iamoui

Really you just have to look how many comments there are on dpreview for this one rumour to realise how popular this thing will be. People don't seem to realise that though this camera may not be the best option for a very niche set of people, if it is priced well, it will be seen as the be all and end all for the majority of people (including vloggers) who are the largest subset of sales. 10bit and no crop is only important to a minority of people. The truth is that the flippy screen, autofocus, color, ergos and touch interface is a lot more important for your run of the mill consumer. Canon knows what's important to the majority of the people. I used to own a 200d (base model dslr) and a a6500. The 200d had a magnificent touch interface like a smartphone. The a6500 felt like it was from the 80s using the interface. Same goes with fuji. For a beginner to intermediate that's what's important, not 10 bit, no crop. I think canon's strategy is correct in that if you truly want good image quality out of a camera you should get a dedicated video camera. Despite everything sony gives you, the image is quite poor when compared to professional cinema cameras (heck, even the pocket cinema camera).  I know, I have seen it projected multiple times on the big screen. What people fail to mention is that yes you may have 4k but the motion cadence, color and highlight roll-off is horrendous. The motion cadence in particular you can't get a feel of until you see it projected. The c300 at 1080p to this date still looks better and you will be able to get it cheaper than a new a7siii. Even if you are doing docs or small productions, the c300 is still better owing to ergonomics. If you need something small, this canon mirrorless is good enough given the ease of use it will afford you. I think canon are still the innovators where it matters.      

You understand how inherently flawed a poll like this is, right? If anything this just proves that the other fan boys are more fanatic - why would Sony people vote for themselves in this poll? 
It's like asking for a vote on which political party is the most out-of-touch - you think people are going to vote for their own party? 
See what I mean?

NX1 is actually more advanced with H.265, 6K readout, 1080/120fps and it is 5 years old.

Canon EOS R Specifications
30.3 Million Pixels Full Size CMOS
Dual pixel CMOS AF
The ranging range is 100 × width 88% of the live view video display range
EV-6 low brightness autofocus
4K video
Touch panel liquid crystal
Wi-Fi · Bluetooth installed
Dustproof drip-proof · magnesium body
Battery: LP-E6N
Battery grip: BG-E 22
Size: Width of about 136 mm × height of about 98 mm
Weight: Approximately 580 g
Mount: inner diameter 54 mm, flange back 20 mm, 12 pin
Mount adapter: “Mount adapter EF – EOS R” “Control ring mount adapter EF – EOS R” “Drop – in filter mount adapter EF – EOS R
Canonrumors.com


GAME OVER

That's a really cool idea! I wonder how hard it would be to sell to the general public, though? I think people would balk at the idea of carefully inserting a ~20mm long lens rear element into their camera every time you change lenses. But it would certainly be innovative and make Canon's mirrorless much more appealing for the vast swaths of people who own EF or EF-S glass. EF mount is so common I adapted all of my Nikon lenses to Canon just to put them on a NX-EF adapter! Makes it so much easier to quickly use them on borrowed or rented cameras.
 
On a more general note, while I'm excited to see what Canon has in store, I bet it will be another disappointment for me as my main hope is for H.265. The NX1's codec quality is all I need, and I don't want to double or triple my hard drive consumption for marginal returns on that front. Once the GH5 implemented it, I hoped the floodgates would open to H.265 in mainstream cameras, but we may have to wait a little while longer. Canon would have to pull off something truly spectacular for me to buy into it without H.265.

Very good video. Cannot believe the difference between FCPX and the competition. Wether it is exporting or stabilizing etc it is just so much faster. 
Also I was personally very happy to make the switch from Premiere. FCPX make editing much more pleasant to me in general on top of the speed advantage. 
 
 
 

IS it just me or the new new Nikon z cameras are oddly close enough in features to Samsung NX1?
there was a rumour back in the day regarding Nikon had bought Samsung tech when they decided to exit the camera market, remember that?
Now look at the similarities between cameras feature ( of course apart of the sensor size):
- codec bitrate, almost the same as nx1 after hack
- rezolution and fps both in 4k and 1080p - just keep in mind z cameras launching 5 years later than nx1 :)))))
- even the lenses are having the same design and front size 72mm. Even the neame is the same "S" line 
and there are more feature to look into but i don't wanna sound paranoic.
maybe is just me though! what do you think?
it's a shame that the 10bits are just external and there is no 60p in 4k. That would have been the perfect combo. I am still struggling to upgrade my 5 years old Nx1, apart of the sensor size.

My Samsung NX1 is still rocking strong in 2018.

So are other people.

I think it is a heroic leap of logic to conflate 'Samsung may well be producing a FF BSI CMOS sensor' to the likelihood they well re-enter the digital ILC market. Producing high end CMOS sensor for dedicated ILC cameras makes a lot of sense, becoming a digital ILC camera manufacturer (again!)  doesnt.
According to Thom Hogan there are precisely three manufacturers of large CMOS image sensors for dedicated digital cameras - Sony, Canon and Tower Jazz.
http://www.dslrbodies.com/newsviews/nikon-2017-news/july-2017-nikon-news/confirmation-bias-and-image.html
Once you rule out Canon (in-house, pretty ancient tech) and (at the moment) Towerjazz (busy upgrading Panasonic plants) you are left with Sony. Forget Renasys (acquired by Sony) or Toshiba (acquired by Sony) or Aptina (acquired by ON Semi) or Panasonic (acquired by Tower Jazz). Making large CMOS image sensors isnt easy - from what I remember you get something like 20 FF sensors, 100 M43 sensors or 1000 smartphone sensors on a 300mm wafer - which makes yields tricky the larger you go.
I very much doubt that any camera manufacturer is enamored about buying their sensors from 'Sony' who is pretty much the most aggressive competitor in 'their' space. (Nikon appears to be looking towards Towerjazz but that is a year or two away.) Panasonic/Olympus seems to be working on Sony crumbs (is it really their choice to not have ospdaf?). So for a major very high tech player like Samsung to come in and offer large sized CMOS image sensors makes a lot of sense for Samsung and would likely be welcomed with open arms by pretty much every dedicated camera manufacturer (apart from Sony).

Captain Hook - the man with the best BM LUT if I remember correctly from my Pocket days. Welcome, can't wait for the P4k!
Chris

I own the a7riii and the GH5 and while the autofocus is superior on the Sony I still think it’s very easy to pull focus manually with the gh5, even without aids such as focus peaking and magnifying. I really don’t know how @jonpais finds he needs an external monitor to manage, especially considering the abysmal resolution on the a7iii viewfinder and screen.
Oh, and even with pro color, the colors are much better on the GH5.

Like virtually all cameras released these days, I believe it will generate pretty pictures and ugly arguments.
So, yes, absolutely not revolutionary.

What I want to do with my money is non of your business, it’s not like I m spending your money or anything. ?
 
For my spending money on gear gives me thrill and spark, hey it’s much cheaper than owning and flying airplane which 2 of my co-workers do. It cost few hundred dollars on fuel for each flight alone! 
 

Guess that the difference between full time working vs hobbyist, just did 2 $2000 jobs last week, so it is manageable for me.
$10000 gear is nothing to sneeze at, most of my friend got way more expensive gear than that. My gear is toys compare to them lol. (Some of them earn 6 digit a year just doing video, consider NZ is very small population country so that really good!)
 
 
 

Well, thats set the frenzy off on that site good and proper hasn't it?

"So, as you can see, its probably a 67mm thread on that lens, which if we also reference it to the available data on average index finger length of South East Asian females in the 20-26 years of age group we should be able to extrapolate the exact dimensions of the camera and have a 3D printed model ready before bedtime"

I don’t think it ever even got made, let alone sold.  I think they only announced it.
It’s worth reading the very interesting article Andrew posted about how Nikon sensors get made..I would hope it may change our view of the idiotic phrase “off the shelf sensor”.... because no sensor is off the shelf....
JB

I don’t think you guys get it. 
From a TV drama point of view there is little appetite for RAW. No one wants it aside from a DP maybe.
It doesn’t matter if you think it’s better or the workflow can be worked around. 
DP’s don’t really get to make this choice alone you realise ?
And most productions want multiple cameras.
Lets imagine Mavo.  If I wanted to shoot Mavo on the show I’m on now I’d have to convince a rental company to get 8 bodies and kit them out.  Tell me a rental company that will do that and then get a couple of spares as backup.
in fact show me any rental company anywhere I can get 8 kinefinity anything cameras from... 
I’d have to convince a director of the creative reasons, and SHOW it was better. I’d have to convince a studio that hates varying anything from the templates of how they do things.  
It’s not going to happen.  You don’t understand how it works and the theorising over specs without actually referencing the pragmatic reality is just playground taunting.
These cameras are in fringe for many reasons. The pictures are only part of that story. (And yeah I’m talking about the C200 as much as Mavo)
JB

Haha. I hate both left and right extremes as well. Fed up of hearing their nonsense.
We've had leftist new-age hippy conspiracy from JCS, and I had to let him go. We had right-wing conspiracies, and they are an even quicker way to get banned from any camera forum not just this one.
I have a feeling a sub-forum makes things even worse, which is why LL had to close their coffee corner. There wasn't much coffee, but a lot of weirdos.
Maybe we should keep the present situation, where the politics at least starts off filmmaking-related.
Rather than actuals redneck threads one after the other.

As mentioned in the other 4K Pocket 2 thread...
In episodic TV, where I spend a lot of my time, we shoot three cameras almost all the time.  The show I'm on now shoots 8+1, meaning 8 days of main unit and a day of second unit (while making unit starts the next episode).
We tend to shoot about 2 hours per camera per day.  
So that's 6 hours by 8 days of footage. On second unit they shoot with at least two more cameras, if not three.  So that means on some days the data wrangler has 12 hours of dailies to process from set from two units.
The footage is backed up on set, then shuttled to the post house offsite.
They backup twice again and then transcode the footage for editorial.  We shoot in Atlanta but editorial are in LA cutting on AVID.  So they grade (time) the dailies, for editorial and render DNX files and send them over a very secure connection to LA.  All done Overnight ?
Editorial then sound sync the dailies, first thing, compare the shots logged vs what they've received and sign off that they have everything that we say we shot (down to the shot).  After the emails I see from editorial are notes querying the wrong slate number just so that they can verify this.
As well as doing all that they produce the pulled or select dailies and generate 264's of just those circled / printed takes and they get assembled into a H264 file that gets uploaded to DAX for about 200 studio execs and production people to watch / refer to.  There are also some secured rotating ipads that get the same 264 files updated to them for those of us that hate trying to scrub 264 files over the internet.   I get those myself, and the director of the episode gets one as does the writer. 
Right now the show I'm shooting is on air 9 weeks after we started shooting.  That's a clock winding down, because it airs every 7 and we take at least 9 days to shoot each episode ?
You can see how it escalates.  There's no safety net for time at all. An episodic TV series will generate a LOT of footage that can quickly overwhelm a production and there's very little room for a slow down at any point.
The studio I'm shooting for now is Fox.  They still only air in 720 so they only master in 1920.  
Despite the rhetoric about 4K, the reality is that MOST TV DRAMA production isn't shot 4K.
We shoot 1920 ProRes and I always make ProRes 444 the minimum because it's 12 bit.  That's all I really need from a grading point of view and RAW workflows offer very few genuine advantages.  Try designing a test to show that it does and I'll show you a TV network that shoots 4K.  (None of them do)
They're not even interested in mastering 4K for a future proofing scenario.
4K also quickly kills workflow because everything is that much harder with all the above numbers.
I think ProRes RAW is an interesting option, but honestly, over 12 bit ProRes, I don't see much need to shoot ProRes RAW.
I have some friends on Stranger Things at the moment.  They do 12 to 14 days per episode.  We have 8.  That's nearly double the amount of time to shoot the same screen time.  They tend to shoot single camera too, because that's the style of the show.  But that's a large part of why they need so much more time.  I guess you can argue it's success makes the investment worthwhile, but days shooting is the most expensive part of TV production.  Because of the cast generally and their availability.  A show that shoots for longer tends to find it much harder to hang on to good actors.
JB
 
 
 
 
 
 
 
 
 
 

I must take it at face value I am afraid!!
Kids R Evil!
You think kids are evil. Clearly.
I am OuTRAGEd.
You BETTER delete your past tweets!!
?
Is there?
Edgy jokes don't violate criminal law. Fact.
Do you think I am in a Larry David sitcom or something?
I do understand social etiquette.... in real life.
On the internet it doesn't work the same way.
In real life, we don't do things like we do on Twitter.
Twitter isn't a real life dinner date - do you think it is?!
You have laws that protect people from jokes?
Name one.
And finally a reminder for late comers to the topic... I am not defending the content of his jokes at all. Easy to confuse, as I said from the beginning. No - I am defending James Gunn, the human being... and the artistic license we have to make jokes, sometimes shit ones, free speech, a huge filmmaking talent, the concept of edgy humour, jokes on twitter, and most of all the ability to grow as a person in the course of 10 years and not to have past errors hung around your neck for all eternity with no ability to move on from the past... Gunn stopped making stupid tasteless jokes a long, long time ago.
Stephen Fry articulates it far better than I ever could...
Go to 10m:00sec
"Self pity is the ugliest emotion"

Yes, so much virtue signalling, so little respect for artistic freedom and storytelling.
No wonder the bigger studios don't take risks any more.
You're absolutely right. It is an age of hysteria and outrage and fanaticism. The arts is timid, self-censoring. Usually you need a vigorous artistic and film-making community to shine a light on the hysteria... It ain't happening much now.

Nooooooooooooooooo...............   not Rick and Morty!!! ?

 
 
I'd watch that.
Or at least give the first episode a go. 

(and anyone who thinks her character at the start of the series is healthy is delusional)
http://www.dailyedge.ie/insatiable-backlash-4143489-Jul2018/

It is sad people even feel a need to defend the show.

How does a person even think like that?!?!

Or do they seriously think there are plenty of actresses out there who'd happily go for real from very morbidly obese to super hot overnight just for a Netflix show??

Well, as of course that doesn't seem likely at all it could feasibly be done for real that extreme transformation by any serious actress (although, we seem to more often see male actors willing to put their bodies through radical transformations?! Perhaps. I'd be curious to see a study on this), what are the alternatives?
Does a "skinny suit" exist to turn a morbidly obese person into a super model?
Of course not!! Don't be rediculious. 

Thus of course she had to wear a fat suit. 

There. Is. No. Other. Option.

(except perhaps CGI?? But we're still a few more years away from that)
 
 
Sorry, you're a few decades too late on that. 

People have already tried that!

People were suggesting such crazy theories even back in the 1990's
https://www.snopes.com/fact-check/the-harris-levels/
Heck, you can go further back to say the early 1980's when people blamed all sorts of crazy stuff on D&D.
https://en.wikipedia.org/wiki/Dungeons_%26_Dragons_controversies
And I'm sure every generation had their scrapegoat. Be it Rock and Roll music, D&D, or Doom or whatever. 
Just I fear within the last decade that the crazy has racketed up many levels to a degree we've never seen before. 

People who defend Trump on the US economy don't realise that the economy is like a very large ship that takes a long time to respond to the commander.
The changes Trump is making will be felt a few years from now.
Today, you're experiencing the decisions the previous commander in chief made.
Some of Trump's policies are impacting on people immediately, like the trade wars with his allies in Europe and China.
If you think trade wars are good for jobs, think again.
Anyway back on our favourite topic....
Today the hounds are out again making certain ideas and satires off limits for comedy.
It's as bad as burning books.
https://www.bbc.com/news/entertainment-arts-44936332
This time it's the Rick & Morty co-creator and the guy behind the sitcom Community.
Nearly 10 years ago he filmed an online skit, a parody of Dexter, called Daryl.
His fictional character abuses a doll.
And over at Netflix they are not allowed to write ideas about fat girls becoming thinner.
https://www.bbc.com/news/newsbeat-44934692
Of course none of the outraged have actually seen either the skit, or the show.
And it's all fiction we're talking about.
FICTION.
It's like suggesting computer games turn people into serial killers.
Yeah it's a shame it has become so personal.
We're in such a selfish age of individualism, everything has to be.
So one cannot have an opinion any more without it becoming a character judgement.
And one cannot defend a person's career and films, without also being seen to be defending the content of their jokes.
John Lasseter is gone and nobody defended the guy.
First they came for the celebrities and nobody spoke out... one day it will be the everyman, and still nobody will speak up.
You're the one saying Kids Are Evil.

Gervais on the Gunn situation. Right as always.
 
Also see Humanity, on Netflix.
It will be educational for quite a lot of people!
Disney and even JK Rowling have no problem with Johnny Depp, who has been accused of worse things than making bad jokes or hugging in an office environment.
None of them proven though, I might add.
Do we really now have to go through our entire social media history dating back years and delete any jokes, for sake of our careers?
Seems yes, we do, it's the new world we live in.