Patrick B.

So if Canon has stated the R5 is aimed at 5D level, then it stands to reason the R6 will be 6D level as others have noted. So I’m wondering if we can realistically expect 10-bit in that camera given how limited the 6D series has been historically. Then again everything is upside down in Canon world now. I’d rather have the 4k 10-bit and 5.5k raw of the 1DX MK III without the DSLR form factor.

yeah good point. it’s interesting that Alexa was the only camera that matches their stated DR as measured by Cinema5D. then again I guess other companies are using a low S/N ratio likely in their testing to get higher number whereas as ARRI are more conservative and realistic. curious how Red would stack up using their standard methodology as I know they have very good DR.

I’ve wondered this too. I believe Red’s patent only covers a certain compression ratio and up according to the docs. Like 3:1 or 5:1 and up? So maybe Canon’s compression is fairly light. That would explain why file sizes are so large. Or maybe they’ve worked out a licensing agreement like Atomos and Red did? I figure there must be some IP exchange between companies given the Komodo is the only non-Canon camera to use the new RF mount. A lot of Z Cam customers requested an RF mount for their new flagship line, but it sounded like it was a licensing restriction or something. Then again a 3rd party is making an E-mount for Z Cam and I always heard Sony didn’t license that either so...

yeah I wondered this too.. but usually in their tests the compressed codecs win out for DR because they already have pretty optimized NR happening. and I’m not sure if Canon’s CRL has the same kind of highlight recovery feature as BRAW.. but would have been interesting to at least see the raw results to compare. I guess he said they were rushed so maybe that’s why they didn’t.

Yeah, just read that! I’d be lying if I said I wasn’t disappointed. Not that I’m gonna pick up a C300 MK III.. but I’d just like to think after 10 years someone else can match an ARRI for DR ha ha. I guess at this point everybody is pretty close though. So I guess ARRI’s implementation in the ALEV III is very special.. not to say they are the same approach since they don’t have the split, dual-pixel design. But I thought surely that using two separate exposures would yield even greater DR. Puzzling... good to know. yeah I can see where it would be a special use feature that I might not even want all the time.

Yeah good point. I believe that’s true for their Fairchild sensor cameras. Makes me wonder why those didn’t quite reach Alexa level DR (although the UMP is pretty high). I always thought the dual gain approach was the sole reason Arri had some of the best DR. I picked up a used E2 so I need to compare WDR mode. I saw someone post a dark interior shot in the Z Cam FB group using that mode where the window was able to be kept from blowing out. It seemed impressive.

yeah, curious too. If the DGO tech from the C300 mark III is as promising as it sounds, I hope they eventually can bring this to the mirrorless line.

Hot damn! Super psyched about this. Can’t believe they’re going to give us internal 10-bit and RAW together.

I’m really curious to see if Canon’s new DGO (Dual Gain Output) technology in the C300 mark III will finally crack the DR monopoly that Arri’s ALEV III dual gain architecture has had.

oh yeah, I saw your video with Gerald ha ha! shame they haven’t fixed it. Ironic that the camera targeted at the most video professionals who would be most sensitive to and affected by this is the last to get fixed.

Wow, looks very nice. The F55 is one I’ve heard about but haven’t researched.

So I’ve heard! Amira sounds intriguing.

Has Panasonic ever confirmed the same ghosting fix they rolled out for the S1 is coming to the S1H? Also, has anyone been able to compare the S1H against one of the Varicams? I’ve only been able to find an EVA-1 comparison, but very curious how it stacks up to the Varicam LT.

@IronFilm yeah, good point on the size being a factor. I actually see an Alexa Classic on eBay right now for $4,495 USD (and another listing for $6000): https://www.ebay.com/itm/254558929947 Maybe it’s not the greatest condition or missing some stuff? Also, I heard that ARRI has a S35 4K camera they decided to hold off releasing until next year since the Mini LF was doing well. I wonder if that will cause a flood of Mini SD’s to hit the market. I’ll admit a Classic for $5k is slightly tempting. Coming from mirrorless and small cameras like the Z Cam I think the size would be a real smack in the face though ha ha. Also, I’m sure the practicalities of it like weight and battery life would also hit me pretty quickly once I tried to start shooting with it.

yeah that would make sense. I was having a hard to finding the new price of an Alexa Classic to plot out it’s price drops per year.

So with a used Alexa Classic now going for $5k USD and the Mini LF out, I’m wondering how many years it will take before the mini gets down in the sub $10k range. Right now I see the mini still in the $30-40k USD range on the used market (i.e. eBay). Five more years? Maybe by then someone will finally catch up to the nearly 10 year old ALEV III sensor 😂

Good insight, thanks. I’ve had some experience with 10-bit H.265 4K from my Z Cam, but I can’t imagine 8K, heh. Funny how the 5.5k RAW is easier to edit. My hope is they’ll allow 4K H.265 as well, but I guess we’ll see. Hmm, good point.

Yeah exactly... Ninja V. Bizarrely the EOS R doesn’t do 4K 23.98fps via HDMI, only cinema 24fps. One of those maddening and seemingly arbitrary Canon quirks/restrictions. You mentioned 10-bit H.265 earlier.. curious if that was something you heard from a good source.

Potentially it would be to me if they include internal 10-bit and c-log. I’m not a fan of the megapixel race either, although I have started pulling stills from video and that’s where I can see having 6k might be nice (although 10-bit 4K stills from my EOS R look really great for web delivery). Hell, I’d take an HD Alexa sensor in a mirrorless body

Seriously, ha ha. Even the tone of their press release seemed so “mavericky” and un-Canon like ha ha. Wondering about price point. With the language about “every photographer – not just professionals” seems they’ve gone out of their way to say this will be much more affordable than the 1Dx Mark iii.

For those not in the Facebook Z Cam group: it sounds like the eND module is about to start shipping and is in the hands of some early test users. -1.7 - 6.7 stops -no color shift (One user said it seemed comparable to the ARRI ND he uses) -powered via camera -works with EF and PL mounts -Compatibility is with the new flagships: S6, F6, F8 Also cool: -Camera control and external raw via Atomos coming soonish sounds like -ToF AF module is about finalized and tests on FB look promising -NDI via Ethernet is working and they are beta testing their Mac version of software to convert the stream to NDI or H.265 (PC out already) -They are working on an EF Mount option with built in speed booster -.94 firmware added some new modes and DNG stills -Adobe Zraw support coming I picked up 5 E2C’s for multi camera studio set up and have been selling off my other gear slowly. Also just nabbed a used E2 and another E2C for a good price on B&H. Pretty crazy how quickly they are moving and rolling out new features and updates. Of course still some bugs here and there that they are working through.

Heard back from Filmic Pro re: which Android cameras support edge detection via API: This brings up an interesting point for the future of digital imaging. Right now some think of RAW files as the holy grail of quality, but as computational imaging improves, this gap is narrowing and in the near future I wonder if the tables might turn to where it’s much harder for a human to manually squeeze the same quality from a RAW file as the AI/CPU/GPU can (especially if multiple exposures are involved). Personally I’m okay if my camera and phone make everything look amazing for me

Now that would be cool!

That’s a good question. You’re right... that’s looking pretty dang good and the gap is quickly closing. If they keep opening up control on stuff like sharpening, adding more phones with 10-bit, and a get better bitrates I feel like we’d be in business. I guess a lot of these phones might already be able to handle editing and debayering at least 4K raw video.

That’s what I’m wondering ha. I sent a “feature request” on Apple’s feedback site. Maybe if enough people pester them they’ll add it to their API 😂 http://feedbackassistant.apple.com