Andrew Reid

What's more it's completely killed my appetite to upgrade. I've always been restless on other cameras. Hankering for more. With the 1D C I can see myself still using it in 3 years and not really caring about what else has come along by then. 10bit? Meh. I can't tell the difference. Global shutter? Nice, but not essential. Depends on the shoot. And beyond 4K resolution, I think is just sheer overkill for everything but large scale stadium or public event screens, outdoors. No way is 8K going to take off indoors, in cinemas or in the home. 14-15 stops dynamic range? Again nice but difference is subtle for most shots. It's rare you have a shot that requires more than 12 stops. So, hard to see where to go after the 1D C to be honest. I think progress might flatten out in the traditional sense. The emphasis will switch to other things. AI, new focus systems, organic sensors and more nimble lighting & rigging. The image quality pixel peeping wars are almost over.

​This is exactly how I feel about the 1D C's image. It is that image I wanted most and it's different. It is like having best attributes of the BMCC, A7S SLOG2 and 5D3 raw in one camera but in 4K. And compared to the BMCC it is far better ergonomically. Compared to the 5D raw it is more reliable on a shoot. Compared to the A7S it is 4K internal, that matters a lot. The image is silky in the blacks like the BMCC. You can raise the blacks so much and there's nothing, I repeat nothing, nasty in them... no crushing, no digital noise, just organic texture and smooth velvety tones. Canon LOG with the view assist is so easy to work with. Nobody wants to show talent on a shoot the B/W jerky raw playback mode of Magic Lantern or grey SLOG 2. It's a different beast to the FS7. It is smaller, you throw it in a tiny bag with your lenses and off you go. It is a stills camera, my main one now. I can't use the FS7 as a stills camera and therefore I can't use the FS7 in places where only stills cameras are allowed, like Buddhist temples or in other sensitive situations on location. And who wants to attract the attention of officials on public transport asking for permits because the FS7 makes you look pro? What a hassle. The GH4, NX1 and A7S all have far more compressed looking blacks and more macro blocking in the shadows. 1D C has a silk like image that is the closest you can get to film right now on digital. It really is up there with the Alexa. I just shot a music video in anamorphic with it. I lit for ISO 1600, didn't need to touch ISO throughout the shoot. Even here the blacks are like silk, or ISO 200 on GH4 but without the compression and I had 2-3 stops of dynamic range to spare in the highlights. Only the BMCC would have come close but it would have been ISO 400 or noisy, and I would have struggled with the 2.3x crop vs almost full frame on the 1D C. That makes a HUGE difference, even over typical Super 35mm stuff.

If they are marketing a camera at every price point for videographers they need to compete on basic specs. You can't compete in the 4K market with a line skipping 1080p camera. People have 5K iMacs now, $500 4K monitors and $2000 TVs yet Canon doesn't have a camera for them under $8k. It's getting a bit ridiculous.

This 'creating a barrier to entry' thing... it's a bit like the Berlin wall. It's actually a barrier to keep people IN not out. They want to stop pros migrating to cheap cameras.

​Correct. 80% of the D750 press release mentioned video!

Canon 1D C is $7999. Just to recap - that's cheaper than the C300, it's a DSLR and it shoots 4K. ​If you think expensive camera = job security, you're wrong! Talent, knowhow and effective commercialisation of both = job security.

​Very old argument, from 2009 in fact! Move along please.

Say what!? http://www.worthpoint.com/worthopedia/angenieux-25-250mm-t2-anamorphic-arri-113413940 Sold in 2010. Wonder how much for? I want one!!

How's that? It's horrible. Please stop it.

Simon's cat (cockney rhyming slang) slams colour science for looking 'too nice', can't take comments like that seriously at all. Filmmaking is an art!

Yeah, it's reasonable suggest the low end will get 4K first before the Canon high end stills range. Panasonic did it! GH4, but no 4K AF100. Eventually these DSLRs will get CFast then Magic Lantern 4K raw will be a distinct possibility.

Maybe they have no consumer 4K plans at all? Leaving it as a pro-only feature on C300 Mark II?

Read the full article

Nice shots too

Yeah, right ok. Your posts have mentioned it 8 times so far, I just counted ​If you're going to get nasty in a personal way Simon, you know where the door is.

I don't need to take lectures from people who have never shot with the 1D C on where it's strengths and weaknesses lie. I have both the A7S and 1D C under one roof and they're both great. You're making wild claims like the only way to get good colour from Canon DSLRs is with Magic Lantern, because that's your experience with the 5D, as it is mine. The 1D C is a different beast. What does the 5D H.264 have to do with the 1D C? We all know it's shit! I've been saying as much on EOSHD for 3 years!! I agree. So what's with the combative nature of your post!? It should be a dick swinging contest on my forums, perhaps we need more girls around to make the discussion more rational. 1D C is a good 12 stops, I used both the 1D C and A7S and they have similar dynamic range internally but the A7S S-LOG 2 output has issues in 4K over HDMI. ​Congratulations on your experience. Now do us a favour and get more experience with the 1D C before spouting crap.

​Go and brown nose on another forum Sam.

  Canon colour science is respected by people like Antony Dod Mantle, so you wanna pick fights with him? Better come armed with the facts... A7S has aliasing in 4K, way more moire and false detail than the 1D C in 4K. That comment alone makes it clear you need to do some more research into this and get the basic facts right.

The most important thing to accept is that judgement is relative to your experience and experience grows, changes, develops, even sometimes regresses Super compact, compared to what? Compared to the Alexa. Yes. The FS7 is also compact compared to the Alexa and so is the Epic. The 1D C is smaller and lighter than both. Sports journalists run around with it all day without it posing a problem (1D X) Compared to a GH2, yes it is a lot heavier and larger. Low light is very good vs the A7S I will show this soon. EF lenses on the A7S isn't a stable experience I can speak from experience. Canon colour science, the facts are undeniable there sir. Simon you need to get more experience. The 1D C in 4K C-LOG has C500-like colour, it has nothing to do with the 5D's unrealistic colour in H.264. It's closer to the 5D3 in raw.

Nice work mate. Fixed the embed.

The 1D C has terrible ergonomics only so far as they couldn't be bothered to change the ergonomics of the 1D X. However, compare it to the FS7 or the Blackmagic Cinema Camera... And it's actually a lot simpler, smaller, lighter, more straight forward due to the lack of bells and whistles. So for certain shooting styles it works better. An EVF doesn't have to be expensive you can put a £100 loupe on the back and you have your EVF. Then stick a gorilla pod under it, shoot it to your eye and you have your handheld rig without the need to add weight or shoulder rigs, etc. Works very well. On a tripod it needs an articulated monitor of some kind but again, what's so hard about a Small HD DP4? You can also have the operator work off the back LCD whilst a second person monitors off a large monitor somewhere on set, via wireless HDMI transmitter with the Paralinx Triton. Also for docu it has more stealth than a dedicated video cam as it still looks like a stills DSLR.

​Indeed and it's built like a toy compared to the 1D X / 1D C. They need a pro body. Hopefully e-mount, none of that Alpha mount rubbish!

There was a rumour Canon will introduce another line of EF lenses for high resolution sensors, possibly EF-R or something like EF 35mm F1.4R above the L series of lenses and even more expensive. I think this leak of the 5Ds is like the tip of the iceberg for what's coming. Let's hope at least some of the iceberg contains 4K

The 5D Mark III was announced March 2012, released same month, 5D Mark II was a September announcement, released Nov/Dec 2008. Over 3 years the gap. So 3 years will be March 2015, but could indeed be August. March would make much more sense if it is a 4K camera as NAB is in April. I'm still not convinced Canon is fully behind video on their stills cameras since they made the decision to split the line into EOS and Cinema EOS. The megapixel race will put paid to 4K. Anything above 18MP and it is tricky, likely involves crop, severe rolling shutter, etc. Although Samsung managed it at 28MP, that's not a full frame sensor, it's APS-C so a lot smaller and runs cooler. Copper based. Not sure what manufacturing technique Canon are capable of but they will likely need to move off aluminium and get down to smaller nanometers, etc., involving completely overhauled fabs and factories. They recently built new plants (in Taiwan I believe), could point to them making their own 50MP sensor. The 5Ds is an 8K camera, and the likelihood of an 8K readout on a Canon full frame stills camera is zero so line-skipping 1080p or heavily cropped 4K it is!

​You can use them on S35 as full frame lenses with the EF -> E-Mount Speed Booster of course, then you won't be needing that 18mm. I agree with Rich. Set needs a 135mm. Other than that, I'm happy with 24,35,50,85,100.