOS R (probably a 8-bit 100mbps like the A7 series). Though still may have a lesser 4K crop. With that price, I'm guessing they are aiming to have a lot of 5D and 1D owners buy one out of mirrorless curiosity as a B or C camera and then wow them with the lenses. That and get any amateur thinking about spending a bit more for a full frame to buy into the system. Really smart move by Canon. Everyone has been freaking out about the A7III and much of that had to do with its sub $2k price tag. But $1299 is a totally different ballpark. Would be a good buy as a take anywhere travel camera so you can leave the cameras you use for professional use (5D, EOS R, C200, etc) safe at home when you just want to take some photos and videos for fun. Need a nice 24-70mm f4 travel lens to go with it or some smaller f2 primes. Hopefully soon.

Despite their terrible 4K Crop, Canon is definitely doing some interesting things. Seems like their EF to RF adapter with a variable ND will be shipping at the end of this month, so that could be a big game changer. I've always hated digital stabilization, but has anyone else used it in the EOS R? It is surprisingly good and I haven't noticed any of the warping effect that often plagues digital stabilization. Most excited for NAB 2019 to see if Canon can put some new energy into the wide open (and rather dull since the original Sony FS5) $3-$7k cinema camera market. C100 III or XC-style Super35 ILC? Hope so.

For sure - the 4K crop is by far the worst part of the camera. But it still has a much better image quality (in ALL-I) than almost any other mirrorless camera in my opinion. For what I do, I don't do a ton of wide angle shots, so it doesn't bother me too, too much. But hopefully they can figure it out soon with a more pro-model. I'd even take a 10-12 megapixel camera if it gives me full frame 4k 60fps (since I can also use the higher megapixel EOS R for stills). Maybe they are actually incapable of pulling it off or maybe they're trying to protect their higher end cinema line. What Canon (and everyone else) needs to understand is that video folks often buy mirrorless cameras for their size - so just give us some smaller, high-end cinema cameras (with NDs and mini-XLRs)! It can be twice the size of an EOS R, but that would still mean it would be would be waaayyyyy smaller than a C200 (their smallest 4K cinema camera). I'd love a B-Cam that is video focused that could easily fit on a Ronin-S. Again, a Super35mm XC-style ILC system would be great. No idea if that will happen.

I've been hopeful for the past three years, but I really am excited for Canon's 2019. The EOS R was seen as a disappointment, but I'm actually really enjoying it - and really looking forward to that variable ND adapter. That is going to be a huge game changer. Plus the robust bit-rate in the codec and the 10-bit 422 out and the beautiful Canon image, it's weird to me that people are hating on it as much as they are (4K crop does suck for sure). To really go after it, Canon needs to put out a $5k-6k cinema camera that is small, lightweight, and (A MUST) includes 4K 10-bit 422 with the RF Mount. I realize this would hurt C300II sales, but looks like they'll be releasing a C300 Mark III soon as well (and they can pump that full of 6k-8k, high frame rates, internal raw, etc to differentiate). I have a feeling they won't give us the 10-bit 4K that many places require now (many places are following Netflix's lead and even independent docs want to make sure they're shooting with Netflix standards just in case...), but they are really hurting themselves not doing it. I get the mini crippling of DSLRs and mirrorless cameras. But they are losing a lot of shoots to the FS7 and EVA-1 because the C200 isn't an "approved" camera for a lot of even low budget films. And then, as a result, losing mirrorless sales to Sony and Panasonic because people want to match their A-Cam to their B-Cam. In my opinion, pound for pound, the C200 and C300 put out the best image (by a pretty large margin) of any camera under $10k. Looking forward to NAB 2019. If Canon can come out with what would be a 10-bit 4K version of the C100, I think they would do really well. Here's hoping.

I'm pumped for the RF mount for all the lens adaptor options I used while using Sony's E-Mount for a bit. Unfortunately, the two best things about the RF mount are incompatible. Which are: LENSES - Canon is about to release a whole bunch of new lenses and among them are a 15-35mm f2.8 and 24-70mm f2.8 that both have stabilization - which is awesome! and something that their EF counterparts don't do. Add the groundbreaking 28-70 f2 and the other high-quality RF lenses, and their lens lineup will soon be one of the best in the mirrorless game (amazing after launching just 4-6 months ago). ADAPTER - However, the best part about the RF-Mount for mirrorless cameras is that forthcoming EF > RF Variable ND Adapter. I decided to get an EOS R for video rather than so many other options and in spite of its big 4K crop specifically for that adapter. Can't wait until that is released. Carrying around a bunch of step up rings and NDs and variable NDs has been super old for years now. Will be great when I can use ANY lens on my EOS R and not have to worry about filter threads and also not being able to use my lens hoods to block unwanted light and flares. But, I'm sure all future Cinema EOS camera will have an RF-Mount option. Easy to take mounts on and off like Red does or the Sony Venice does. And the RF mount is so much more versatile. Dreaming of a Super35mm XC-15 style RF mount camera or a C300 Mark III with the RF mount. We'll see

I love this because it’s so true. I went with Sony for a couple of years (FS7/5, A7s, A7rII) because they seemed to be crushing in specs. But despite all the technical prowess, the 8-bit HD image out of the 5 year old C100 was still way nicer looking. Now I have a mixture of Canon and the GH5, but will probably stick with Canon now that they have a full frame mirrorless line. hoping for a $5000-ish cinema line camera with RF Mount soon as well. Then could be happy for a few years.

Bunch of new lenses coming with this announcement as well: Canon RF 15-35mm f/2.8L IS USM Canon RF 24-70mm f/2.8L IS USM Canon RF 24-240mm f/4-6.3 IS USM Canon RF 70-200mm f/2.8L IS USM Canon RF 85mm f/1.2L USM from: https://www.canonrumors.com/canon-to-announce-at-least-5-rf-lenses-next-week/ — To me, that looks like a professional lineup. Not an entry level system. Perhaps Canon has a $3500 pro body hidden somewhere to go along with this announcement? More likely, they’ll start using the RF Mount for cinema cameras, most likely the mythical C100 MarkIII or XC-15 style camera with interchangeable lenses. If they announce those at NAB 2018, you’ll have plenty of lenses for them. And both the 15-35mm and 24-70mm f2.8s have stabilization - huge for video. There is a huge gap for a small form factor 4K 10-bit 422 workhorse camera in the $4000 - $6000 range. Canon could really make a big splash with that.

I'm consistently pretty baffled that a camera manufacturer can't seem to do the obvious: basically, create a lens and mount eco-system across 3-4 different cameras from higher-end cinema down to pro mirrorless. Canon has a HUGE opportunity this year with the new RF mount, two new R bodies coming, both the C100 and C300 due for updates, a potential XC-15 with a interchangeable lens mount (probably RF). That's a lot on the roadmap and could be amazing if they don't cripple three out of four cameras. I'm still looking for an ecosystem that has 3-4 different camera sizes, all the same mount, same color/codecs, from same manufacturer. Panasonic has 4 different mounts over their 4 different camera levels (MFT, L-Mount Full Frame, EF mini cinema, and PL for Varicam)... bit of a mess for trying to build a system. Please: - A higher-end cinema camera with top level specs (FS7, C300, Varicam, etc) - A mid level mini-cinema camera (FS5 sized or slightly smaller - maybe like an XC-15 RF or a beefier X-H1 with internal NDs and a couple mini XLRs) - A high-end mirrorless for gimbal All the same mount. All the same lenses. All the same sensor size. Come on. Fuji has a huge opportunity, I think, to release a $5-6k mini cinema camera. They're the ONLY manufacturer that has a great lens lineup specifically made for Super35mm. Even though Canon has tons of Super35mm/APS-C cameras, their professional lens lineup for the system is sad. Even their fastest/best lens for the system (the 17-55mm f2.8) vignettes at DCI 4k. But, if Canon can bring out a C100III with the 4K 10-bit 422 up to 60fps that the C200 didn't have (and leave that a raw camera), a EOS 1R with the same codec and no crop in full-frame, plus a 6-8k C300III (as a way to differentiate it as high-end), then they would once again have the best top to bottom lineup.

I haven’t been this excited about a camera launch in a long time. I’ve been hoping for a full frame camera with GH5 specs for awhile. Hoping the XLR adapter is compatible and maybe has a surprise or two like internal NDs... I’m a bit worried now that maybe their “Without Compromise” is really for photos and they may only offer 10-bit via HDMI. though the EVA-1 update gives me hope that this will have 10-bit H265 internal. Perhaps raw out in the future like the Nikon.

If they could also get the dynamic range up to 13-stops or so, this would be an instant buy. I keep thinking they might as well make the GH5 the ultimate MFT video camera - as a B-Cam to the EVA1 or just as the best video journalist, low budget doc filmmaker, or one-man band filmmaker camera. Just add internal NDs and better pre-amps with the XLR adapter and a 4" screen, along with the GH5s low light ability. Then throw in what you mentioned and it would be the perfect small profile doc camera. Also the best place to be the first manufacturer to get 6k and 8k in a mirrorless model (though I don't think this is necessary right now - more of a GH7 thing). If you want photos, buy the G9-line or the new full frame line.

Agreed. Or if Panasonic can give me a f0.95 lineup of lenses (like Voigtlander) but with autofocus, that would solve that problem as well. I find f2 on full frame to be my favorite balance of shallow depth of field while still being able to hit focus consistently.

Very disappointing as I thought for sure it would have an electronic ND for video. That would be the one feature that would have set it apart. I think you’ll see M43 be the area where features will be offered a year or two before full frame cameras (due to less processing power needed for smaller sensor). The GH5 has features that still have not been replicated in the full frame world (4K 60p, 10-bit All-I, etc) - and that’s been out for more than two years. Funny that it seems Panasonic will be the one to change that. The GH6 will be the big test. I’m guessing it will have 6k or 8k, 120fps 4K, and internal NDs - maybe even updated XLR functions. Hopefully GH5s low light capabilities too. They might as well make it the ultimate indie doc camera (like an XC-15 with MFT Mount and all the big features). Those features paired with their new 10-25mm f1.7 could be the ultimate journalist, doc filmmaker camera.

I think Panasonic will keep their MFT GH-line to push out awesome video specs before anyone else (like they did with GH5's 10-bit 4K, and 60fps 4K). Then they'll trickle up to their full-frame cameras a couple of years later. I wouldn't be surprised to see a late 2019 GH6 with 12-bit 4K internal raw (perhaps BM Raw, since it is open), 120 fps 4K, and maybe even a higher resolution like 6k or 8k at 30p. Also, they may just go all in on the video front and throw in the one thing I'm waiting for: an internal variable ND. Please? someone?

With all the new mirrorless combos, I'm really looking for a mirrorless system where I can use the same lenses for both a full frame, pro-body and a smaller APS-C, take anywhere, be more discreet body - as well as possibly use for higher end cinema stuff when needed. Unfortunately, Sony is the only manufacturer that has a good lens lineup and mount (FS7/5, A7x, A6500...) to achieve this. But wow - their ergonomics and image and color continue to be horrible in my opinion. Hoping the L-Mount lens lineup fills out soon, plus adds an L-Mount EVA-2 and Sigma APS-C camera. The Panasonic S1 is really exciting.

A built-in variable ND filter is really one of the few things that can make mirrorless cameras stand apart from others - when it comes down to it, all modern mirrorless cameras (GH5, X-T3, Z7, S1 and S1r surely, and A7III) have amazing image and video quality. But functionality like good internal audio and (my biggest) variable ND will be the difference makers. If Olympus can really give us 7+ stops of IBIS + a variable internal ND, they become quite a bit more interesting to me than something like the EOS R, Z7, or even the Fujis (which I love). Get some f0.95 lenses or a speedbooster and you can get that shallow DoF that we all love. But, hard to overlook the usefulness of something like a variable ND - even compared to the holy grail of full frame. Hoping for it in the Panasonic S1(r) anyway - just really want that internal variable ND.

Nice to see the high-res megapixel mode included. This wasn't announced initially but it was part of a few leaked specs not too long ago. One of the other leaked specs that has yet to be confirmed is an internal variable ND. What are the chances of that? Would automatically make these cameras top dogs for mirrorless video (which they may be regardless).

Really true on the cannibalization. Give me a GH5 with MFT mount in a smaller EVA-1 body (internal NDs + XLRs) and that would be good for me (maybe another stop of useable ISO to get it to 3200 or so). Fuji could do it, since they have nothing to protect, but not looking likely in the next year or so (or maybe ever). They also have those amazing affordable cinema lenses.

Yea - Because the Pocket 4K already got so much bigger, they should have gone all the way and just made it even a bit bigger, added internal NDs, and a real battery slot somewhere. The 5-inch screen is great, but 4-inches would be just fine. Even at $2.5k - $3.5k, that would be right in line with my ideal A-Cam (though, I guess then there isn't much differentiation between it and the Ursa Mini Pro). Perhaps they'll make an Ursa Mini Pro Mini soon. I look forward to the day when a manufacturer makes a C100 II-sized (or a bit smaller) 4k 60fps camera. A workhorse that you don't have to worry about power, screw-on NDs, overheating, etc and can still get a beautiful BM Raw esque image quality. The only thing that comes ergonomically close is the FS5, but that camera may have the worst internal 4K image coming out of a $1k+ video camera. With that said, I LOVE the image of my Pocket 4K and will definitely be using it for a lot of applications. But not sure I can trust it on a professional shoot until I get some real power solutions (looking forward to the tilta solutions). With this sensor, codecs, ISO-ability, menu system, etc they could have really crushed the indie crowd market with a $3k-$4k camera that had real batteries and internal NDs - even the audio is pretty great for 90% of scenarios (with one xlr and one 3.5mm).

Are you plugging this into a V-Mount battery? If so, what is the Wh and how long does it last? Thanks for the test and reply!

I think Panasonic will definitely focus more on full-frame and cinema cameras moving forward. The S1 and S1r look great and an upgraded EVA-1 with L-Mount would be awesome. Where MFT will exist and thrive is in Panasonic's ability to put more advanced specs with this sensor size. For example, they were the first to really get IBIS down (Olympus MFT too), the first to offer 4K internal for a high-end hybrid camera (GH4), first to offer 4K 10-bit 422 internal (GH5), first to offer 4K 60p (GH5) and the first to offer a quality XLR adapter for a hybrid camera. So, I think Panasonic will continue to use the less processing power it takes to read a MFT sensor and also add in advanced video features to the GH6 and GH6s, namely: 6k or 8k internally (or via HDMI) 120fps or 180fps in 4K Internal ND filter (rumored to be in the S1 anyway) Better XLR adapter for high quality audio Great battery life, like in GH5 - which is leaps and bounds better than Fuji X-T3, EOS R, and Pocket 4K (I hear Sony A7III does well too, but my A7rII ate through batteries). Improved IBIS and low light - perhaps matching the GH5 IBIS with the GH5s low light If they can do these things, while also adding lenses like the 10-25mm f1.7, MFT will be strong for awhile. They could also help it out by offering a small EVA-mini with MFT sensor, IBIS, and 96-120fps in 4k.

This camera would benefit greatly from a battery grip that can be attached like every other DSLR/mirrorless camera out there. Surprised someone doesn't just make a battery grip style external power source. They'd sell loads of them. Not a fan of the Powerbase form factor from the looks of it, but interested to see how people like it.

Yea hard to say what happened. If I had to guess, the battery meter was fine and the battery still had 85% charge left, but was then overwhelmed by the power draw, overheated, swole, and then shut down and jammed (due to slight expansion). But, got it out and all is in fine working condition with good batteries. Honestly, that drop-in variable ND filter is the best thing the EOS R line has going for it right now. That is HUGE for someone like me who prefers smaller cameras (like Pocket 4K, GH5) but really like video camera features like NDs (and double XLR audio inputs). I could see the RF mount being something pretty special if Canon attack it hard. Throw a Super35mm sensor into an XC15-like body with an RF mount and I'd guess they'd sell a lot. Maybe even ditch the XLR adapter and do what Black Magic did and put a mini XLR + 3.5mm jack on the side. A true C100 III. Surprised that Black Magic are really the first manufacturer to make a truly video-centric camera with a decent sensor size in that small of a form factor. Next closest is the FS5, but still quite a bit bigger. Also - wonder who will put Black Magic Raw in a camera first. Hoping Fuji or Canon, but not holding my breath.

Quick update on the battery jam. I thought I had put in the Black Magic battery that comes with the camera, but it turned out to be a BONACELL (which I only bought for the dual charger and never really planned to use). Must have thrown it in the bag as a back-up and popped it in thinking it was the Black Magic battery (they both say the same thing on the top). Explains why it swelled, died at 85%, and got jammed. I had to krazy glue an object onto it and then pull it out (and never to be used again). Suffice to say - DO NOT buy 3rd party batteries unless thoroughly tested and approved. The Canon batteries have all worked great and the Black Magic battery that came with the camera also works great, so stick with those two. Battery life is still poor and has to be watched constantly, so still planning on an external solution, but approved LP-E6 batteries will work just fine for 40-45 minutes or so.

It was actually the battery that came with the camera. I bought three genuine Canon LP-E6 batteries and have been using only those and never had an issue (have probably changed the battery 25+ times since I've had the camera). So, perhaps those are less prone to jamming.