Leaderboard

Let the hype begin. ....meanwhile I'll be over here with my GH5, which even with a full set of Voigtlander f0.95 primes would still be cheaper ???

Here's a more detailed list: Support for Blackmagic Pocket Battery Grip Support for new horizon meter tool 4K 2.40:1 (4096 x 1712) recording up to 60 fps in Blackmagic RAW (4K model) 2.6K (2688 x 1512) recording up to 120 fps in Blackmagic RAW (4K model) 2.8K 4:3 (2280 x 2160) recording up to 80 fps in Blackmagic RAW (4K model) 2x desqueeze preview when recording 2.8K 4:3 1.33x desqueeze preview when recording in 16:9 and 17:9 formats Pinch to zoom up to 8x magnification USB PTP control support New 1:1 and 4:5 frame guide options New ability to type in custom frame guide ratios Improve auto focus performance Language localizations

FYI if you interpret a (non Blackmagic Design) DNG in Resolve as "BMD Film" this will be Gen 1 which means for gamut there is NO transform - you are getting the sensor spectral response to colour which is not represented by 3 primaries like most gamuts and can't be treated as such. That would mean to "accurately" convert to Rec709 you would need the spectral response data for the sensor in the camera to calculate the transform to Rec709 for an illuminants given colour temperature, or by shooting known targets under various illuminants and doing a regression fit from there. It means multiple transforms depending on your white balance. The 709 gamut option in Resolve for DNGs is using the 2 colour matrices and "AsShotNeutral" tags (for white balance/tint) provided in the DNG metadata which have been calculated by the manufacturer (using one or both the methods described above) to provide a transform to XYZ for the given white balance (the matrices are actually used to transform from XYZ to sensor space but you can invert that) and from XYZ a standard conversion to 709 is performed. The ACES pipeline in Resolve also uses the same matrices in the DNG to convert to XYZ and then to ACES primaries. Of course many people just graded BMCC/Pocket footage with Gen 1 by hand and were also pleased with the result, but one should not expect the sensor response to appear in a meaningful way on a typical display without some kind of transform (calculated or done manually). But this is mostly to say if someone created a LUT or otherwise for BMCC/Pocket Gen 1 DNG footage, it will not be "correct" for other cameras (it may coincidentally look okay but that may also be scene specific). And most importantly for our cameras our others, if grading or creating a LUT etc for footage left in sensor space you need to adjust the correction/transform for illuminants with different colour temperatures. I.e Something done for footage shot under daylight will not usually work well for something shot under tungsten. If you use the Rec709 gamut option, you could use the CST OFX plugin to transform to another gamut safely as the RAW decode and CST plugin will not clip data and the white balance specific response has been already taken care of (the way the manufacturer wants done) in the transform to 709. This is the workflow I would recommend with such footage. YMMV.

I can't speak for ProResRaw but I can indeed speak of Canon Raw Lite. I believe support/features were limited at first but as of Davinci 16.. Canon raw lite files are not only drag'n'drop but you get the RAW tab options as well (allowing full pre-bayer settings from WB, exposure to Log/Gamma etc directly from the NLE). It simply could not be any more "friendly" imho. Drag'n'Drop a CRM file, adjust Raw settings in real-time, edit & grade away. I'm on a 2016 MBP and I get zero hiccups while scrubbing/grading. Exporting in 4K is slow but probably not that much slower than any other RAW format. YMMV. PS: I highly doubt ProRes Raw will get such support anytime soon in Davinci with the compressed raw wars going on behind the scenes.

Main positives re S1H: 1. Near-bullet-proof AF (Canon and Sony's video AF are coalescing in being as good as each other, only in slightly different ways) 2. Internal Raw (S1H raw will be external to Atomos) Negatives re S1H: 1. No IBIS [though Canon are said to be working on IBIS for an EOSR (X) version - who knows when this will come - in combination with lens OIS and 'digital' stabilisation]. 1DXIII will have no IBIS; I only make this footnote in respect of the likely EOS R equivalent of this DSLR. 2. Canon's Cinema raw lite (as per C200) is not a NLE-friendly codec; the ProRes Raw that will come from an S1H feeding a Ninja V (post the planned S1H ProRes raw upgrade) is likely to be much more pleasant to work with. A couple of posters have asked about the crop in 4k. Given that the 4k crop of the 1DX Mk.II is 1.3, we can be certain that the 1DX Mk.IV will have a crop of 1.3 or less - it would be so wantonly alien to Canon's modus operandi to do something so disruptive on their 'most pro' body like causing pros to have to buy a whole new set of lenses by switching from 1.3x in an existing model to (say the crazy) 1.74x of the EOS R/5DIV in the next version of that same model. For me, the fascinating comparison - in terms of positioning - is with Sony. The Panasonic S1H is a video-centric beast of wonder - very much the one-off space alien at the current time (and plaudits to Panasonic for producing such a model). But where is Sony, the disruptor-in-chief or yore? In the last 6 months they have produced new versions of their A9 and A7RIV cameras, both of which could have featured 10 bit (at least to a Ninja V) and more in terms of upgrades to the video specs. Even if the compact dimensions of the A7 bodies meant that heat dissipation precluded internal 10 bit 4:2:2 at a decent bitrate, they could have provided this externally. At the same time, the previously PR-savvy Sony let rumors run wild about the new cameras, such that the (real) improvements in other areas were overshadowed by the failure to provide even half of the expected video bit-depth, sub-sampling and bitrate improvements.

Press release If they put on to the next R its instant buy from me

Nothing new here. Just my overall thoughts on the thing. Pretty stoked. Really hope they get rid of MJPG and the crop

Modified Sigma's smaller grip to allow it to hold a T5; haven't printed it yet so not so sure how comfortable it is.

My best footage I filmed in North Carolina from 2015-2019. I shot on a GH4 and the GH5 in 4k with the scenery setting. I filmed 1.75x in 16:9 and 4:3 and 1.5x in 16:9 Anamorphic Lens used : 1. Baby Hypergonar 1.75x 2. Bolex 8/19 1.5x anamorphot 3. Bolex 16/32 1.5x anamorphot Taking lens: Voigtlander 40mm f2, Schneider-Kreuznach 50mm f/1.9 Xenon, Olympus Zuiko Pen 38mm f/1.8, Schneider Xenoplan 28mm f2, and a MeVis 35mm f1.6 Variable diopters used: 1. Rectilux 3FF-S 2. Proto DNA 3. Focuser 8 I also used a Tokina +0.4 Achromatic, Fujinon +0.7 and a Narumi +3 diopter for close up shots. If there is a shot you like let me know and I will tell you the combo. Cheers!

My new stuff, details here: http://colorizer.net/index.php?op=slog2 If you have some S-Log2/S-Gamut3.cine footage, I can apply my LUTs to them if that helps to judge quality. Created using an A6300 & X-T3.

If you want pro photo and pro video in one body, this is it. No other camera gives you that, hence the price. As good as the s1h is, I don't want to be fiddling around with external recorders just to get raw. With the weather sealing etc, the places you can take this camera where you can't take others makes it all the more appealing and unique. The price is warranted. This thing is a BEAST.

This is my take on it. A lot of hype out there. I doubt that Canon have done a u-turn on their policy to cripple video on EOS cameras... and I don't see RAW coming to a future EOS R. But who knows... time will tell!! https://www.eoshd.com/2019/10/canon-join-full-frame-4k-raw-party-with-1d-x-mark-iii-joins-panasonic-s1h-sigma-fp-and-nikon-z6/

It definitely does for docu and run and gun shooters. Dual pixel becomes invaluable once you’ve tried it. Contrast AF isn’t reliable and too slow to be useable. Both cameras are built for different uses and shouldn’t be compared with each other.

Oh shit here we go! Pal there about 50 lenses available as we speak for L mount https://www.bhphotovideo.com/c/search?ci=17912&fct=fct_lens-mount_3442|leica-l-mount&N=4196380428 as for 1DX3 buries the S1H imho.. I own S1H and am not here to defend it but it BURIES your 1dxmiii ? the specs u listed for 2020 and price with no Cinema features like anamorphic or true Cinema 24p on other hand am really happy for canon shooters there finally getting 10bit internal in 2020 where is Panasonic shooters had it since 2017!

Then you tell her no problem sweetheart, we'll fix you in post. ?

Thanks indeed for your insights on this. I'm happy to stand corrected on Canon's Cine Raw Lite, not least since it expands the number of codecs in which I can be confident of shooting without causing any ripples in editing and grading.

Perhaps I was not sufficiently clear when t I referred to the 'friendliness' of the codec. Few have found Canon Cinema Raw Lite friendly to work with in the sense I intended, which is to say that it poses a heavy load on the processor and is not straightforward to grade (unlike the XFAVC codec produced by the C300 Mk.II, say, which most find very agreeable). Of course, ProResRaw is too new to feature in any but Apple's own fcpx to date. But it has been designed as a particularly friendly codec to work with. I'd be very surprised if Apple didn't deliver on this promise (it's the sort of thing their good at). Of course, this is no reflection on your own experience with Canon's Cinema raw lite - if you find it good n friendly then all well n good.

Actually it is quite the opposite. Canon Raw Lite is natively supported inside Davinci & Premiere (drag n drop) and FCPX via plug-in. ProRes Raw is currently only supported by FCPX (with Avid & Premiere future support announced)

Hey everyone. Please check out my new short film Phantoms. Shot w/ Atlas Orion Anamorphics, Blackmagic Pocket 6K, and RED Dragon X 5K. For fans of Hitchcock and Bernard Herrmann.

Very cool, nice job. The sunset shot is epic. Chris

Yeah best thing about the Canon ecosystem is obviously the EF range. Panasonic only has three lenses out for S1 (two F4 zooms & a 50mm!). The whole alliance thing is meh. Let's not even talk about autofocus performance or the monster sport photography specs. With internal RAW 4K the 1DX3 buries the S1H imho.. 1DX3 Full Specs: • New CMOS sensor • New Digic processor • New AF algorithm with deep learning • New AF sensor • 28x more resolution than the 1DX Mark II AF sensor • Focus over a greater EV range • Live View and movie AF with same algorithm as optical viewfinder system • Dual Pixel CMOS AF • 90 x 100% coverage • 525 selectable AF areas • New AF point selection control • Illuminated buttons • Dramatically improved battery life for LP-E19 • Better ISO performance • 10-bit HEIF files • 4K 60P • 10-bit Canon Log • Internal Raw video recording (once again, comes back to CFexpress) • Optical finder continuous shooting 16fps AF + AE / • Live View continuous 20fps AF + AE (with mechanical or electronic shutter) • CFexpress storage • 5x RAW burst depth vs 1DX Mark II • Built-in Wi-Fi and Bluetooth (first time 1-series has built-in Wi-Fi) • Built-in Bluetooth low energy • Built-in ethernet transfer speed 2x fast as 1D X Mark II • New optional wireless transmitter will be 2x as fast • Weather resistant magnesium alloy body With the C500 mkII & 1DX3 announcements, Canon is certainly hitting it out of the ballpark on the high-end.

Not sure, lets wait and see. But I am guessing IQ will be better for photo and video. Also the native EF mount is pretty good for me as I have a shitload of EF glass and dont want to invest in a new mount (sony, panasonic, nikon..)

Can you use hardware HEVC decoding to decode the 10-bit HEVC ? If so then doing that on the latest AMD or Intel hardware would probably be worth the price difference alone. Are these 1U/2U servers or workgroup servers in tower cases ? The 1U servers I have been around were not something I would want outside a data centre because they are LOUD, like really really loud and with a range of harmonics to set your teeth on edge. The other things like M.2 NVMe drives and space for PCIe cards are probably doable with a few riser and adapter cards though.

What makes it better than the S1H? The Canon badge? Or is it the $6000 price?

If you're digging then look at these aspects: - Highlight reconstruction, if you're in Resolve or similar then from a native sensor colourspace it is easier to recreate missing channels at clipping. If your are in a white balance baked format then the clipping has already happened. It's quite common for sensitivity of RGB on the sensor to be quite different to each other. In a baked format these have been white balanced and so some of the channels would have been clipped to do that. There is no headroom in YUV. In some situations there is up to a stop of detail to be recovered. Helps especially with skies, clouds and avoiding that horrible too cyan look. - White balancing again, creatively or otherwise it's a massive boon to balance in the grade. White balance both YUV and RAW and tweak the settings a little bit and see that you'd get smoother results from RAW - Different debayering approaches for different uses. - Retention of noise and the ability to reduce that without dealing with compression, especially in the dark areas. Now the one thing is that sigma are dumping out DNGs with all the matrixes embedded within which is great, but actually they could offer more in terms of specific transforms, like Black Magic do. As mentioned above, sensor response is not defined as well as a colourspace, the edges of the gamut can be all over the shop and when dealing with outlying colours the method to bring them into gamut can be challenging. It took Red quite a few years to get to IPP2 which provides some excellent gamut mapping - specifically designed for each one of their sensors. It could be that sigma are doing some colour work from sensor before dumping into RAW - these issues are usually seen mostly in flouro and LED lights - car brake lights and so on. Typically these are outside of 709 space and so mapping those are very important. It's too early to tell with the sigma DNGs how this will pan out - we've only seen a couple... cheers Paul

Well, I don't know about you, but if I was a college-age girl living alone on an industrial farm I would definitely keep a baseball bat next to my front door! You never know what the yokels will do when they get all liquored up!!

Quick test with Resolve final version 16.1. Flog, H265, 400mbps, delog with a node colorspace transform and some adjustments.

I just noticed the same thing at 1250 and 6400 ISO. Flickering and green/magenta color shifts... Something has to be done.

Thanks for your feedback! The theme for me was the anxiety and dread of becoming a new parent. The blank face was sorta being afraid of something that you can't understand. I definitely thought about just starting at 4:00 (and I still might make a cut starting there as a straight horror short).

A couple of screen-grabs from a recent Sofar Concert I shot. Shot with the 70-200 2.8, all in 4k 10bit HLG, graded with Filmconvert Nitrate in a couple of minutes.

Well, considering 31st October this year is supposed to be Brexit day..... • what r u gonna be Poorer and with the right to live and work in 27 other countries ended. • past costumes (post pics) Bread queue chic from our glory days of the 1970s. • fav candies These ones that we had to use to do our homework with during that same 3 day week era. • halloween movies??? Can't think of one containing a more scary bunch of clowns than this.

I also like to mount this anamorphic lens and take photos vertically. So just looks as normal, not widescreen. ? 1. F1.8 2. F5.6 (to get good flare, need to use small aperture)

Look at you jumping ships?now your comparing 1Dmiii to C200 ! U trolling eh?