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2012 Canon - "here, have this soft 1080p" 2013 Canon - "here, have even worse soft 1080p" 2014 Canon - "here, have some moire" 2015 Canon - "here, we've got some 1080p" 2016 Canon - "the 1080p is now more expensive" 2017 Canon - "4K has arrived. It is MJPEG with a huge crop" 2018 Canon - "the 4K still has a huge crop" 2019 Canon - "I don't think we will ever give you proper 4K" 2020 Canon - "Here, have this 8K full frame RAW and 4K 120fps 10bit H.265"

Taking a deep breath. Nikon 16-35 F4G on the Sony F3

Pretty much all this, but we'll see of course. You can always argue but they haven't done it before. Look at Panasonic though. Their line was pretty basic up until the GH5 where suddenly you get 10 bit internal, 4k 60p. Of course Blackmagic steps up and throws down a $1000 dollar RAW shooting camera with 4k up to 60p not too long after. Fuji puts out the XT3 with S35 4k 60p 10 bit, Panasonic rolls out full frame 10 bit 4k. If Canon wants to stay in the game they have to do more and clearly they are. The 1DX MK3 is no joke and neither will this camera be. 8k 10 bit RAW is nothing to joke about regardless of what it is. I don't think it makes the S1H irrelevant but it certainly will give Panasonic something to think about and maybe even more so Sony who is way behind at this point. I expect to see Sony come up with some surprises, I think they have been waiting. Regardless it will be very interesting to see everything that comes out. I am really happy with my XT3 still. People are complaining about the S1H not having punch in focus while recording, the XT3 has had that from day 1.

Agreed. As we've seen time and time again with Magic Lantern, every camera is far more capable than original spec. If the ancient 50d can shoot raw video, certainly cameras with modern hardware are far more capable. I get the frustration with the way Canon has operated before the 1dx3 because so many of us got into DSLR video with the 5d2 and the updates have been lethargic while others have created far better spec'd cameras. But Sony has yet to give us one Alpha camera that does 10-bit, or 4k60p when the 1dx2 has been doing it for 4 years. The cripple hammer clearly swings both ways. The sleeping giant has awaken. It will be interesting to see how others respond. Will Panasonic finally stop pretending PDAF doesn't exist? Will Sony do anything other than the same 8-bit 4:2:0 video they've been rolling for the last five years below the FS/FX line? Will Fuji go raw? Will Olympus stop rehashing cameras from 2016 and actually create something new? Will Nikon get their shit together? Even if you don't care about 8k raw (I don't and I'm still planning on getting the R5) and prefer to bash the R5 with speculation about limitations, its a significant achievement in this class (or any class) of camera. So what if it only does it for 5 minutes, or just 90 seconds, with those data rates you aren't shooting a 3 hour wedding anyway - and there's still nothing anywhere near the R5 from anyone. It still does 10-bit 4:2:2 internal FF 8k video and 4k120p with DPAF - which I'm sure people will find something to bitch about once footage is in the wild. The tide isn't just rising, they've created a tsunami. We will all benefit as this forces everyone to push the envelope or get slammed with endless cripple hammer comments - prepare for lots of "if Canon can do it..." with every new release. Its surreal how they've flipped the script, but the R5 is the first true game changer I've seen since the a7r2 was released in 2015. Chris

There's one huge question mark: This camera has a 45 MP sensor - which even with the best and newest technology means a smaller pixel pitch, lower full-well capacity and more noise/worse low light/less dynamic range than a comparable 24 MP sensor. Canon's sensor tech now has a long history of rather dramatically trailing Sony's. (Just compare the 26 MP full frame sensor performance of the relatively new Canon EOS RP with Sony's 24 MP full frame sensor.) So Canon needs to have suddenly caught up or even leapfrogged Sony if the R5's sensor should have a comparable dynamic range and low-light capabilities to the A7iii, the Panasonic S1/S1H, the Nikon R6, the Panasonic S1/S1H and the Sigma fp (all of which use the same Sony sensor or variants thereof). In the worst case, this will be a camera developed for (a) stills photographers and (b) the (cancelled) Tokyo Olympics with its Japanese 8K broadcast standard, with 8K resolution and high megapixel count having been given priority over real-world performance. Which would also help Canon sell its C100/C200/C300 camera range despite all... Just sayin'. We can't really tell anything before the camera will be here and tested in the real world.

Found some shots taken with this lens on a old CCD sensor. 48x36 crop

Looking good but after 10 years of repeated disappointment, I'll wait for the final release to make a judgement on this camera. I hope for the beast but fear the small*, **, ***, and other omissions on the official press release. May the Hawaiian gods of photography illuminate the world with their infinite wisdom. Amen.

The EOS R is more Canon's one off failed entry into mirrorless. The EOS R is a joke in all regards. They might keep a RP or whatever as super low entry, I have no idea. All I am saying is the R6 is the equivalent of the 6D series. That doesn't mean they can't keep lower entry product lines.

The rumours are a shame if true. I don't want a dumbed down R6. They should make it as good as the R5 but without 8K and with better low light performance. There is always room for a cheaper model in addition to the R6 like an R7 which sits above the original EOS R, without some of the fancy features of the new cameras.

I think it's well past time that we all recognize the world is full of stupid people and they affect things much more than many of us are comfortable with.

Nice to know what is coming out, but it does put a lot of potential upgrades on freeze knowing the R5, R6, and Komodo are on the horizon. Those three cameras alone (not to mention a Cinema EOS camera with RF Mount) are reason enough to invest in RF mount for the foreseeable future over L-Mount, E-Mount, MFT, etc. Hoping the R6 basically has the 1DX III specs, but without the 5.5k raw to get the price point down. - 10-bit 422 internal 4k up to 60fps - 10bit 422 internal 2k up to 120fps Add in IBIS, newer longer-lasting battery compared to EOS R, dual slots, and this would be an awesome camera. R5 will be for ruggedness, pro shooters, photographers who need 40 megapixels, and for those who need 8K, but the R6 may be the better video option for those who do mostly video. Will probably be better in low light and have no-crop in 4k, both things the R5 may struggle with a bit more. Despite my love for Panasonic's S1 and S1H, hard to argue with the RF Mount and once the R5, R6, and Komodo are announced, that's the direction I'll probably be going.

Some time ago I accidentally bought this bad boy... It's a Cine-NIKKOR-C 13mm F1.9 Nipon Kogaku Japan D-Mount cine lens. It's pictured above sitting on the hot-shoe of my GH5 for scale. Ironically, with all the lenses I've bought thus far, it's the only Cine lens I own, and it's the only lens I own that I haven't ever used - I have no idea what its images look like. I've hatched several plans to mount it and see what it's like but I've never actually carried any of them through. This thread is to kind-of publicly shame myself into actually doing something about this, but I thought it might be of interest to others as well, as I kind of see D-mount lenses as maybe being the most under-utilised vintage lens mount system, especially considering they were all cine lenses. Of course, I'm under no illusions that these will be the best lenses ever, but they must have been pretty good - even 8mm film was still film, after all. Anyone else interested in D-Mount lenses? anyone shoot with them?

If EOSHD were a record player, there would be one particular groove it just couldn't get over. It'd be the part of the record where she sings "why are Canon's video specs so rubbish and where is the Canon full frame 4K high end mirrorless camera?", and admittedly this isn't the stuff of a number 1 hit single. I for one am very grateful the fat lady has finally shut up. I cannot put into words how relieved I am to no longer have to complain about Canon! Even the site name now makes sense! That gamble I made 10 years ago in believing Canon would run away with the DSLR video scene may yet pay off! It's just that I've spent the first 10 years shooting mostly Panasonic and Sony. Canon seriously dropped the ball and for the longest time just didn't seem to listen. Speculative reasons for this have been legion - some say Canon lacked the technological capability to compete. Some say Canon wanted to avoid cannibalising Cinema EOS sales, or that Canon simply didn't see a market for full frame 4K after the relative failure of the 1D C. Some say their sales had an unassailable lead with just 8bit 1080p (especially C300 and 5D Mark III) so why bother trying harder? Now there's another interesting theory, that Canon R&D works on a 10-year cycle with a big leap ready to storm the market at the end of each cycle, building on the initial success (reusing sensors in multiple bodies) with incremental improvements for 8-9 years before the next big leap. Let's go all the way back to 2000 with the genesis of the Canon DSLR and CMOS sensor technology, fast forward 10 years and the cycle has resulted in a 5D Mark II taking the world by storm, a big leap on everything that went before and ahead of every other competitor at the time. Fast forward another 10 years to 2020 and Canon looks to be doing a similar thing with the EOS R5. Could it be that Canon are just conservative, slow to make major moves, very calculated and taking the long term picture into account? Read the full article

Cretins always find a way. https://kosmofoto.com/2020/04/theres-a-conspiracy-theory-about-film-helping-spread-coronavirus/ https://www.facebook.com/TakingPhotographsIsNotACrime/posts/3054555327936029 Facebook group Taking Photographs Is Not A Crime shared a post from an unidentified Facebook user, declaring why they were suddenly refusing to shoot film. The post says: “So I’ve taken the difficult decision to give up using film until the current crisis is over. Film uses gelertine [sic] – and that is what laboratorys [sic] use to grow virus on – so your film can carry and spread the corona…”

https://quoteinvestigator.com/2010/05/04/universe-einstein/

Why the hell won't Panasonic invest in PDAF? With their new lens lineup I really thought the S1 would be the one to make the leap but no...

Isn’t the EOS R or EOS RP their entry level FF

What did you expect? The R5 is the equivalent of the 5D series, and the R6 the 6D series, which is entry level FF. If the R6 has 4K60 that’s already great. And considering the specs announced on the R5 I think it’s hard to complain at the moment.

I just picked a mixpre 3 II. Thanks to @IronFilm

Agree with you. Just looking at the c300 MkIII, which is even more interesting in my opinion than its big brother c500 mkII, with the no cropped high framerates, the incredible dual gain output, new sensor technolgy... Aside from the difference in sensor size and resolution, c300 is not crippled in any way, so much that on c500 users FB groups it makes people kind of upset. Canon made up their mind in 2020.

Are you using rechargeables? In the menu you can choose which kind of batteries you're using. That helps a bunch!

R6 looks promising, I do not need 8K, if it has the features showed in the rumors plus 422 10bit, clog and DPAF, is the way to go for most of us.

Not at all. I've done it regularly to very good results. Bonus is I have the H6 recordings as back up to boot!

> RAW on the S1H! >> It's ProResRAW

yeah I also read or heard somewhere that even though you don’t get a raw panel in FCPX any adjustments are still happening in linear space prior to debayer.

Will the R5 include Zebras? https://www.digitalcameraworld.com/news/canon-eos-r5-has-zebras-can-turn-8k-into-uber-4k

Yeah that is the case from what I’ve gathered on YouTube.

Well, my ATEM Mini Pro just hit the porch an hour ago and I'm trying to brainstorm a way to get a third camera to go with my X-T3 and 80D. Or, better yet, way to replace my 80D with another T3 or a T4 and get a cinema camera on top of that. So clearly my GAS Syndrome hasn't abated. In reality, I purchased the ATEM because I have a client who plans to do 4 live stream virtual concerts next month, so I should have a check in my hands to cover the cost by Friday. I'm not buying anything right now that won't make guaranteed money. I do think live streaming virtual events may definitely be a growing trend as social distancing restrictions ease somewhat but restrictions remain on large gathering. With all my other freelance business dried up, as it is for most everyone else, I'm hoping this can turn into a money maker.

What is your issue? Are you clapping twice at the start of each take & using the NLE's built in features to sync by audio waveform? In general, I would not recommend anybody buy new a mixer only in 2020, not when dedicated field recorders are so affordable. The DR60Dmk2 is only roughly an inch bigger in each direction than the Beachtek DXA-MICRO-PRO PLUS you referenced before. (plus the DR60Dmk2 isn't as long as the H6, and also the Tascam has much better ergonomics to be mounted with the camera than the Zoom H6. The Tascam DR60Dmk2 is better ergonomics too if you wish to work independently from camera as a boom op with a field mixing bag) There is also the Tascam DR70D (only twenty bucks more than the Beachtek DXA-MICRO-PRO PLUS), which is a smaller height than the DR60D. Audio field recorders have a slower refresh rate than the constant update cycle of new mirrorless cameras. They're more similar to the refresh rate of cinema cameras. None the less, we've seen some impressive new innovations in recent years! Here is what we've got just in the last three years: On the high end: Sound Devices Scorpio (the first really high end premium recorder from Sound Devices? At least, this is priced even higher than the 788T or 970 was!), Aaton Cantar Mini (the goodness of the X3 but in a smaller/cheaper package!), and Zaxcom Deva 24 (has the usual futuristic Zaxcom technologies such as MixAhead™) In the low/mid range: Sound Devices 833 (a "mini Scorpio" at a cheaper price! But with some I/O stripped out, such as no DANTE) + 888 (the recorder that finally made the 788T diehard holdouts upgrade!), and the Zaxcom Nova (their most futuristic product ever?? "The Future: Now!") In the "no budget" arena: Zoom F8n (an update to their revolutionary F8!) + F6 (their smallest F series ever, and the first with 32bit), and the Sound Devices MixPre Gen2 series (finally the MixPre series has the firmware and hardware updates to make them worthy contenders to the mighty Zoom F series). MIA: Tascam and Roland. For yourself, like the Sound Devices MixPre3 is the right pick for you I'd guess.

Yes its the small rig cage, I'm happy with it I allows me to connect to the smallrig focus oled.

I just hope the 4K will be solid without too much rolling shutter and that the IBIS doesn’t exhibit any warping when shooting at 24mm. And please no fucking overheating. How hard can it be? Fuji dropped the ball with X-T4.