herein2020

I know I'm just one customer and Canon obviously couldn't care less about my business but I know I had planned on replacing the GH5 with the R6, replacing the 5DIV with the R5 and eventually replacing the C200 with an RF mount equivalent along with RF mount lenses over the next 2-3yrs...so I'd say they lost around $60K of my business so far. As it stands now, if a GH6 comes out I'll use it as a b-cam to my C200, keep the GH5 and use it as a c-cam.

I call them flying lawnmowers and take extreme care to not fly over people.

From a few early reports it seems like Canon has slid the fake overheating timers to the right a few more minutes for the R5 and R6. I'm starting to think their strategy is to keep adding minutes with each firmware update until their fake timer is accepted by the masses. I also have a feeling that they will close all current loopholes to their timer in one of the updates. https://www.newsshooter.com/2020/09/09/canon-eos-r5-r6-1-1-1-firmware-updates/

$43K USD....and here I thought the Inspire 2 was expensive. It still doesn't look that integrated to me, they just took two existing products and did the work needed to make them talk together. A truly integrated solution is the Inspire, Phantom, and Mavic lines. I used to own an Inspire but it was overkill for the work I do, the huge case, poor battery life, poor wind performance (no one mentions that an Inspire flying in a cross wind is less stable than a P4 in the same crosswind), and setup time weren't worth the increase in image quality that none of my clients were willing to pay for.

They own Hasselblad so I suppose it is not beyond belief that they are still working on one. Personally I think they should stick to drones and drone cameras; I'm still waiting for a DJI Phantom 5, but from what I hear they have their own internal problems that may be delaying or cancelling products and launches. I'm also still waiting for the perfect gimbal...one that can go from a one handed operation for smaller rigs all the way up to a ring configuration for heavier rigs.

Anyone else tracking that DJI is finally updating their Ronin S gimbal? It looks like DJI is set to announce their second generation Ronin S sometime in October. This would be considered an action packed year if there was anything to actually film. https://dronedj.com/2020/09/04/dji-to-release-two-gimbals-ronin-s2-and-s2-lite/

I for one will never go back to shooting anything less than 4K and typically nothing lower than 4K60FPS. I already have over 120TB of storage, my projects drive is 4TB, my cache drive is 1TB, 14 core CPU, RTX 2080TI video card, USB3 media readers, 1TB SD cards, and I always generate optimized media for every clip to have smooth playback after color grading and Fusion effects are added. I rely heavily on recomposing shots, stabilizing in post, straightening the horizon (drone footage), and couldn't imagine losing all of those capabilities. I shoot 4K60FPS because I never know when I might need to slow something down later as part of a speed ramp or to get additional gimbal stability. Interviews of course are shot at 4K30FPS. I typically then deliver in 1080P although lately I have been editing on a 1080P timeline then upscaling to 1440P for a YouTube delivery. For my website's demo reels I need the highest quality so I have Vimeo Basic which is free but has a very low storage limit so I put about 4 or 5 videos there until I reached the storage limit so that customers see a higher quality video than YouTube would allow. I also tried hosting a few MP4s on my website but that's just too unreliable; maximum quality but it's a pain to write the code to detect the different viewports and deliver the proper format based on the user's devices. I get what you are saying about the additional overhead, but all of it is paid for by my clients. I charge for each project based on the number of hours it will take for me to shoot, edit, and deliver that project and my service proposals are based on processing, editing, and rendering 4K footage. Clients hire me based on my past work, they expect to get the same level of quality that they saw from other projects, the only way I can do that is by shooting in 4K or higher and delivering in 1080P or upscaled 2K. I have never shot a single frame of video in my GH5, C200, GoPro, or drones at 1080P. If you plan for 4K, build your workflow around 4K, and charge your clients for 4K it's really no different than 1080P. If you are not making a living from video work and just posting personal projects on YouTube then 4K might not make sense.

Yes that makes sense, that's the same reason why I only use OEM batteries...why try to save $20 on a battery in a $4K camera? It makes no sense when people get cheap parts for expensive gear; or the endless iPhone chargers with the cheap cables that can fry the iPhone port, the chargers die within weeks, and there's been cases where cars and houses have caught on fire, just to save a few $$ vs the OEM gear. All of my power related accessories (charger, v-mount adapter plate, v-mount battery) is bebob and so far its been great: http://bebob.de/en/v-mount.html the battery is so expensive I still only have one, but that one can power the camera and monitor for around 6hrs nonstop. I did do a lot of research before I ordered the accessories for the C200 and only got the top of the line gear for it especially in the power and cabling departments; the only thing I don't trust is the dummy battery cable, I couldn't find one that wasn't a cheap mod from China. I've been in the IT/electronics field for around 20yrs myself, I still remember using ESD bags and grounding straps to insert circuit cards and oscopes to check waveforms for signal noise and circuit issues...the days before electronics became disposable. That was so long ago I couldn't even turn on an oscope let alone know what I'm looking at these days.

Yes, but I'm thinking if both cameras shot in CLOG3 with the same color science then my single CLOG3 to Rec709 LUT would immediately make both cameras perfectly match (if all other camera settings were equal). As it stands now, I have to do a bit of fiddling each time to get the different cameras to match up to the C200.

Canon for me has more problems than the obvious (fake overheating). I really like the GH5's XLR adapter, dual slot video recording, and no video recording time limits. The R6 will still cutoff at 29min even if it did not overheat, it will not record video to both cards at the same time (only images), and I'd have to give up XLR audio without some clunky additional workaround like an external XLR recorder. On the other hand it has Canon's colors, will hopefully get CLOG3 which will perfectly match with the C200, and will take fantastic images. The S5 will have nearly all the same problems as the GH5 (no AF, no CLOG3, no Canon colors, not something I would want to use for photography) but at a much higher price point with the marginal benefit of maybe a little more DR and maybe better highlight rolloff. It is like everyone keeps saying, there is no perfect hybrid; at this point it is starting to almost seem deliberate; but I just don't see what any of these companies have to gain by coming so close then failing so miserably in the areas that matter the most. I'm with you, I am definitely sitting this year out and hoping next year will be a better one. If next year is like this year, then I guess I'll sit that one out as well....everything I have works just good enough that I don' t have to make compromises to get into my next camera body; I'm already making compromises and at least those have already been paid for (and paid for themselves), the rest of this year I am going to focus on improving my Davinci Resolve editing skills.

That's good to know, I've worked with electronics and IT equipment for many years and the first rule of thumb was to always remove power before connecting or disconnecting anything, so when I got my adapter plate I made sure it had a power button. The part I wasn't sure about was if there were any high capacity capacitors anywhere in the circuit that could still cause problems after the power was removed. I used to mod cars with custom audio systems and those audio caps could fry anything they touched weeks after the power was removed. Of course now my concern is someone accidentally pulling out the HDMI cable while everything is powered on, I'm paranoid enough that I may still use a dedicated battery for my monitor. I've got about $20K into my C200 so I'm a little more paranoid than if it were something smaller.

For me the S5 is dead to me because of the lens mount. The cost of the body would be reasonable all the way up to around $2300USD to me, but having to buy new glass just gives me a headache. That's why I would much rather that a GH6 were released....I'd be willing to buy a new body if that was the only cost. But for me to spend upwards of $6K (body plus a few lenses) it will need to have better AF, and be useable as a true hybrid camera like I thought the R6 would be. I don't know why I still somehow think Canon will "fix" the R6, but that is my hope.

Had no idea this could happen, I power my monitor with a dummy battery and v mount plate adapter as well. Is this still possible even if the v-mount plate is turned off? I use the adapter plate shown below, it has a power switch to turn off and on the power and I always power it off before connecting or disconnecting any of the cables.

Wow, $6299...no wonder why the specs are so good, this thing is specd and priced above the C200, I did not expect that. Well that explains the lack of a cripple hammer then. They want you to pay A cam prices for a B cam form factor. On top of that you would have to buy RF lenses to get the most out of it. I bet it also has backup video recording to both SD cards, and for that price it definitely has XLR audio as well. I'm so tired of Canon's games, if I had to buy a video camera right this instant I would get the Panasonic S5.

Yes I see them now, maybe it's only a 2 and 4 stop ND filter, I just can't imagine how they will cripple it, I've learned though thanks to the R5 and R6 fiasco; never underestimate Canon's cripple hammer creativity. I'll bet Canon wishes they could only offer 1080P and get away with it. I think they won't offer RAW, probably no CLOG3, no XLR, no more than a 4 stop ND filter, definitely no IBIS, oh and it will overheat but only if it detects that you haven't yet purchased a Cinema camera. With the purchase of each cinema camera you'll get an unlock code for the CLOG3 and removal of the overheating timer in the C70.

Am I wrong to say that that camera looks fantastic? As much as I dislike Canon right now that body is what dreams are made of. I can only imagine the codecs, AF, colors, and gimbal shots possible with that camera, and I doubt it would be $6K, it will have to cost less than the C200 so I'm thinking it will be around $3K but after lenses you might as well say it will be $6k. Probably no internal ND filters and maybe no XLR audio, no 4K120FPS, typical Canon cripple hammer style.

Do you get an x pattern at the stronger end? I have a Tiffen variable ND which is great at the weaker end but it produces a very faint x pattern at the strongest end...what's worse is it is too faint to see in the back screen so I don't even know it's there until I start editing.

That is interesting to hear, I've never owned a Sony so I have nothing to compare it to. I've also wondered if I bought the GH5 VLOG upgrade if it would help with the highlight rolloff, but as newer cameras came out I didn't want to keep investing in the GH5; it also irked me a bit that they included it with the GH5s yet wanted you to pay for it in the GH5. If the GH6 comes out with the rumored 41MP sensor then even resolution won't be able to justify it. I think the only thing that will justify FF is if you want to use it as a hybrid camera. Call me biased, but I could never see the GH5 replacing my FF body for photography. If you need a great hybrid then I can see using FF for both photography and video; but we all know how well these "hybrids" are working out so far. I always find it interesting when people say they need FF for video when $50K Reds, top of the line cinema Canons, and $50K Arris still have a S35 sensor in them. But hey, to each their own, if FF works for you then that's great. MFT is working for what I need...until that perfect hybrid comes along.

I agree, when I got my GH5 I did a lot of research and discovered the Voigtlander 17.5mm f 0.95 which has become my favorite video lens of all time. The shallow DOF that you can achieve on that lens is incredible and it turned my GH5 into a lowlight capable camera. For real estate and landscape I got the Olympus 7mm-14mm which nicely aligns with my Canon 16-35mm FF lens. The main thing I dislike about the GH5 is the highlight rolloff...I'm not sure if it is so bad due to the sensor size or some other factor. I know my C200 with it's S35 sensor has incredible highlight rolloff. If the bad highlight rolloff is due to the sensor size then I would agree a larger sensor would be better but still would not need FF. If it is just due to the sensor in the GH5 then there is hope for a MFT sensor with better highlight rolloff. The MFT size has plenty of benefits over FF such as better battery life, lighter weight, no overheating issues, better rolling shutter control, much smaller lenses, easier for gimbal work, etc. This is why I wish Panasonic were announcing a GH6 right now instead of an S5; a GH6 with 4K120 and better highlight rolloff is far more interesting to me vs investing in yet another camera and lens system. I have yet to be in a situation where my GH5 simply could not get a job done that could have been completed with a FF sensor. The one place though where I will always prefer my 5DIV over the GH5 is photography.

Ok got it, you would have benefitted from this thread then, we were just discussing this a few days ago. Yes keyframes have nothing to do with audio synch the timeline controls that. It sounds like you have a pretty demanding client audio wise, good luck.

Another trick that I have read about but not tried.....if the video is 1080P then upscale the whole thing to 2K or 4K, I have read that YouTube uses better codecs for anything higher resolution than 1080P. Also, keep in mind that YouTube also uses better codecs for popular channels; that's why music videos from celebrity names look better than yours ever will on YouTube. It's part of the cost of free. If the source video before the YouTube upload looks fine, then all you can do is try Vimeo, DailyMotion, follow the Google YouTube guide and tell the client that you can't control how badly YouTube is trashing your footage. Also let him/her know that YouTube has tiers of quality depending on the channels owner and popularity when they ask you why everyone else's looks so good.

You actually want less keyframes not more, keyframes are mainly used for editing and help the video editing software do less work, that's why ALL-I compression is easier than LongGOP to edit even though ALL-I is typically 4x larger files. But you would never render a final project in ALL-I. When you say "it is exactly there where things happen" what things are you referring to? If you post a screenshot of what is going wrong myself and others may be able to help you better. Maybe it is something else that needs to be fixed somewhere else in the process. Your example of 40 players bowing is still nothing LongGOP and a lower bitrate can't handle. Where you will start seeing artifacts or macro blocking with lower bitrates are scenes where nearly every single pixel changes in every frame like when a drone is flying at high speed over the ocean, a timelapse that was shot with large intervals between images combined with a field of flowers blowing in the wind, etc. If the final destination for the video is YouTube then I would recommend you simply look up the latest YouTube video formatting recommendations. It sounds to me like you are overthinking it...simply follow Google's YouTube chart (they do run YouTube after all) and leave it at that. Another option is to post it to Vimeo instead, maybe have the version that you want on the client's website hosted on Vimeo then the one for everyone else posted on YouTube, also does the source video look fine before you upload it to YouTube? https://support.google.com/youtube/answer/1722171?hl=en

The examples were without Noam Kroll's LUT. I forgot to add his LUT to the examples. The LUT that I ended up using from him in the final project is so minimal that I think it just adds a little more contrast. I don't try to get too creative with the color grade for projects like these since the client typically expects true colors. I think I would get better results with the Leeming LUT if I had a better camera like the S1, S1H, etc. I would love to replace it with the R6....but...we all know how well that's going. The Leeming LUT combined with the GH5's sensor needs so much overexposure that the highlights get clipped pretty badly in certain scenes or the GH5 has to be pushed to high ISOs to get the necessary over exposure and then things start falling apart. So in lowlight or high DR scenes I just grade the GH5 with the WFM and a Noam LUT. I emailed Leeming asking for a C200 LUT or a CLOG3 LUT and he said he will get to it if he has the time. After using the Canon CLOG3 to Rec709 LUT and seeing how easy CLOG3 is to work with I realized I don't need a Leeming LUT for it.

Nope, I'm no colorist 🙂, if I can't get it in a few clicks I move on, to me life's too short to try to learn everything. If I had a customer with this request (fortunately my customers couldn't care less as long as it looks good) I'd just use the shot match feature, convert the output to a LUT, apply it to an adjustment clip, grade the source clips to rec709 then throw the adjustment clip over the top and call it a day. If the client really wanted to get closer to the look I'd outsource to a colorist and bill the client for the custom work.

I am getting fed up with working around my Ronin S's weird quirks so I am actively seeking a better gimbal for 2020. I would love to find a gimbal that can fly both my GH5 as well as my C200 but it seems less and less realistic. So I am curious, what is everyone else using? I created the poll using the most popular gimbals that I am aware of at the moment. I personally have the Glidecam HD-2000 (which I never got very good at especially on windy days), the Zhiyun Crane V2 (awesome little gimbal but couldn't handle the weight of my GH5 without taking it out of its cage), and the Ronin S which I use for everything at the moment but DJI refuses to fix the issue where it does not return to the center after a pan or tilt and you have to recenter it with the trigger button which can ruin a take. I like Zhiyun but do not like their latest models with the handle sticking out of the back. I had the Ronin MX but sold it, it was a pain to put together and too bulky for the types of work I do not to mention needing to lug around the stand. I think the perfect gimbal would be one that can go from one handed operation for smaller rigs to being put into a dual grip ring configuration for heavier rigs. I know there's some kits that try to do this already, but they always seem like an afterthought and the gimbal isn't really optimized to operate in the ring grip configuration. I had high hopes for the Ronin S but DJI doesn't seem interested in continuing to improve it and more than likely they do not want to impact their Ronin 2 or Ronin M sales.