Andrew Reid

Image is soft with moire! Extremely soft on the wide angle landscape shots Looks worse than 2012.

Ah OK I'll correct it. Not sure why I remembered the 0.74x figure!

PRAISE BE!! They were forced to.... They had to put Dual Pixel AF on board, because even the $500 SL2 has that now. No UHS II. No USB 3 USB 2? Let's party like it's 2004. Exactly. Why bother putting this on, so great for video, when you are "not targeting video users" It's so mediocre in this regard, but it's one of their biggest selling points in all the literature I've seen. Weather sealed and swivel screen... See impossible!! $2000 is a lot for this, when you can get a 5D Mark III used for less. You're off topic. The moire is from YouTube's downsampling for your browser / non 4K-screen, most likely. But at least moan about it in the right thread Kubrickhead.

Sony has clean 1080/120fps with no moire on the A99 II. Canon can't even give us 1080/24p to match what Sony is doing at 120fps. Their customers must just not care. You shouldn't be confused, it's perfectly consistent. We want affordable, small, hybrid GH5-style cameras that do the most beautiful image possible for video purposes, with the minimum of effort and workarounds on our part. Canon's customers have been asking for that for ages, so they gave us an XC10, which was basically a camcorder, showing that they seem to lack the understand of what we actually want, whereas Sony and Panasonic are providing it without drama, without issues, without massive, crippling expense. Just about the best thing you can say about the 6D Mk II from an EOSHD perspective, is it would make a great Magic Lantern raw camera 3-5 years later, but there's no guarantee it will even happen.

Sure all those things are important for photographers. And the 6D Mark II is nice ergonomically. But there's no getting away from the fact that the 6D came out in 2012, the 6D 2 in 2017, and in between 5 years passed, Canon added Dual Pixel AF, which they have had lying around in the cupboard since 2013 with the 70D, a tilt screen, which the original 6D should have had in the first place, but they said "nah" it wouldn't be possible due to weather sealing, so now they have it on there with weather sealing anyway, so chalk that down to another fib, and as for the improvement in low light, you expect that as a given after 5 years of sensor development, it's probably not really very different from a Nikon D750 and I am sure 5D Mark IV owners are really over the moon about having worse low light performance than the 6D Mark II and no articulated screen for their extra $1500.

I am under the impression 10bit RAW the same quality on the EOS M as the 100D and 70D... Have you actually tried it? 1600 x 864 (1.85:1) 10bit RAW is continuous according to the raw calculator.

The apathy is astounding out there... We even have Anthony Dod Mantle shooting an Oliver Stone docu with moire and aliasing 1080p on a 5D Mark II in 2017, broadcast on Sky Atlantic as if quality doesn't matter. FFS. Either it's an artistic choice to be this shit or it is just fucking laziness. I am sure the 6D II will turn up on our screens in some form or another for years to come, condemning us to the same eye sores. ---- Those specs for stills are great, no denying that. But this camera is sold to the same people (enthusiasts) who are all excited about 4K this and 4K that. They have 4K on YouTube, 4K TVs, 5K retina displays on their iMac... You name it, they've got it. And Canon have unnecessarily sullied the brand by creating a perception of being behind in terms of the specs. If people didn't care about specs, Sony's sales wouldn't be so good. A lot of photographers may not care about video but you could equally turn that statement around and say a LOT DO, especially if their clients are now asking for 4K video. So they can buy a Cinema EOS camera and a lot of pros do.... but again you can turn that statement around, especially here, because we are talking about the enthusiast market where $2000 is a stretch and $8000 for a C200 is completely fucking out of the question.

Photography has got to move forward. We have been using the same shit for decades. Mirrorless is a step in the right direction of course. Samsung tried a very brave thing with a huge touch screen on the Galaxy NX, the only Android based Super 35mm interchangeable lens camera on the planet and customers didn't buy it. So perhaps Canon's customers are to blame for Canon. If all they want in 10 years of technological innovation is the addition of a swivel screen, then so be it.

We've waited 5 years and have got... Swivel screen Dual Pixel AF .... .... Probably no moire fix. Erm, that's it!

Why would you get either when the old 100D (£200) and EOS M (£120) shoot 10bit raw video?

These kids can play! Does the EOS M still have to be recording H.264 to record raw? I remember that pressing the video button starts H.264 not just raw on this camera...

Some of the longer ones should cover like Canon TV-16 50mm F1.4 Not sure about those two.

I don't see any.

And for the rest of us we can be satisfied the image is right up there with the Alexa, but for £2000 instead of £50,000 Wonder what other settings it can control if opened up?

I am enjoying shooting 160MBit H.265 with the hack. What's the highest people have got out of it for continuous recording? Can people summarise the best cards? Also does it actually reduce macro blocking and banding over large low contrast areas of the image. So far in my experience it doesn't but I await to be proved wrong Would like to see your tests and will feature the best on the front page blog.

So it just dawned on me that you can ape the Digital Bolex raw look for £100 with an EOS M + Magic Lantern. Yes, it's an APS-C sensor, so you'd need to go to about 1536x518 for a 1.8x crop 16:9 to avoid vignetting on 25mm lens. GH2 was 1.8x crop and I've had Super 16mm stuff work fine on it. So has anyone actually tried a bunch of c-mount lenses on the EOS M and has any recommendations? Also for decent adapters? Arriflex S16 adapter also would be handy. And before anybody says "just get a Blackmagic pocket cinema camera", remember the EOS M is £100 used body only and does 18MP stills Way more fun!!

Sounds likely, but there does seem to be a 4K reference shot at 24p in the behind the scenes video shot from the same angle and same set as where they'd set up the 1D C. I am amazed how often Roger posts on his forum and how many questions he answers. Impressive stuff. Interesting, but I suppose you could also do the same with a RED. Unless the 1D C's LAN port came in handy. Anyway, I still think its 4K image is good enough for IMAX. NASA used it for an IMAX film I think, onboard the ISS.

EOS M mount is an option but again haven't tried this myself yet... Are you sure you're not mistaking EF for EOS M mount? Got a link? I haven't seen any c-mount to EF mount adapters personally, but I can definitely say they won't give you anything but extreme macro focus. Yes MFT is bigger than 16mm, and a little bigger than Super 16mm also, so you will get vignetting on the wide angle stuff... Not all, but most. You are best sticking to 25mm, 50mm, 75mm, 85mm, etc.

Appears to have a DSLR style grip and body, even a top panel LCD info display, but the cage is built into the body and the bomb EVF is on the side not at the back, which is a good thing.

The patents seem to point to it being DSLR sized, smartphone enabled, and a version with swappable sensor from Super 8 to Super 35 and even 645 medium format which is even more compact. http://www.newsshooter.com/2017/06/28/red-announcement-modular-camera-system-cellphone/ Announcement is on 6th July according to Jimmy.

A very nice rig, but the screen is always the weak point for lightweight, well balanced shooting with the Blackmagic Micro Cinema Camera. Why does it need to whacking great big Canon batteries on the back and such a think bezel, when an OLED phone screen (with airplane mode enabled) can last for just as long on the thinnest battery imaginable... And that is with a hefty 8 core CPU humming away in the background. Somebody needs to finally wake up and put a 5" OLED in the same sized body as a phone, but with a Micro HDMI port on the side along with the USB C port for firmware updates and charging. With USB C you could top up the internal screen battery with an external USB one under anywhere on the rig, if you wanted even longer run times. You can't attain lightness and balance with that whacking great articulated screen coming off the left-hand side like, unless your main camera is an URSA!! Also as much as I want to like the Blackmagic Micro... 14bit full frame 5D Mark III raw is definitely in a different league for image quality.

For the 5D3 you have to scroll down to Compressed raw recording, in Experiments - https://builds.magiclantern.fm/experiments.html It's not in the standard nightly builds yet. For the other cameras, have fun searching the forums for builds, until somebody puts them all in one place The point is these are all beta, not finished, or finalised versions of Magic Lantern. So use at your own risk! S16 and C-mount lenses don't adapt to Canon EF mount. You'll need to use them on Micro Four Thirds.

Blade Runner 2049, shot on the 1D C... That's exactly what I'm talking about in the recent pro camera article, they are all doing it even on mega budget feature films, because small cameras are creatively liberating and don't need babysitting as much when left unattended on some robotic arm. As you can see it has a simple LAN cable connected to it. No whacking great cables coming out the back of a DSLR for a start. Maybe they modified it for remote control. The lens might have AF motors to control focus wirelessly, but it doesn't look like an EF lens that is for sure. Canon were so stupid not to fully exploit and develop the 1D C concept over the last 5 years.

It's better in low light than the 5D Mark III, so ISO 6400 and even 12,800 you can get to look pretty good, but only in 4K. The 1080p mode is worse than the 5D Mark III. So think of the A6500 as a 4K camera only. There is no 1:1 crop mode for HD. But you can achieve this in post with the 4K by cropping out a 1920 x 1080 centre window.

Yes it's a great camera, I just wish the staggering image was backed up by a willingness at Canon to make it more usable, from a video perspective. Whereas Blackmagic had ProRes on a $800 pocket camera, Canon lumbered us with MJPEG at 500Mbit, which yes is a great image, but it's not a preference over ProRes in the eyes of anyone who uses the 1D C... They all wish it had a more convenient codec, with the same image quality or better. Indeed for the initial price of $12,000, you'd expect not just 4:2:2 but 10bit as well. The banding in 8bit can be an issue especially at low ISOs with Canon LOG. I will keep my 1D C forever... One day, it will be a museum piece!