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I watched that CVP review that @Yurolov posted and I am pretty excited about the manual focus guide. I didn’t realize how that function worked but now that I get the concept, it feels like a must have. As much as I look forward to the DPAF, there are times that I want to use a vintage lens and I have learned to rely on focus peaking. But as good as focus peaking is, it can be off a little with a lot of cameras. Also has there been any good 1080p samples posted online?

That is pretty cool. It seems like the EOS-R is a great hybrid B-Cam for C100/300 users. If I were looking to start doing some paid work, I think the original C100 and an EOS-R would be a killer, workhorse combo. When refurbished units hit the Canon store, I may give it a try. I’m still undecided though, especially after hearing that the ML has made some progress with the 5D4.

I am not one of the technical guys, but when I owned the Micro, I had an issue mounting a couple M4/3 lenses due to an extremely tight fit. So a P4K specific speedbooster may be introduced to reflect the exact mount and filter thickness of the camera. After watching the Shanghai fishing video and learning that the filmmaker used the Turbo II, I would go with that speedbooster, at least temporarily, until we know for sure if Metabones will or won’t make a P4K specific speedbooster.

That’s true, but that would only affect tracking, right? For rack focusing, it would be single point, right?

To add, I wasn’t planning on getting the P4K anytime soon anyway, so I have plenty of time to see how this plays out. Hopefully, they’ll get a jolt of progress in the beginning and we’ll know more of the possibilities in the coming days and weeks.

Yup. And DPAF with Canon lenses I already own. Sure I can manual focus, I’ve been doing it for years, but I can’t deny that a usable AF with Raw Video really appeals to me... especially as a run and gun, one man band filmmaker.

Either way, I would assume that when/if they work it out, 14bit 2.5K or 2.7K in 2:35, with DPAF, should theoretically be possible. And if I could get 2K 60p to run continuously, it will be worth the upgrade for me. And I was thinking about getting the P4K next spring... I guess I’m back to a wait and see with that.

Yeah but would the crop apply with ML? But even so, it would still make an amazing 1080p Raw with the buffer and CF cards. 60p Raw should be a breeze with DPAF. The 3.5K Raw feature of the Mark iii should be great as well. @Nikkor

This is interesting. I wonder how long before a proof of concept can become a stable release? And I wonder if the Canon Log version would need a workaround or make it impossible for them to crack.

Yes. That location was fantastic. And the corpses were wicked. I loved how surreal it looked hanging from the warehouse’s rafter. Such a great shot. And yes, I love how some cameras actually make your job easier. I’ve been shooting Raw with the 5D3 for the past year and I get starstruck every time I bring the footage into the computer. What lenses did you use? And was this all shot with available lights, or did you have some small LEDs for soft light?

Oh, lol. Sorry I wasn’t clear in my original post. I was talking about older cheap PL lenses., maybe some kind of Russian cinema lens. Or older Arri primes.

Since Fuji is known to add features via FW updates, to other/older model cameras, does anyone think any of these new features will trickle to the X-H1? I’ll be in the market for a hybrid camera within the next few months and one of my boxes to tick is IBIS and after looking at dozens and dozens of Flickr pages, IG #s and YT and Vimeo videos, the X-H1 is in my top three.

All of the RF L lenses are USM lenses, so they’re not technically focus by wire, it’s a combination of mechanical and focus by wire. The 35mm 1.8 is STM so that is completely focus by wire.

Thanks, I figured as much. I did mean S35.

That was sooo good! Beautifully shot and I loved the use of static shots... it definitely added to the isolation feel. I could totally see this as a strange, surreal prologue for a feature where you go back in time and show us how we got there. I recently got one of the biggest compliments I could ask for... somebody who isn’t into filmmaking saw one of my clips and said, “wow, that looks like a real movie,” and I can pass that onto you, without a doubt this looks like a film I would see in a theatre or streaming on Netflix. It’s a shame more forum members don’t visit this section, I’d much rather discuss your process then why Canon sucks.

It’s been a few years but when I had the NX500, I transcoded the h.265 files to ProRes in EditReady, and then obviously they cut like butter. But I’m pretty sure Andrew Reid recently mentioned that h.265 was cutting smoothly in FCPX.

Yeah I would love for a company to offer a 2:35 or 2:39 option. A 2K Fuji does sound nice though... too many options.

That’s the point I’m making. For only a grand more, you’re getting good 1080p with more AF points and better manual focus aids with more manual lens options. You’re also getting Canon Log and a handicapped 4K if you need it for the occasional shoot. And if you need a little more juice, you can output 10bit 4:22 4K. Of course, the X-T3 seems to be a damn good camera, so if the AF gets you 75% of what Canon offers, that could be a great option as well.

Yeah because that’s what I wrote and definitely the spirit behind my comment. Canon stock may be a smart move, do your due diligence though. I don’t care what anybody chooses to shoot with. I’ve owned more Panasonic and Sony cameras than Canon. But by the responses in these threads, people truly believe Canon will be out of the camera business because the EOS-R has a 4K crop. And I’m the one who’s out of touch around here... As far as cinematic footage goes... Idk, you seem to be a pretty good colorist, so I’m sure you can pull a nice image out of most cameras you shoot with. In fact, I would love to see you use the cheapest of cameras to their fullest extent. Everybody always says the talent and skills of the shooter/editor are more important than the camera, so a series of short films using entry level cameras could be very interesting and helpful to beginner filmmakers?

I’m going to have to buy your guide. I messed around with it for a week or so but couldn’t get a workable liveview... I’m sure it was user error. But since I love the 1080p FF Raw out of the camera, I still think it’s the best camera available for what I am doing.

Hmm... well if you’re a narrative, documentary, commercial, or music video filmmaker, you can get professional, full frame, cinema level results with a $1500 camera. I’m not even that talented but my work looked exponentially better after one afternoon of using my 5D3 and ML Raw for the first time. I’ve even received a reply on Vimeo of a test I did, that took less than 20 minutes to shoot, edit and color, that said the footage looked like it could have been shot with an Alexa. Family and friends have repeatedly said that my B-Roll looks like a movie they would see in the theatres. Sure, they’re benign reviews for some test footage and B-Roll, for my film, but I wasn’t getting anywhere near those kinds of remarks with any previous camera I used. So for me, a serious narrative hobbyist... a full frame cinema camera in a DSLR body for $2000 or less... umm... what’s not to like?

The fact of the matter is this... 95% of the people who will buy this camera are still shooters. If they shoot any video, it will be 1080p and they’ll use iMovie to edit it. Half of the remaining 5% will be vloggers and only half of them will shoot in 4K. The remaining 2.5% are video enthusiasts that shoot family videos or clips documenting their hobby and only half of them will shoot in 4K. But for a fair guesstimate let’s overestimate and say 5% or less of the actual customers will shoot in 4K. I fit square in the middle of video hobbyist/enthusiast and if I ever buy the camera, I would guess I’ll shoot 75% of my stuff in 1080p. So yes, the 4K Crop sucks, nobody is denying that, but as a company, Canon understands their market and when you honestly look at the market, no wonder Canon is number 1.

I remember when I had the NX500, it was 70mbps h.265 and it was compared to 120mbps, or so, of h.264. So out of curiosity, if 400Mbps in h.265 wasn’t not compressed, would it be at ProRes HQ levels?

Yeah wouldn’t 400Mbps in h.265 be higher data rates than ProRes comparably? I’d love to see some footage of the 2K. All-i h.265 at 200mbps should be gorgeous.

According to B&H, it has 2K up to 60p. That’s a cool feature. Any word on the bitrates?