independent

Not good. So similar to the A7III. But slightly better than the EOS R and 1DX III’s awful 30ms. I think 20ms is the upper limit at which one wouldn’t notice it too much. The pocket 6K was generally fine. 16ms seems like the standard number at which rolling shutter is fairly controlled. But most of those cameras at that number are not full frame and obviously not 8K. I hope the R6 does better.

Maybe full frame model dropping. With flip screen.

I imagine rolling shutter won’t be great for either the r5 and r6. Cinema lines instead. Although I hope it won’t be as bad the the R. It was a deal breaker for me.

I don’t think it’s a matter of figuring of the tech. It was canon’s internal and market strategies that delayed the features that are now released. Just like apple, which is always many months ahead. And just like Sony. In very short order, Sony will drop something similar. They already were close to a complete camera with the A7III.

If it has full frame 4K, 10-bit internal codecs, IBIS, and of course dual pixel AF, it’ll kill in $2K market.

Rolling shutter?

Truly don’t care about personal preference. Everybody has an hole in his ass. Just not a fan of misinformation, or more generally, people not knowing what they’re talking about. Plenty of that going around the world already.

Are you lost? I just posted photos that depicted the dominance of shoulder-mounted handheld shooting (and the absence of easyrigs) on major film and TV sets. Just go back a page. If you mean personally, I moved into NYC over a decade ago to work for a major media company, which eventually led me to work or visit sets for Boardwalk Empire, Daredevil, Luke Cage, Jessica Jones, a couple Food Network shows, and quite a few commercials from HP to local companies. I also live within walking distance to a few studios, and I've either done work or visited them often. I also live in a neighborhood in Brooklyn where they shoot every weekend on some street, including Aziz Ansari's Master of None, Girls, Mr. Robot, etc. How many easyrigs have I seen? Not many. I also live close to Vice, where one of my friends works. He's the one who introduced me to easyrigs, and I thought they were more trouble than they were worth, but that's just my opinion. Unfortunately, you and the other guy are committing the classic logical error of generalizing based on your extremely narrow perspective: "I use an easy rig. That other guy uses an easy rig. Therefore, everybody is using easy rigs." No, most guys are not using easyrigs. Again, you said, "when shooting dramas or commercials, I'd say most guys are using an easyrig more than a tripod or dolly these days" Yes, that's pure, organic, grass-fed bullshit. Enjoy whatever you like, but don't spread misinformation about the industry.

Rolling shutter?

8-bit and massive rolling shutter, highly likely. Also, I'm somewhat put off that "animal detection" is so conspicuously advertised. This is marketed for cat videos?

Actually, indirectly it does. I stated that Canon could help position a new camera between the C200 and C500 II (let's say the new C300III) not only with merely codecs, which would be disappointing, but incorporating new features such as in-body stabilization (preferably the sensor type and not electronic). I then proceeded to dump on the easyrig (really, tongue-in-cheek), because for a lightweight camera like the C200 or C300 with non-cinema lenses, the in-body stabilization will be a game-changer by allowing many more usable handheld shots without camera support. It doesn't replace the tools in the toolshed, but it will let you get away with much more. Less dependence on sticks, dollys, gimbals - or easyrigs. As an analogy, Canon's development of tracking autofocus has been so good that it's actually not only useable, it's better than a focus puller in many situations. So a true 5-axis stabilization feature will be revolutionary in terms of faster setup, more useable shots, greater shooting envelope, etc. And I don't think it's a feature that's talked about enough. I'd say that for many interested in the Canon C200-C300 range, being able to shoot lighter and faster would have a greater impact on your productivity and viability as a professional than things like Full Frame, internal ND filters, etc. that get talked about so much.

The point is calling out horseshit and misinformation. Who said they weren't used at all? I specifically stated that they made sense (in my opinion) in some cases (height differences, documentary, live events, and reality). I also specifically stated that claims that "most guys are using an easyrig more than a tripod or dolly" for dramas and commercials ran absolutely counter to my observation and experience. As for you, personally, I find your own arguments weak. You said you saw easyrigs on Netflix sets all the time. Instead, your only evidence was an easyrig promotional video and one online review that was clearly shilling. I have zero problem with anybody using it - do whatever you want, I don't care. But please don't spread misinformation about the industry.

On the other hand... Here's Roger Deakins from Skyfall. Shooting a moving train from his shoulder, TRACKING shot: Emmanuel Lubezki on Birdman: Interstellar (Imax): Dunkirk: Arrival (Bradford Young): Witcher: Handmaid's Tale: Veep: Marriage Story:

So you pulled one instance of ONE cinematographer who used an easyrig for ONE scene or ONE shot as evidence that it's a dominant, standard, or prevalent method of professional handheld shooting? On top of it all, the piece you quoted misspelled Greig Fraser's name. Why would it bother spelling the DP's name right when it's clearly shilling? By the way, the same (and phenomenal) Greig Fraser has used gimbals, the Movi15, drones, and all the regular traditional camera support that any competent DP would - whatever he feels right for the job. Including: Lastly, still waiting for your response of easyrig's prevalence on the Netflix shows that you've worked on. If you simply google "behind the scenes Netflix," brace yourself. You might see a shocking lack of easyrigs.

Interesting. What "sets of Netflix series" have you have worked on that used easyrigs?

All horseshit and misinformation.

What shows or productions have you guys worked on that use easyrig so extensively? I'm curious because the idea that most DP's are using easyrigs over traditional camera support comes across as such strong horseshit, I can't believe we're still talking about it. I'm almost certain that some of you are mistaking DP's for camera operators, and among camera operators, a very small minority. And of all productions, I would imagine easyrigs to be mostly limited to documentary, live events, and reality shows. And among them, only a minority.

Pocket 4K is an incredible value. That being said, the pocket 6k can be a worthwhile upgrade - it was for me. The increased amount of detail (more than double the pixels) is not trivial. If you have a 5K monitor you can see the difference; the pocket 4K looks soft and slightly out of focus in comparison. The low light is also noticeably better. The larger sensor helps, but 6K downscaled to 4K really reduces noise and gives you a much cleaner image. You can get a Speedbooster for the 4K, but that brings the price close to the 6K. Of course, some complain about the lens mount, but I haven’t found it an issue considering the availability, range, and variety of EF (and EF-S) lenses from various manufacturers. I’ve found the Canon 10-18mm and 18-135mm nano usm to be great lightweight, affordable, stabilized lenses. For fast and wide, the sigma 20mm 1.4 has been stellar.

And I think that's really odd. "Most guys are using an easy rig more than a tripod or dolly on dramas and commercials?" That runs entirely contrary to my experience in the past six years on sets and locations around NYC (Brooklyn, queens, Manhattan). This ranges from productions from Netflix, HBO, A24, NBC, etc. to smaller, independent shoots. And a TON of commercials. Dollys, cranes, jibs, sticks, dominate shoots. If there's handheld, most of the time it's on the op's shoulder w/ AC pulling focus, and if there's tracking, a dolly grip behind the op. I don't think I have EVER seen an easyrig on any of these sets. I've seen a handful on documentary (I think Vice) over the years, but that's about it. I don't even see them on the music video shoots; I see way more gimbals or just handheld. For news gathering/event shooting, I see shoulder mount, tripods, and monopods. That's just my limited experience of course, but you might want to ask any grip, DP, or operator about the easyrig phenomenon taking over the world. On that note, why would so many Australian DP's own those two things (and just those two), an easyrig and smallHD monitors? I can understand a freelance camera operator perhaps owning one as a wet hire, but why would so many DPs? The production wouldn't provide a monitor and camera support for them? “We’ll bring the Alexa; you bring the easyrig.” ”P.S. don’t forget the SmallHD monitor.”

That’s remarkable. You see more easyrigs than tripods and dollys? Where are you based?

Some don’t show symptoms, so why take the chance? Don’t shake hands with anybody. Or make out with them. Definitely none of the old in-out.

Ironfilm, sure your height issue might be a good reason to go for the easyrig. I’ve seen them used sometimes for doc/reality, but other than that, not really. And really, you see them on sets all the time? Really? I don’t. I see standard sticks, dollys, cranes, etc. These shows aren’t being shot on easyrigs. You should talk to grips or anybody from the camera department...the overwhelming majority of handheld shots are still shoulder-mount. Where do you work, Sweden? 😀

It's 2020. Live streams.

Enjoy your easy rigs! Not for me. I don't see them as default anything here in New York City.