zlfan

you are right. r5 has low priority in magic lantern community. on the other hand, if there is no magic lantern community, r5 would have no 8k raw in stock mode. even so, r5 raw is compressed. people tested it against the 5d3ml, the dark area of r5 raw was not that good.

I am not limited to 24p. If the camera has 60p, I will use it. If the cameras, like the magic lantern cameras, use 24p to maximize the resolution, I will use 24p. I don't limit myself. magic lantern is true lossless raw, so even at 24p, slow panning is usable. r5 canon raw is compressed, i think the compression ratio is 3 or 5. the dark area loses the details due to the compression.

there are very few cameras better than 5d3ml. Alexa ev or other Alexa members may have better dr, but only s35 sensor, and much larger body size. f35 has ccd, but s35, and cumbersome body too. they may be better than 5d3ml, but to me, it is more a give and take option instead of they are blowing 5d3ml out of water. r5 has 8k raw, but not uncompressed. so on for others. I think 5dml already reaches a plateau, even though other cams are better, but not so much. 7d2 gives 1080p 60p slow, which is the weakness of the 5d3. 7d2 1080p s35 may also have effective dual pixel af, which is very useful for tracking. anyways, I think ml cameras are the best deals in this world.

5d3ml if operates in full sensor mode is a vista vision cam, eos m is at most a s35 cam. 5d3ml certainly is better in terms of resolution and dr.

why is this one better than go pro?

to correct this. if only operates in 1080p full sensor s35 modes, actually lcd is high res high fps realtime. the preview issues are in the high res modes.

even the latest fx9/fx6/fx3 will have issues in slow panning if they are not operated in raw modes, how can other lesser cams survive the 24p yet the thin codecs? I have tested with nano flash 280 mbps iframe, on f3 at 24p, still the slow panning looks jumpy, although much better than the stock codec. at 30 p / 59.94 i sdi output on c300 og, the nanoflash 280 mbps iframe really is smooth. so that 6 frames really matter, even when using 280 mbps iframe, a codec is similar to or higher bit rate than the prores raw. how can thin codecs of 24p provide "filmic panning"? oh, does filmic really mean fuzzy or dizzy? lol.

f900 with a hj 22x. your shoulder and back will enjoy the combo. lol.

if 7d2 magic lantern matures, probably it. can do 1080p 60p s35 no alias no moire. the major issue is just like 5d3ml, no realtime high res preview on its own lcd. crop mood is so good for this. I like eos m, 100d too, although ml is not as stable as 650d/700d, but smaller, especially m, with a pancake lens, not much larger than the GoPro 12.

c300 og with nano flash 280 mbps I frame 59.94i 1080p is good enough for slow panning. c300 og's stock 50 mbps 23.97p and 29.97p 1080p are not usable for slow panning. I use 59.94p timeline in davinci resolve, and get 60p footage, seems fine.

there is a cost effect ratio here too. other than magic lantern cameras, uncompressed raw cameras are extremely expensive, like the Alexa family. on the other hand, a 60p camera with a low end codec can be very cheap. doing action packed shots, the latter one will be more suitable. try a 24p thin codec camera, you can hardly see clearly anything once the camera is panning, tilting, or doing other complexing movements.

I just watched the gold rush 1925. where is the 24p magic? why am I still enjoying the story and composition and action such much? lol.

Black Magic just announced a new full frame 12 k cinema camera, can do 12k 60p. The higher resolution, the more severe dizziness if there is camera movement. For example, sd 480 shaking and panning does not give much dizzy feeling, but 1080p is much worse, 4k is even worse. 12k with 60p is much smoother than 12k 24p in moving scenes, due to the high resolution.

initially, 24 fps and cameras were motorized due to the need to synchronize with sound. when I watch Chaplin's soundless movies, I really enjoy them, and I think they are cinematic. like city lights, modern times, and earlier ones. sometimes he even used rack focusing. Chaplin was during the transition period of 16p soundless to 24p sound. I think 24p effects are exaggerated and glorified and even sacrified afterwards.

7d2 can write 200 MB/s for both cf and sd cards, much better than 5d3. not sure about eos r.

agree. pro io is useful, especially for Multicam shootout. iq wise, they are not that outstanding.

I set my epic-x mysterium-x to 5k 60p 2.40 5:1. I used 5k 24p 2.0 3:1. I don't see significant improvement over r1mx 4.5k 24p 2.40 7.5:1.

I really like ml raw. it bests all of my so called pro video/cinema cameras. if you don't care about xls, nd, double recording, sci out, etc. if you don't care rolling shutter.

nikon always does surprising game changing moves. d90 earlier than 5d2, buying red, z mount shortest flange distance, etc.

exciting. game changing.

but strong codecs are better than weak codecs.

according to my experience, this is true.

one of my go pro 12 videos with a lot of moving shots got multiple up votes and highest viewing rate on my channel. good stabilization with 60 p beats 24p no stabilization day by day.

One of my crop mood videos got voted on YouTube. I think the key factors are the color and the good enough resolution. It was about landscape. I used shutter speeds from 1/48 to 1/2000, because I want to have a small package and don't want to have a nd filter in a matt box or some vari nd. I don't see significant effects of the shutter speed on the landscape shots. Here is my take: The so called magic 24p motion blur actually has negative effects on fast actions, no matter if the codec is weak, or strong, or uncompressed raw; it has negative effects on slow motions, if the codec is weak; it does not have significant effects on landscape. Even if the magic 24p motion blur exists, it has very limited application scenarios, maybe in drama, or soap opera, etc, for talking heads or dialogues, etc.

i figure out the best way to do 60p. for 60p, do shutter speed of 1/60sec. there are two advantages: 1. lighting requirement is easier to meet. 2. motion blur is closer to 24p, if 24p is what you want, because it is actually the shutter speed that determines the motion blur, not the fps. 3. at the same time, 60p helps tremendously on motion for weak codecs. no quarrel no politics all are happy. cheers,