Andrew Reid

It was a 1D X with a firmware update and possibly (not sure if they were telling the truth or not), a redesigned heat sink. That's not very imaginative. The 1D X was just a very good camera The 1D C always had to go off to a service centre for a firmware update, so Canon were probably afraid of it being modified to run on the $6000 1D X and killing their $12,000 baby. I think the way Canon as a company have approached DSLR video since the 5D Mark II has been ludicrous.

8K makes sense in a DSLR only once they solve the rolling shutter issues with a 36MP frame, then it can shoot away 24fps raw stills with no moving parts and a nice EVF. Probably beyond Canon's imagination at this point though. Wait 10 years and they will catch up!

Looks like Micron got bored of the tiny profit margins on £600 CFast 2.0 cards

There are zero C200/C300 type cameras in my future, believe me! Absolutely no desire to use them, at all. Absolutely no need to, with the current mirrorless cameras.

Yes you're right but there isn't 100 threads going off topics because it doesn't have the traffic of Magic Lantern's site. It would take more than one mod to clean up the threads. And at PV anything that does go even slightly off on a tangent gets shut down with a bolt of lightning. I think I'm fine with the way Magic Lantern run the forum, messy though the threads can be... All they need is a better 'front page' to the forum area, to pull together the most recent developments, builds and downloads, so that people don't have to search for the interesting stuff - because a lot of the interesting stuff is not even in the nightly builds... it is often from a dev, in a single post, somewhere on page 220.

WHAT. ON. EARTH!? are they thinking...

NX-L is a 1.08x crop over full frame, which is nothing. APS-C is 1.5x crop! On the NX500, that had a 2.3x-ish crop in 4K, so with the NX-L that turns into a 1.6x crop, which would be fine with the Sigma 18-35mm F1.8. Come to think of it, that's a pretty nice combination

Sigma 18-35mm F1.8 isn't a full frame lens so you would get vignetting!

Then there is the Samsung colour... Absolutely right up there with the best and Canon. The NX-L I find is giving me really saturated images in low light due to the extra light concentration on the sensor.

With the MLV module they go away if global draw is off (either in MLV menu or the main Global Draw ML menu) With the RAW REC module (the classic one, no sound), it has the useful behaviour of keeping the 16:9 crop from Canon's live view in movie mode, even if you turn off global draw and shoot as if ML is in the background and you are using a normal Canon DSLR... In 1.85:1 mode, framing is close enough to the 16:9... But in 2.35:1 you really need global draw on to get accurate framing and of course in MLV Rec mode a 3:2 full screen is useful for nobody except anamorphic shooters on the 5D Mark III

Yes you can enter crop mode. It's more than 3x because it's APS-C size sensor, which is 1.6x crop to begin with. It is similar to how Ex-Tele on the GH2 looked... The exact crop factors in crop mode for each camera are here: http://www.eoshd.com/2017/06/magic-lantern-raw-video-current-camera-capabilities-updated-2017/ A very useful tool for telephoto work. Only the 3K/2K crop mode on the 5D3 with lossless raw is useable for 'normal' shots.

Neither the A99 II in 4K or the 1D X Mark II is suitable for long recordings. The A99 II due to the heating and the 1D X II due to the file sizes. But the A99 II can go forever in 1080p mode and the quality is a lot better than the 1D X Mark II. So if I were shooting continuous takes of a live event for hours on-end, I wouldn't be shooting 1D X II MJPEG 4K for obvious reasons, I would instead be using the A99 II in 1080p. There's also the NX1 which has no overheating issues at all thanks to Samsung's expertise in cramming very fast processors into smartphones, they know about efficient semiconductors and RAM, which run cool by design, and they know about heat management. Panasonic too... When did you ever hear about a GH5 or GH4 overheating? Sony have a lot of work to do in this area, and yes it is a let down, but the 1D X II file sizes are a much bigger and more immediate problem in my view. BTW - that cinema5D "review" was filmed at Canon HQ in the UK, with the staff watching on, and then tuning in for the finished video... and you expect them to be impartial?!

New users sometimes turn into developers and have programming skills to bring to the table so they shouldn't be taken off to a different place. But the nature of the threads, with many pages and posts just means useful stuff gets buried and you have to search very hard for it. Some of the long topics are always a mix of the devs talking technical and end-users asking basic things, which is an odd mix. Apart from this it is a superb forum and very constructive, so few trolls. There is a mod there, I think called Walter, who tries to bat off the questions that don't contribute to the understanding of the end-users or the technical progress of the devs, and they have a FAQ. The reason I wrote the Shooter's Guide for the 5D3 and 50D was to give the end-user (i.e. filmmakers, artists, pros) an easy way into getting what they want out of Magic Lantern (installation, shooting, best settings, special features, etc.) without having to wade through the forums and ask repetitive questions on the engineering-floor, so to speak. It is time for another guide I think, as a lot has changed in 3-4 years! They do not Although I enjoy Vitaly's site, even his humour I like, and he's very disciplined at technical organisation, the guy is not the most relaxed chap on the planet when it comes to replying to everyday users on an open forum. He never accepts they're right. ML has a more open and free community, with no politics and it puts a nice friendly face to the project. What I miss about Vitaly is his GH2 hack... I wish he'd carried it forwards with others helping, to the GH4.

Do you post Cinema5D advertorial just to get on my nerves!? The A99 II is in the same league as the 1D X Mark II for stills.

With wide open fan vents and XLR jacks, I doubt it is weather sealed. They are already cheap!

That's the spirit. See, plenty of pros out there have done this and they are well advanced in their careers. Dod Mantle is a digital innovator and he knows what we're talking about. I wish guys like Nino at Cinema5D would stop pushing all this trash onto us that we don't need and start doing the kind of thing Philip Bloom was doing in 2011... Shooting for George Lucas with a DSLR... It was so much more fun than watching him lug 5 suitcases around full of crap.

Canon shouldn't mind what camera we buy from them at $8000. $8k is $8k! Maybe there is just more margin in the C200 as the sensor is smaller, therefore cheaper to mass produce (more from same size wafer), simpler optically, build isn't weather proofed, etc. But clearly there is plenty of margin in the 1D X Mark II otherwise it wouldn't be $2000 less than a C200. They could actually SAVE money by taking out the optical viewfinder and DSLR shutter release! Much easier to manufacturer it with just a sensor and an EVF, keeping an EF mount. Dual Pixel AF means they don't need an reflex system even for autofocus. Be brave Canon... be brave... It would sell like hot cakes. Well as both a 1D C and 1D X II owner, I disagree with Canon. It is not a replacement and I will soon sell it. I bought it for Dual Pixel AF, 120fps 1080p and 4K 60p... Turns out I didn't need 4K 60p after the GH5 came out, the files sizes were impractical, the 120fps wasn't as good as the A99 II and Dual Pixel AF I have on the 70D with 10bit recording, so stuff it. Don't get me wrong, it's an amazing camera, it's just the 1D C remains in a league of one in the Canon line-up and to lose it entirely with no proper follow up is a disgrace. I will not be fobbed off with a LOG-less non-Cinema EOS camera. Canon have had this tech since 2011, even the 5D Mark III from that era can almost do 4K on the sensor, and the 1D C dates back to 2011 as well with the original 1D X... So for Canon to sit on their arses for 6 years holding back full frame 4K in a small body is a real dick move.

Maybe time to pick up a used 1D C? I've seen them for as low as £2000 in the UK!

I am super impressed with what Luca has done with the NXL. He's sent me one for review! It is super sharp and cinematic. Has the full frame look completely. Trying it with the Canon 35mm F2.0L IS but will also use it with the 50mm F1.2L... Big low light boost to the NX1!

1D C was a Cinema EOS camera with Super 35mm mode and LOG for filmmakers, and the 1D X Mark II is not a Cinema EOS camera, does not have the basic filmmaking features, so therefore is not a replacement. It was a replacement in the eyes of some customers because they had no choice, if they wanted a similar body and image from Canon along with Dual Pixel AF, they had to go with the 1D X Mark II, like I did. And it's a superb stills camera too. 1D C was Canon's best and most cinematic image, colour even a little better than 1D X Mark II to my eye, in the stills not just video, better in many ways than even a C300 II or C500... And they have showed zero interest in developing it further. Such a shame! And if all these Canon reps are saying the 1D X Mark II is the 1D C's replacement, why add LOG to the 5D4 and not the 1D X Mk II?!

The moire was definitely more a problem combined with the soft muddiness of the internal Canon codec, it stood out like a sore thumb. Now the image in raw is so sharp, the false detail makes it pop even more and it doesn't seem to bother me as much especially as you can solve the problem with a simple filter.

1D X Mark II? No Super 35mm mode No Canon LOG Hardly a replacement.

So 128GB SD cards are very cheap now... and on cameras like the 70D you get double the record time per card with 10bit than we used to get with full 1920x1080 14bit raw on the 5D Mark III... Added bonus. These cards need guaranteed 40MB/s write speeds... Many of them can do 90+ so that's not an issue. Rather than copy such a large amount of Cinema DNG / MLV data off the card during a shoot which can be distracting, my method is to just invest in 6 or 7 cards to get you through a day, and leave it transcoding to ProRes over night. Raw will never be the best choice for a fast same-day turn around from shoot to edit, but for everything else it's fine. For shorter shoots you can do the edit the same day as transcoding 128GB or so of Cinema DNG isn't too hard. Also, copying a full 128GB card to an SSD doesn't take long at all in 2017 via USB 3 or 3.1 C, but if you do it during a shoot with the intention to reuse the card, just bare in mind that's a lot of data on one drive and if the drive gets lost or crashes that's the whole footage gone with no backup... So the 6+ card approach is the one I go for. Obviously for the compact flash DSLRs like the 5D3 and 7D the approach is pretty similar. What SD and CF cards are other people using? On the software front... I find the workflow much improved from 2013. MLVFS is so quick to mount a card full of MLV files as Cinema DNG, which can then be opened directly in Resolve 14 with fluid playback and editing of raw video. But I still use Resolve to apply LOG gamma (like Canon LOG or Blackmagic film gamma) and transcode the files to ProRes 422 LT. Not only does this save a lot of space because the Cinema DNG files can be deleted, you still get plenty of opportunity to adjust white balance and colour... not as much as with the original Cinema DNG files but still way more than a standard H.264 codec, and I feel the LOG space captures the entire usable dynamic range of the RAW recording. Any other workflow suggestions are welcome!

Well if you plan to edit Cinema DNG you should copy them to a fast SSD or RAID drive anyway, so they have to come off the card, it can be flakey and risky to edit Cinema DNG direct from the compact flash or SD card via a reader. If you plan to edit in anything else you need to convert to ProRes and here you can mount the card with MLVFS and do the conversion in Resolve 14, then reuse the card straight after if you only plan to keep the ProRes and not edit the raw. LOG ProRes is a very good raw substitute If the camera recorded 10bit ProRes internally we'd all be very happy, so it's a small time penalty to pay for such a leap in quality from the absolutely shit Canon codec.

It definitely needs a batch process! Martin is working on it I believe.