Jimmy

I always thought the chipset would have more work to do compressing to 8bit than 10bit? Any tech heads here?

My money was on Lumix/Panasonic to bring 10bit recording to the GH5... but it seems the DVX200 is only 8 bit, will they better their new prosumer model? Canon/Nikon seem unlikely to be first to push new tech and Sony seem to be staying put with 8 bit. Feels like the dream of 10bit in a DSLR/Hybrid is still a long way off. 10bit seems to be the last big sticking point. We are seeing 4K, we are seeing log, we are seeing incredible ISO... Yet 10 bit is probably as important a feature as any.

I also think the 120fps from NX1 is pretty amazing. Maybe it is a glass thing? I've been using the f2.0 zoom and it seems to have alot of detail in 120fps mode... Way better than, say, 1080p from a 5DIII Here is a frame grab from a 120fps shot... Yea, it is a a bit over sharpened, in camera, but you can see there is plenty of actual resolution too (this is a framegrab from the initial video, no post... banding is horrible)

I meant in respect to what it could have been, with such huge photosites.

12 stops is a bit lame... Not sure how they have even managed that with such huge photosites!

Pure guesswork on my behalf... But if the C300 mk II can do 15 stops with 4x smaller photosites, then 18-20 seems plausible. Another thought, Canon have a good knack of keeping DR very high throughout the ISO range. Now, 4 million ISO will suffer... But I expect the stuff that would be a DR nightmare on the A7s might actually keep a really high DR on this. As someone who loves chasing auroras, this has piqued my interest! (rental only though) ... The a7s blew my mind shooting realtime auroras, this could be the next level

If Canon are using the same dual sensor readout as the C300 mk II.... coupled with the amazing photosite size, this could be a true HDR camera. 20 stops + ?!! Wonder if it has raw out?

will be interesting to hear about DR on this baby.... Full frame sensor with HUGE photosites could = insane DR

I imagine NASA and Co will have their eye on this too. Very much a niche camera... Hope we are not in for another day of "Canon, lolz, no 4k in 2015 on a $30k lmao” Good on any company that takes a risk on ultra niche products.

What is quite funny is that Sony are now doing to Canon, in the consumer end, what RED did to Sony in the high end. Bullishly bringing out state of the art specs at a much lower price, to try and gain market share.... Canon will have to react.

I'd love to see even a single quote from Canon that has promised something and not delivered. They simply don't promise things like that... so you only have yourself to blame if you have read somewhere that can will do this, that or the other and it hasn't come true. They are ultra conservative and move when they want, not when we want.... It is a shame, we all dream of some kind of 1DC with ML turbo boost... and we all know it is probably very possible.... But Canon will only move when they absolutely have to.

Even stranger when you remember that they were the first to market with a 4K DSRL!

The kind of client that would ask specifically for RED would also probably scoff at a Scarlet, even though the Scarlet dragon looks the business. You also have to consider the OLPF situation, the skintone OLPF is pretty shocking in low light (even 1600).. As you always light your work, that might not be a concern.

What i like most about the C-series is that the DR/colour is similar throughout the ISO range (until you hit crazy ISO). If they were wise, they would drop that C300 mkII sensor into a DSLR body and launch it as a flasghip video DSLR and perfect B cam to the C300 II. Priced around £8k.

Thought about the c300 mk II? I'm sure you know this already, but corporate work can often be dictated by trends and names... I think it is a fairly safe bet that camera will be the name on people's lips in the next few years. Big chunk of change though.

Probably 50% of the cinematic look is movement and sound design. Look at Bloom's C300 mk II shot in London.... No cinematic movement, no interesting sound design... everyone cried "Video". You could shoot that on film and people would still scream "Video"... because the subject matter, movement and sound were more like what we expect from a video camera shooting stock footage. The more technical 50% of the cinematic look, for me... DR, colour, highlight rolloff, shadows into perfect blacks, 2K+ resolution. I look forward to the day that everyone has a 4K, 15 stop, perfect colour camera and the focus can be on movement and sound again.

Sorry, should have clarified more. Top tier... The image quality of the Alexa is judged higher than RED Dragon by alot of folk, even though the latter has far better paper specs and is alot cheaper. I was not putting the 1DC in that tier though.

People do seem to forget that the best image generally comes at the highest price. The Alexa is woefully underspecced/overpriced compared to the latest RED dragon, even the FS7 in many repescts... but the end image quality is still considered better for alot of DP/Directors... So they pay the price. (Obviously not suggesting the 1DC is comparable to the Alexa). Canon, arguably, still have the DSLR with the best end image quality, and it has the highest price. We would all love a 1DC at NX1 pricing, we would all like an Alexa at FS7 pricing... But i'm not sure it is fair to cry to hard that the DSLR with the nicest image costs the most... Seems fairly logical.

If the 1080p/60fps on the 1DC was better, it would be my main camera. Skin tones/colour are superb... But my business dictates that I need slo-mo

Not sure... Too busy looking in the mirror, with my cock in hand, to keep an accurate track of time.

The worst camera work I have seen for a long time was when David Attenborough met Obama, shown a few weeks ago.... The DOF was razor thin and every time he moved even an inch, he went out of focus. Hope someone got fired for that.

​Quite easy really.. and two fold, 1) You openly admit you don't like big, prosumer cameras and prefer the stealth and freedom of smaller form factor cams... 2) The big paper spec you were chasing, at the time of purchase, was 4K, so you were ok to downgrade the other specs. I'm only taking the piss about your gear lust anyway (satirically, of course). It is in your interests to chase the best bang for buck and report on it. I'll always laugh at the Canon agenda, but understand why you do it and do actually like and respect this place, for the most part.

Canon are top dog because the have, arguably, the best DSLR system for stills (cameras, lens and global service). They shouldn't be getting anywhere in the video side of things (DSLR wise)... But that name carries alot of sway... Back it up with good marketing and worldwide reach/customer service and they will come out on top. They make shed loads from this fact, so quite why there is such a constant surprise that they don't change the world with every camera is beyond me. The competitors have to be aggressive to combat Canon/Nikon's big name/reputation, so will always be pushing the tech much harder (some also have 4K TVs to promote). I will never get the fuss about Canon/Nikon not doing this, not doing that etc etc..... Just buy something else, so simple. Even if you are invested in their glass, Both lens systems generally work with most cameras, with an adapter.

Yet you said you won't shoot on that once you have the new Sony... Which is why I find this article ironic. You are the marketers wet dream... Chasing paper specs.

There is a good dose of irony here. EOSHD is happy to sacrifice things like raw, 10 bit, 4:2:2, colour science and various other aspects that make an image, just to be able to shoot 4k (no doubt in big letters on the box). Marketing works!