Asmundma

A lot of people are is pissed about the R5 crippling, I could understand if you don’t have a Cx00 camera. If you have, your investment would be more or less lost. Thats the reason Canon did this firmware crippling. Actually it make sense, like it or not. So please stop this stupid arguing about the marketing, Use your logical sense Then this is 100% as expected.

Yes, bummer, no 4k60 ...........shit.....

A lot of people do not Black balance, that’s why it can get noisy.

Hi, with all respect from my side as well. It a little bit strange, are you applying any colour correction and still get smooth playback and not using any proxies or optimised media? This was the reason that I got an iMac Pro with is cutting it well. I am considering upgrading my MacBook Pro (Mid 2015) for when I am on the road. However if I still will need to create proxies on a new 2018 MacBook Pro, the value is somewhat limited. Then we have the throttle issue as well.

Sorry but you are most likely wrong here. Have a look at this video (around 8min in the video he talked about Raw Light) : I currently have 3 Mac's, all with internal SSD - It is definitely the GPU that counts, only iMac Pro does a proper job. FCPX is best, then Resolve.

I have had the camera for 9 months. Use Fcpx, I question your report on the 2014 MacBook Pro editing of RAW. It does not run smooth on my MacBook Pro 2015, nor on iMac late 2014, but definitely smooth on my IMac Pro 10 core, with the best GPU. However, if you create proxies you can edit smoothly. The older Macs has max out configurations. Report says that even the 2018 MacBook Pro have issues with playing back RAW.

I believe this will be good eventually, but I guess there need to be some software updates before this gets stable and shows the benefits. I see a lot of people buying RAW cameras, but fail to see that you need a iMac Pro (or high end PC) to run these things smoothly. If using FCPX, the cheapest thing is just to create proxies. The problem is that if you even are able to run the timeline with 4k, as soon as you start colour you footage you need more power. So even if people invest in the latest MacBook Pro model, one can easily get issues. You may need to create proxies anyway. That way I am happy with my iMac Pro. On the laptop I create proxies.

Hi, I have extensive experience with RME and had the rme 400 , now UFX II. The drivers in RME is rock solid and you can record with low latencey (the is now way the Zoom will be that stable). If you record music, the RME is the way to go as it much better for that purpose (DsP with EQ, compressor, auto level of recording, high impedance input for guitar, etc.) , recording video sound the F8n will do well. Sound Devices will benefit from analog limiter, slightly less noise.

Ha ha , have en iMac Pro - come with your laptop man.....and running FCPX -

I think it 1ms delay.

I have both the 1dx2 and c200, it defenetly a step up from 1dx2. Way more DR, cleaner footage etc.

Hi Got the c200 a while ago. Is there any difference to the Sony A7r3 and 1dx2 which I also have. The short answer is YES. The image is simply better both in MP4 and for sure Raw. Shooting canonlog3 give quite much better DR and image then my Sony and 1dx2. Now I totally understand why people go for a cinema camera.

Big difference for video... not so good.

A real world test .........Raw 50P

Time for me to come back here - still excellent seems like - ..........

Maybe the app Fieldmonitor does the job, connected by WiFi though. For Panasonic and Sony.

In 2018, with a New Sony or Canon camera, who is shooting manual most of the time?

Actually I hope for another firmware update from Metabones giving you right. I moved from 5D3 to Sony A7S1, UNFORTUNATLY I soon found out Canon glass did not work to well. To give you my standard w.r.t. Video AF, I have 1dx2, c200 and A7r3, that why it does not work properly. Its fair to warn people that there is chance to be disappointed.

Quality wize, the 10 bit issue is more a spec concern then a real one. The 8 bit is extremely good to be 8 bit. You get a slightly sharper image with the RAW Light and of course you can drag the colour wheels all a round and it would not fall apart in RAW and 15 stops of DR. You can now edit with colour grading and e.g. stabilisation in full 4k on both Resolve and FCPX with no hiccups on an iMac Pro. On FCPX, if you create proxies from the master files, the edit is completely smooth (e.g. laptop). You read speed for files with USB-3 400-500MBs (CFAST), so speed is not really a issue. Of course you have to live with files sizes which are more or less the same as ProRes.

I have also tried Metabones for video with Canon glass (both modes), it does not work properly, so I agree. These videos fool people mostly. Can use metabones in green mode for stills with center AF for stills for not to fast photos shooting. Landscapes are ok. The problem with Sigmas is that they make noise when your AF works hard e.g. sports. A lot of Canon glass also make quite some noise. The best lenses are Sonys, most of them are quite when AF for video.

They must have tested for photos, not Video. - Or I go and complain......

Hi, bought the Sigma 18-35 for use on C200. My lense make a hell of a noise when video AF, so I do not understand it is quiet at all. I find that native Sony FE lenses are the quiets. For Canon STM and new leses after 2012 is ok.

Here you will find a comparison. If you want good AF there is one choice.

I had it. Did not stand to my quality requirements. The 16-35 F4 is much better. SO I have the brick......

Should be a thunderbolt to hdmi dongle for a few bucks.