Andrew Reid

Me too, but I've been told to let the conversation flow 'organically' so I'm going to stay out of it this time.

Haha. Flickr is a photo site! It's like gauging the size of the fast food market by looking at the number of McDonalds in Afghanistan!

Cinema EOS line still has no 4K under $8k and no consumer / enthusiast model. Pretty glaring holes there that DSLRs fill perfectly, well mirrorless. None of them by Canon! So do go into more details why you think that's a good decsion. I have no problem with Cinema EOS being a separate video line, but it's not very interesting. The C100 and C300 were always going to be like the video professional's office tools. The Canon copiers of the cinema world, not really cinema cameras.

​This is a good point, but like the image film gives this too can be simulated with digital by placing artificial constraints on the amount of media available and how long it takes to load it.

Why your AF fan boyism relevant to video, I will never know. This is a filmmaking site, not a Canon arse licking site. Be thankful you have people working hard to give you the facts about the 5Ds for video so you can say things in blocked capitals simply repeating what I said on the blog.

​Most C300 owners don't want raw though, they need a fast turn around and an edit ready codec, also to pass files easily in a compatible way between lots of various monkeys. I think the C300 will be getting a very incremental update... better EVF and screen, ergonomic improvements, definitely higher frame rates and only if we're lucky 4K internal (it has to compete with the FS7). C500 on the other hand could be repositioned as a real beast to rival the Alexa. Or maybe they will do the utterly boring approach of... C300 Mk II 1080p, few tiny changes and 60p C500 4K internal, erm that's it. Wouldn't surprise me. This is what Canon seems to do when they have a success on their hands... freeze it in time!

So bumping isn't needed I am going to pin both the FM and Rectilux threads. Let's try and coexist and not fight. Virtues of product have to win here and people need to be sensibly informed. Cosimo please do keep us up-to-date with the FM in the sticky! And you're welcome to do the same here John. PS - My FM demo unit arrived and just about to get stuck in. Looks well built!

​Can you elaborate? Would be interesting to hear how they differ.

Canon seem to be getting by on minimal innovation though... Stick a big megapixel count sensor in the 5D Mark III.... barely change anything.... but it looks like a big change because of the huge headline spec shouting 50MP!! Stick an EOS M 3 out there, but don't bother selling it in the US and base the body design on the horrible G1X Mark II. What's the point? Chasing sales figures I suppose. Let's see what happens at NAB. Probably can't afford what happens at NAB but let's see anyway

Thought I'd start a topic for this. Not shipping in Berlin yet so no idea what it's like! Feel free to post sample videos...

This is a statement you really need to prove by stating the hard figures. Otherwise you're just guessing! That's what I suspect this is, basically a guess. If video is such a small market why does my local photography store in Berlin stock Blackmagic cinema cameras, Samyang cine lenses and the GH4?!

Interesting take from Stu http://prolost.com/blog/vaccinate

So, video...

Canon Professional Network have release detailed technical information on the 5DS and 5DS R. "The uncompressed HDMI output found on the 5D Mark III has not been included on either of the cameras as the EOS 5DS and EOS 5DS R are more prone to moiré and skewing, making them less suitable for high-end video production. A headphone socket, for monitoring audio, is not included. This is due to a lack of space inside the cameras, caused by the move to USB 3.0 connectivity." Read the full article

You could get a variable ND noa or a stepless aperture ring manual lens. Changing exposure during a shot using dials and shutter speed looks ugly anyway.

It does take some expertise in Resolve but it's possible. S-LOG 2 is not for beginners. If you want an easy way to sort the reds out (stop them looking purple), switch from S-Gamut to another colour mode but keep S-LOG for the gamma.

​Yep. There are better ways to waste money

Just downloaded the original from Vimeo. Loved the video John. Very nice colour, nice light. Codec definitely seems to hold onto colour better and subtle greens. Skin looked great, almost like the BMPCC. Resolution is decent for 1080p. On the close-ups couldn't wish for better. On some of the wider shots and finer details, there's a bit of jittery moire going on but it's miles better than my E-M1. Think I will be getting one. Fingers crossed for a 4K 5 axis E-M1 II though, at some point.

​Never a truer word spoken!

I wouldn't choose film, it would slow me down too much. I wouldn't even choose a large complex cinema camera like the Alexa, again too slow. I want to be nimble enough to get the spontaneous unplanned moments. I think it's vital and makes a much bigger difference to the end result than overall image quality. Anamorphic on the other hand, makes digital look far more film like and organic. I would take that, but I wouldn't go so far as shooting film. The Sony F35 and Digital Bolex proves that digital can ape the look of film very closely indeed. The F66 and Alexa shows that too. I find the difference minimal at best now. Thus, those clamouring to save it are vastly overrating it and forgetting about the advantages digital brings to a shoot, creatively.

​Nah, I don't think that at all Willy. Clearly good enough for the past few decades. Read the article again to get the gist of it better.

One feature I loved on the E-M1 was the instant punch in for crop mode, could activate it in the middle of a shot rather than stop and dive into the menus. Can you do that on the E-M5 II? Great for documentary style shooting when you want a quick FOV change with one prime. Speedy!!

​Cheers John. How's the quality say compared to the GH3. That had a bit of moire. Nothing to severe though. Not as bad as the old E-M5. I think the sensor bins pretty harshly to get the 16MP down to 1080p, which is the main source of moire. Used to think OLPF made a big difference but that's more true of the native res chips, like 1080p on FS100 or 4K on the F5. I took my OLPF out of my 5D III once along with James Miller. Image actually got a bit better. Haha.

​You do make many good points. I'm not saying people shouldn't have the choice. I am saying, let's not pretend film and 'the past' is somehow magical and better than the latest digital technology. That's not true. Creatively, you can do more today. These elitist dinosaurs in Hollywood wanting to shoot film... I don't get it. It gives them zero benefit.

​Glad he's been trying it out! Downloading some of the sample clips now to take a look. He says moire is still there... that's a shame.