Andrew Reid

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Ah so I see what is happening. C300 is everywhere and cheaper. Sony FS7 if you need slow-mo C300 Mark II butts up against the higher end RED and Alexa stuff, whereby you may as well rent one of those instead. It is kind of in no mans land and a victim of the C300 and C100's continued popularity. Canon have blundered - ooops.

OK, now that is interesting and quite unexpected. I thought the C300 II was well received. I always knew the 1D C was left on the rental shop shelves for the most part, but the C300 II seems to have everything C300 users were asking for aside from the slow-mo spec. Maybe it will take a big Cinema EOS model to crash and burn before Canon realise the error of their ways with the DSLRs and how they have ignored the competition from Sony. They have unnecessarily let the FS7 into the market big time and it will hurt in the long run. A good job most FS7 shooters are using Canon EF lenses otherwise the situation could have been even worse!

C300 Mk II a flop? Really? It will be rented and used and bought until the cows come home, just like the C300 was. Look, I am not in agreement with Canon's strategy, I don't think they need to protect the Cinema EOS line from their stills cameras. And sometimes it just makes them look stupid - protecting the 1D C from ITSELF by not adding peaking!? IT IS A CINEMA EOS CAMERA!! But it seems that is what they have chosen to do...

They won't do it. They are protecting their margins. If a big rental house got a lot of demand for a camera like that, they might order 100x DSLRs for $5k each, instead of 100x C300 Mark II's for $15,000 each At least that is what Canon THINK I don't think it works like that. I think they're idiots.

It's in the edit suite Italy was fantastic.

EditReady is by far the best.

Are they still banning EOSHD links? What other sites are banned? I can't test it as they have banned my forum account as well!!

Whether to sell my 1D C... the question keeps haunting me. I love this camera. However it is one of the most expensive pieces of equipment I own and the MJPEG codec makes for some tricky file sizes. It also has a LOT of competition now and I have the A7S II. I simply love the image though. Better than the Sony FS5 especially in low light. Lovely film like fine noise grain and fantastic colour. As a stills camera obviously it is the ultimate Canon on the market and very similar in capabilities to the new model even though it is now a 4 year old camera. The more pro cinema cameras I shoot with (C500, FS5) the more I miss something that does video AND stills in one small body. Now the bullshit aspect comes into play - Bullshit 1 - Canon keep murdering the price. Down to $5k new now. Bullshit 2 - Canon can't seem to give us a replacement. Bullshit 3 - Dual Pixel AF, what a tempting carrot! Oh... No Canon LOG, same old MJPEG and $6k for a new body. Hmm no thanks! Bullshit 4 - So much competition to this camera... everything and everyone is shooting 4k these days... even Philip Bloom's cats! When the 1D C came out it was the only one. 2 years before even the GH4. Bullshit 5 - If I sell it, what the heck do I use my Canon glass on for stills!? A7S II AF is pathetic!

The Canon 1D C has seen dramatic price falls from $12k to $7k and finally to $5k. Now the camera is listed as discontinued at UK pro-video retailer CVP. Read the full article

Knowing Canon they will just change the badge and chart $12k for it!! And add a 4K HDMI output

True, true

Indeed EOSHD was NEVER about the $25k+ stuff and Alexa, it has always been a majority community for affordable gear and always will be. Anyway good luck taking your Alexa to a stills shoot Policar

Full frame is a stills format. Sure there are CINEMA cameras of similar proportions, Vista Vision, 65mm film, etc. But there are no full frame video cameras (NEX VG900 does not count, as it was rubbish!!)

The video crop factors of the current 4K cameras, and an easy way to calculate crop factors... Read the full article

Let's stick to doing the math horizontally only this time as it matches better what our own eyes see when we switch between 16:9 full frame 1080p and 16:9 cropped 4K video on cameras like the 5D Mark IV (1.74x crop for UHD).

The X-T2 and GH4 have extra crop factors in 4K due to their sensor readout... Say the X-T2 extra crop is a 1.17x crop of a 1.5x sensor What is the correct maths here? Is it - 1.5 * 1.17 = 1.75 Or 1.5 + 0.17 = 1.67 ?

No the GX85 does not use the full 4.6K sensor resolution, it crops a 4K portion of that The entire sensor is still a 2x crop compared to full frame, just as it will be on the GH5. The DVX200 is a news gathering ENG style camera with documentary and faux-cinema leanings, but the main thing is that those who use it want to record for longer and need small file sizes. That's probably why it doesn't have 10bit 4:2:2 at high bitrates. It isn't about the GH5 getting a better codec than a more expensive camera... It is about matching the codec to the type of user. GH4 users have spoken very loudly about wanting 10bit 4:2:2 internally and not just on the HDMI. If Panasonic were serious about segmenting their cameras based on 8bit and 10bit, they probably wouldn't have put a 10bit output on the GH4 in the first place!

This is going into an article so it has to be right... As others have pointed out, when a camera does a 1:1 readout of the sensor in 4K mode, you can JUST use the horizontal resolution to calculate the added 4K crop of the full frame 16:9 window of the sensor. This way the math is really easy - just by dividing the total horizontal resolution of the sensor by the resolution of 4K can you get the crop factor. 4096 for DCI 4K or 3840 for UHD So I tried it on a few cameras and it gives this - Canon 1D C (DCI 4K) - 1.26x (5184 / 4096) Canon 1D X Mark II (DCI 4K) - 1.33x (5472 / 4096) Canon 1D X Mark II (UHD) - 1.42x (5472 / 3840) Nikon D5 (UHD) - 1.45x Panasonic GH4 (DCI 4K) - 2.12x Panasonic GH4 (UHD) - 2.2x How is this mathematically, does it stack up? What is interesting is how little difference there is between the 1D C and 1D X Mk II in DCI 4K after all... I think most people were quoting the UHD crop when it first came out. The field of view difference here we are not talking the difference between 3:2 full frame and cropped 4K. We are talking the difference between 16:9 full frame 1080p and the cropped 1:1 4K window.

Ah yes specs are so meaningless Policar.... After all that's why you shoot on an Alexa!!

Metabones say "native contrast detect AF" but I detect no improvement on the A7S II, it's still unusable with my Canon glass for any AF work in stills mode and video racking forget about it However very curious to see if their native mode works well on the A7R II! It works well on my A6300... Very well indeed!

I have an A7S II and sold my A7R II. It was a close call though. Now I know recently the A7R II had a big firmware update (v3) mentioning phase detect AF in movie mode and other improvements. A7S II is only V2 and it doesn't have phase detect AF on the sensor like A7R II. A7R II was already very fast in stills mode even with some Canon lenses. Now also the Metabones adapter has had a big firmware update adding native AF support - which should mean a huge increase in AF performance with Canon EF lenses on Sony E-mount cameras and extra features like Eye AF, DMF and better movie mode AF. Has anyone tried both firmware updates together, with their Canon lenses on the A7R II... Does it amount to a big improvement and more solid AF reliability? Usable in movie mode too? With the 5D Mark IV's only real selling point being the native EF mount and Dual Pixel AF, the better the situation gets on the Sony bodies, the happier I will be!

If the rumours turn out not to be true there's no reason to be too unhappy... Panasonic could for example bridge the gap in quality between the 8bit GH4 and the 8bit 1D C before going all out with a fancy 10bit codec. Better low light performance and a better less noisy LOG profile is a hope of mine A simplified selection of picture profiles each with a separate use would be good, like this - - A vivid punchy one with high colour saturation - A more standard muted one for light grading - A LOG profile - A flat profile for those who want to adjust the gamma curve in post without going all out with LOG and LUTs Just 4 or 5 would do it. Get rid of the fluff! Also let's see them go back to the wide aspect ratio 1.86x crop sensor, like the GH2, great for DCI 4K 4096 x 2160 1080p 120fps with no crop and no moire would be FANTASTIC All this is within the bounds of current technology, they just have to get it RIGHT!

Not enough times for some people, judging by the way they are STILL going on about this again and again. Here's how Philip Bloom has started responding to this "just use a cinema EOS / insert video camera name here" bullshit - "thats such a boring, dull, oft repeated, lazy. apologist and close minded comment! Smaller cameras like this are incredibly important...gimbal work and documentary work for example PLUS the whole joy of 5Dmk2 when it came out was FULL FRAME. There are NO full frame video cameras. I should have this reply on copy and paste." Ever since I started EOSHD people have been saying "just use a camcorder" blah blah blah it's a stills camera not a video camera It totally misses the point!

Just say "fast" shutter speed This 0 degree stuff is nonsense If we went on naming things in technically incorrect ways we'd be calling low sensitivity ISO 0 at this rate!