Oliver Daniel

1 hour ago, ade towell said:

Sorry to sound like a stuck record but the micro hdmi makes using an external recorder an absolute no in my book. Even with a Smallrig cage and hdmi cable lock and being as careful as possible mine has broken on X-T3. I was only using it for monitoring purposes and could handle it cutting out now and again until it finally died, but if I was relying on the recording it is just not fit for purpose. They are the devils work. Why are Panasonic the only company who seem  to realise this and use full size hdmi

I would worry about that as much as the overheating. Too stressful

Micro HDMI sucks indeed.

I have used it mostly successfully though and I'm sure there will be a very solid solution designed by someone, somewhere, at some point, if not now. 🤒 I'd honestly rather not deal with it but this is never a perfect world. 

I do think this whole cooling thing is deliberate segmentation - typical weird Canon behaviour but they have put pressure on other manufacturers to step it up even further.

I think I'll keep my pre-order in place but hold off until substantial real world results tell the true story.  EVA1 and GH5 still going strong!

Having pre-ordered both the R5 and R6 as a tiny deposit, while i decided to get them or not, I have to say as someone who make a living with video, so far I'm concerned. 

This post includes some negativity, so I just want to make it clear that having pre-ordered them for very specific reasons I want these cameras to work well.

What it looks like.

We can only speculate, but it looks like these cameras will be either transformational or a disaster depending on their use. 

I think both @Neumann Films and @Andrew Reid have good perspectives - this is how I see it. 

The R5 (and the R6) look like a marvel on paper - finally the hybrid that supposedly does everything and potentially makes creating professional video very, very liberating. Very well done Canon for waking up. 

But is it a kick in the balls? 

A couple of years back, I was using the A7SII and A6500 in my camera bag. They overheated twice (amongst many many shoots), and it was annoying as it stopped the shoot and made us go behind schedule. 

With 4k60p and 4k120 being a staple feature on many brand and music video shoots, the question is how many bursts can it handle on a fast paced shoot? I do think it will be mostly fine, as shots come in short bursts and there's gaps between setting up a new shot, the potential issue is still there. Although my EVA1 doesn't have DPAF, IBIS or a full frame - it doesn't even flinch on a shoot and I have no worries. Same with the GH5. The potential of overheating in the back of my mine is certainly not a worry i want to have. Especially with client money on the table. 

I think the issue is that when people are spending a few grand on a camera, with very expensive lenses and accessories, they expect it to work for most scenarios and not have to worry about the camera having a tantrum. It's one less camera to buy and carry if you wish to do longer form content like interviews. I see people saying "buy a C300". For many, it's just not realistic. 

For most things that are not very short bursts, the R6 looks like a complete write off. On paper, there's no chance that camera could keep up with multiple, consistent takes. 

Also for those expecting to shoot continuous 8k RAW, go and see your Doctor. 😉

Questions?

As some of you may know, having an external monitor at least on the hot shoe during a professional shoot is pretty much essential. Also, recording to an edit friendly codec like ProRes is sometimes a great necessity. External recording would be a fine "workaround", if you could still get the benefits of the EOS R bodies (as long as you have a HDMI lock) This will be the pressing questions for most professional shooters intending to use this system.

How long can it go in continuous bursts shooting 4k60? Someone with a body needs to test this. 

Usage

The R5 will be fine for a lot of things, but I think it will be very popular on big movies as a crash cam with that 8K RAW in such a small body.  It's very much a speciality mode that I'm sure will be used on many movie sets. 

The R6, I'm not so sure. 

There's other cameras out there (Zcam E2-M4 - £1300 camera with 4k160fps 10 bit), although nothing will match the R5 if overheating can be managed.

Let's hope the climax to this story is a good one.  

Tets, tests, tests. 

Will external recording take stress off the camera body? 

I always use a monitor on the hot shoe and I wouldn’t ignore the external recording for longer takes, and 4k 120p here and there. 

Any news how overheating would be for external recording? 

I pre-ordered both R5 and R6, very small deposit, so happy to wait in line while gathering more info. 

There should be an EOSHD lighting challenge. Light an indoor scene with a budget of $30 or something. @Andrew Reid? 

5 hours ago, AlexTrinder96 said:

Nanlite have just announced a BICOLOUR version of the Forza 60. Also they are releasing a Forza 200 - bridging the gap between the 60 and 300! 

 

 

 

Look great. 

Lots of these type of lights on the market now. Great to have so many options but many headaches when making that choice! 

On 6/12/2020 at 11:17 PM, JordanWright said:

I picked up a Godox SL60 for under £100, works a treat! I think they have newer versions out now that'll hopefully drive the price down even further.

Yeah, seen those. Never knew anything about Godox until recently. They have just released a “silent” video light actually. 

Interested in Nanlite Forza (they have 60, 300, 500). The 60 is super small and can be powered from batteries. 

On 6/13/2020 at 11:36 AM, AlexTrinder96 said:

The 50rs does have a decent output and the RGB is pretty good... Not as saturated as more expensive lights or using gels, but it gets the job done. Again tho, the fact it is unusable in bi colour mode really takes away from the other capabilities.

Neweer also have very similar rgb lights. With slightly higher output... cheaper on Amazon too

 

 

Yeah, I’d never use these as my daylight / tungsten source. I remember getting some cheap LEDs as they were like “sick green” in daylight mode!

So these cheapos, maybe as something to use a dash of colour and fun in areas of the image.

On the more expensive side, loving the look of the Luxli Taiko.

9 hours ago, tupp said:

1. make sure your power switch is turned off when you plug in your light (or any other device);
2. wear gloves if you are not familiar with how to handle hot lights;
3. only mount gels to the side barndoors or to a gel frame made for the fixture.

 

 

I was a complete amateur in... when was it.... 2007? I use ARRI 650w classics still and they get expectedly hot but no other issues. My Chinese ones were like fireworks! 

When I started out, I had barely any budget for lights and bought 3 X 800w redheads for £120. They sparked when I plugged them in, burnt my hands and melted all my gels in like 2 minutes. But they played a huge role regardless. 

Since I’ve only had pretty expensive lights... Dedolight, Kino Flo and Lupolux to name a few. But as I’m now on the search for a very portable setup, couldn’t resist seeing what’s super dirt cheap and actually decent for a bit of fun.

Cane across a brand called GVM (rather humorously called Great Video Maker). They make RGB Panels (like the 50RS) for hardly any money and only seeing very positive reviews. Tempted to try one for a laugh.

What other dirt cheap lights do you use that are actually good? 

1 hour ago, ntblowz said:

Because sensorship is in place

Any negative post will be deemed unprofessional and will be removed, only the glorious post remain.

 

 

That’s a bit sad. Some RED owners unfortunately act like they are part of some elitist cult. On the whole they don’t take criticism lightly. It’s the audience that counts, not the damn camera. 

Although they’ve created a weird vibe about it recently, Komodo is interesting for sure. 

On 6/9/2020 at 5:05 PM, Andrew Reid said:

Absolutely BANGING

Awesome. 

Im seriously considering getting one almost maxed out as I want the flexibility. Thinking of plugging it into a GPU and external monitor for desktop but not done my research.

How is it as a machine? Someone told me it has “thermal issues.”

Is bad rolling shutter going to be that facepalm  moment for the R5? There’s got to be a serious flaw somewhere. 

Im going to predict in 8K that it’s bad and in 4k it will be acceptable.

Roll on July. 

p.s how’s the XT4 IBIS? Still warpy? 

2 hours ago, Andrew Reid said:

With video, you often have to lug around rigs, tripods and monitors.

To anybody who sustains their filmmaking over the years at a high level I salute you. It must be incredibly stressful!

Video is very hard for so many reasons, especially when there’s a load of elements involved. It’s a gruelling and exhausting experience. 

In all honesty I’ve grown quite tired of the larger setups, sometimes it feels like you’re training to move houses rather than create art. Saying that, it depends on the subject matter. If I’m totally engrossed in the subject, I don’t feel the pain as much. 

Overall I’ll be focusing on smaller setups with less stress and more control. 

With gear, I’m looking to completely overhaul my gear and go smaller on everything. I’m going to sell most of what I have and replace them with smaller and lighter versions of stuff I only need. 

For what it’s worth, it depends what you do. How Christopher Nolan shoots for 16 hours a day for 7 months solid is beyond me. But some people are built and made for that. 

Then there’s others who just like to get a kick out of filming cats, trees, flowers and buildings in 8K RAW. As long as you’re happy, doesn’t matter. Do what’s right for you. 

19 hours ago, Andrew Reid said:

I think $4k is likely.

I've heard $6k but don't believe it.

It isn't quite an 1D III in terms of the market yet. Most sports shooters won't go near it, unless they are feeling adventurous.

$4k would be groundbreaking. I really hope they pull this off. 

Also, do you know how well regular EF lenses work with DPAF on RF mount? In particular, Sigma ART? 

RF lenses are super expensive! Think the 70-200 may be worth it but not sure about the rest. 

10 hours ago, Zak Forsman said:

Because of the price, I looked into the 4' Nanlite RGB tubes but remember some reviews saying they were underpowered. And the Quasar Science tubes had just gone on sale so I went with those and have been very happy.

Not looked into them a great deal (Quasar). Looking for around 4 tubes, synchronised. Good output. What’s your setup?

Heard lots of good things about Nanlite’s range, especially the Forza range. They lack gobo support like Aputure though, it’s something I want in my new kit. 

Looking for portable battery powered stuff - powerful key lights, soft lights, some with RGB, some not. Ability to use modifiers. Like a complete ecosystem of lights without too much footprint and weight. 

I’m looking at a compromise between power and portability with everything I do, cameras to lights to grip. I want to be quicker and faster on set but with plenty of creative options. 

I’m hoping for a disruptive price. 

If this camera does what it says on the tin, I’m getting 2, and back to Canon I go. 

Lighting is coming along in very exciting ways, so I couldn’t resist dipping into more research. 

I came across a company I never knew about called Nanlite, who are in the same ballpark as Aputure but also have RGB LED tubes. Crazy high TLCI across the range at 98! 

Anybody used their products? The rest of the internet loves them. 

Cane across a budget Aputure called Godox too. Super affordable. 

Aputure themselves looking strong! 

Looking to build a new, quite portable and nimble lighting setup after Covid has buggered off. 

Thoughts? Experiences? I’m listening. 

Looks incredible. 

I think this is now the camera to challenge RED. 

Very future proof. 

Has absolutely everything besides IS. 

Most importantly, they’ve listened to users.

Well done Kinefinity!

Seen a lot of internet bashing on the R5 already.

It won’t be perfect. 

Probable things:

- 8k may have bad rolling shutter.

- 8k may have a severe recording limit.

- 4k120 may have aliasing, no audio and have a time limit. 

- All 4k modes only available in monochrome (ok joke). 

I don’t get the bashing though. We know 8k will have some compromises but who the hell needs it anyway?

Assess it when it arrives, and if you feel it fits your needs, solves any current problems and enhances your creativity - win! 

I hope it’s a win. 

If it is, back to Canon I go after 7 years of abandonment. 

1 hour ago, Andrew Reid said:

Now the reasons for the original EOS R's weird ergonomics become clear. They wanted to save the best for the expensive model.

Proper click wheel, joystick instead of THAT bar, and deeper 5D-style grip.

The screen seems larger except it doesn't. Why such a thick bezel?

I am positively surprised about the size BTW... Barely any larger than the EOS RP and much smaller than the Panasonic S1.

Sold. 

Where's the pre-order form? 

*checks Covid-19 compromised bank account*

😫😫😫

Please pull this off Canon.

It's the camera I've been waiting for what seems like 300 million years. 

Getting the 5D shakes all over again. 

8 hours ago, Andrew Reid said:

$2999 if they are sensible and want to sell more $2000 R mount lenses

I'm predicting $4k, at these specs it's worth double but anywhere in that $3k-$4k range would be revolutionary! 

At least we know what they've been up to for 9 years. From no 24p to 8k RAW no crop DPAF. Ridiculous.  

Am I dreaming? What’s the catch? 

I’ve been waiting for this camera for what seems like forever. 

If it stacks up, and doesn’t have horrible rolling shutter or records upside down - bye bye all my cameras. 

Hello again Canon. 

6 hours ago, Jonesy Jones said:

So yeah. You’re no longer talking about filmmaking, but a marketing firm. For those with that skill set, or willing to dive in that’s great. Some of us are/were filmmakers. And that’s a lifelong pursuit as it is. I mean just how many hats does a guy need to wear?

In the commercial world, filmmaking is first and foremost a marketing tool. It is for music videos too, but that market see it differently and you have to treat it as such. 

You don't have to where all the hats. I don't want to wear all the hats either. *overwhelm* You'd do better financially if you had that system in place, however if you're able to talk both strategically and creative, plus integrate seamlessly with other marketing skillsets - people take you much more seriously. They don't see you as just as video guy. That's my experience anyway. 

p.s learning stuff away from filmmaking is confronting, stressful and uncomfortable. Does my head in but it's getting easier. Also video in my local area is massively oversaturated. Over the past I've had to move ahead and differentiate.  Just having an attractive style isn't enough.