Kisaha

27 minutes ago, TomTheDP said:

$2500 for micro HDMI. 

RAW recording but we are gimped with Micro hdmi. I think I would rather go with the FX30 if I was to shoot RAW or use a monitor. 

It is Not that camera!

For me it is 100% right for photos, a little less for video..

FX30 is a video camera..

I wonder if the rumored R7C would be a much better option for video.

360 is the only application that desperately needs a resolution increase.

1 hour ago, Django said:

People always want more but sometimes a refinement job is sufficient. We do get a new sensor with better rolling shutter performance and that allows 6K oversampling. New DPAF2 system. Detect only from C70. No overheating or record limits. False color. ProRes RAW via HDMI. Smart hotshoe for XLR. Breathing compensation. 10x zoom FHD. New video menu. Stills/video switch etc.

All this for yes the same price as the R6. and people are still complaining. 

A7IV has overheating issues, severe rolling shutter, a big 4K60p crop..  lower resolution lcd, lower burst rate.. I mean what good is a BSI sensor when it has such limitations? You need to look at the bigger picture pun intended 😉 

As I said, I am already saving money! Canon is here and making all the right moves lately. I will be perfect with the R6mkII and the R7 (plus the Pocket 4K for now). It is just this notion that there are things left unchecked..once more.

13 hours ago, zerocool22 said:

Sounds they fixed most of the bugs of the R5 and the R6, I hope they fixed the IBIS as well. The ibis on the panasonic camera's was way ahead. If its the same now, I might get one of these. 

seems like..NO

Can't they just keep the histogram on screen? Jesus..

It is just a firmware update away..but it seems that the decision is not made.

It would be a good buy if is less than the 2.799-2.899euros of the Sony A7iv here(which I doubt).

The R6 in Greece is 2.689, is the mkII keeping the same(/similar) pricing?

The sensor is a "simple" FSI, not stacked, not BSI, and 24mgpxls better than the previously 20 (I do crop a bit, sometimes, depends!), but when Sony offers 33mgpxls a number closer to 28 would be better (and more practical).

All in all is a much more "rounded" proposal that the previous one, but not as groundbreaking we all wished for..

I was expecting this camera later in spring time, I just got recently the R7 and lenses..I will probably stick to the plan and save money for spring, I mostly have sound and A.D jobs anyway..

The R6mkII is - almost - already here..maybe you can find some good deals for the original R6.

I was searching for something REALLY CHEAP and REALLY SMALL and I ordered this:

https://www.colborlight.com/products/co-cl60

165€. 50 less than the Amaran 60, but price wasn't the deciding factor.

What do you think?

1 hour ago, hyalinejim said:

I regularly have a talking heads interview shot in an interior where a window is in the frame. This is the situation where you'd expect to see streaking. But the difference in stops between inside and outside necessary to see streaking is so huge that I would never choose to shoot in that location regardless, because there would be too much backlighting with or without streaking

Other than that, high DR scenes I shoot would be daylight exteriors in full sun. I've never seen streaking there. You only see it when very bright areas are adjacent to very dark, I think.

ND filter on the window?

Price (just out of curiosity) ?

60Mpxls?! A bit excessive for my kind of work.

This it NOT the a7R V thread.

2 minutes ago, Django said:

An R replacement using the same 2018 R sensor (that used the 2016 5DIV sensor) makes zero sense.

That sensor had horrible rolling shutter and had to crop x1.7 for 4K. 

Also what do you mean by:

The current R6 is already RF full frame?

The R6 is not sufficient for me. A better rounded mkII may will be.

An R replacement that will be a lot cheaper than the R6 may have an older sensor.

15 hours ago, Django said:

Not stacked but BSI. It is the best sensor from Canon and makes sense since the R6 uses 1DX3 sensor.

The specs however appear to be pretty much the same as current R6, I don't see any improvements which is rather disappointing.

So the best improvement is perhaps just the sensor, which is already a very good thing. Should mean much better DR & much less RS.

I'm also hoping/assuming there will be little to no overheat. That is by far the biggest con of the current R6 and why I wouldn't recommend it for run & gun work. Unless you're just shooting short clips with reasonable intervals for cool off time. I'm selling mine as soon as I find the right FF substitute (which could be R6 mk2).

There is a another rumour circulating of an R8..similar specs but a simpler 30mpxls sensor..

It seems that there are two cameras coming soon, an R replacement (it could be the R8 with the R sensor but various impovements all around) and an R6mkII with the sensor as the biggest - and very welcomed - difference, but probably other faster and/or more modern internals that will make it a better camera altogether.

Price is very important also, if they could keep it close to R6's money that would make it a hit camera.

To be completely honest, I was expecting the R6mkII to move to RF full frame, so I am quite excited about this rumor. Of course the devil is in the details and those details could make or brake this release. It could be only the sensor and maybe the processor, but also a myriad other little impovements; or not!

As of our friend @tomastancredi, it would be a pity that you are going to miss the R replacement just for a month or so..

If you want something fast and with amazing battery life, the R7 is a very honest choice and for a very good price.

13 hours ago, Avenger 2.0 said:

Nowhere in the rumors it says it will have a stacked sensor. People just hope it does... But we all know Canon...

I just copy pasted the rumor, but because I have the Umbrella Academy power of making lies become the truth, it may will happen!

@tomastancrediyou ask about the camera, but I ask about your lenses. We all know here that the most important aspect on a system is the lenses we own.

Are you going to sell your lenses and move to Panasonic?

I heard a rumor that..

Canon R6 Mark II Leaked Specification

24mp Full-frame CMOS Sensor
Dual Pixel RAW / RAW burst
Dual Pixel CMOS AF
In-body stabilization
Digital Tele-Converter
12fps Mechanical
Hybrid Auto
4K 30p (No Crop)
4K 60p (Cropped. The EOS R6 is a 1.1x crop)
Canon Log 3/HDR PQ
Cloud RAW processing
RF/RF-S Lenses
SD/SDHC dual card slot
Not much change in the form factor over the original EOS R6

The Canon R6 will use the same stacked sensor we have seen in the Canon R3 camera. The camera announcement is expected first half of 2023.

6 minutes ago, Django said:

what's wrong with mimicking things of your subconscious or revisiting the favourite FF lenses of your early 35mm photo days? that's one of the main appeals of going FF imo, the familiarity with the format and shooting wide-open on fast primes, both of which he touches upon. 

 

There is nothing wrong, it is just something very personal and that does not apply as a general rule or reason. He did that, ok, good for him.  Nothing else and nothing more.

8 hours ago, Django said:

It's not really snobbery, it's the reality of a certain bubble "cine" world. That of ARRI/RED/VENICE.

Ironically, the very few theatrical releases I've done were shot with 5D3 (ML), C300mk2, BlackMagic Production Camera, FS7... albeit all low-budget documentaries/cinema vérité/art/festival films. And paradoxically, all my RED/ARRI shoots were for high-end commercials, TV, fashion/music videos. It's all relative. That's my reality.

To give further context, at Cannes this year films made with these cameras entered the competition:

C500mk2, S1H, A7S2, FX3, FX6, FX9 , A7III & iPhone 11X Pro (!).

https://ymcinema.com/2022/06/13/the-cameras-behind-cannes-2022-alexa-mini-still-dominates/

Mostly as B-cams & for documentaries but that is an interesting evolution. While the Mini still "dominates" those entries are the most surprising/interesting to me.

Budget, crew, clients pretty much drive what I'm going to use. The whole "cinema camera" term isn't really that relevant to me anymore personally. Yes, ARRI is the gold standard. But if an FX6, FX3, FX30 or iPhone better suits the project/budget then that's what will get used. I am attached to certain "cine" specs though.. shutter angle, DCI, I/Os, codecs, resolution, DR, rolling shutter etc. Luckily we're getting a lot of those in affordable bodies. 

Finally, "cinematic" image quality wouldn't be anything without lenses. The focus on these forums seems to be so tilted towards camera body brands, specs, sensor size etc.. but lenses can't be dissociated from the equation. It's really what may tie you to an eco system or a sensor size.

Seems like the big boy cine cam discussion has sort of turned into Alexa Mini/35 vs LF/VENICE.

If you look at the above camera Cannes list, or Oscar list or Emmy list.. it's actually pretty split in between S35 & FF.

You can reference frame it however you want, the divide is the same no matter the category. Some DPs prefer S35 others FF.

While sensor generation and overall specs (DR, ISO, resolution) may play a part, I think that again, what lenses a DP wants to use plays a decisive factor in his sensor size camera choice.

We've already had similar discussions in the past. I like to use real world examples to illustrate my arguments so let me re quote what the Ozark DP had to say about his switch to Venice with FF Leica glass:

“I started as a still photographer on 35mm film,” described Kutchins. “It creates a feeling. For example, I can describe it like shooting Super 8 versus full-frame, I feel like I’m watching it in a box, from far away. As a viewer, I feel distant, even in a close-up. It’s nostalgic, but I don’t feel connected. TV lives in the world of a medium close-up. We never go really tight. In full-frame, you still feel close." As Kutchins described, they took older Leica R lenses and rehoused them, which gave them the ability to shoot wide open. 

“It opens so super wide. I was intrigued by it as we went down the wormhole with the family, in isolation and distrust. I was intrigued to use the wider aperture to create more character separation. I love the result. Both Armando and I were excited by the possibilities. We play with depth of field and with lenses to create a separation from character in the background. Even with a wide lens, you can feel the character coming into my space and coming into the living room.
That’s what we’re trying to do as filmmakers, create a presence in 2D space."

 

 

It doesn't convince me at all..his view is very respectable - obviously - but the argument is weak..he is just trying to mimic things of his subconscious and try to find reason for that.

We all have started with photos, by the way. My first experience with anything similar was the Zenit camera my father brought from Russia early-mid 80's. Still got it, and the 44mm.

That was a good thread!

Hope we will see some action here again.

@MrSMWall brands offer solutions these days. For the very first time I believe Fuji offers the complete package.

Zoom lenses really help, my workhorse was the 16-50mm NX for many years. Stabilized and 2-2.8mm, and were using another body (or two) with primes for more "artistic" approach (so I was getting the expected and usual stuff with the zoom and at least a prime for more artistic portraits).

I would give a look at that special 18-120mm video lens they did, and beware of the 17mm wide end that is 26+mm equiv. I found those couple mm at the low end of the zoom very important for all around lenses..I would take a 16mm from a 17mm, but the Tamron is a great performing test, as it seems.

The 10-24mm and the 16-80mm are also interesting for me.

11 edtitings behind is not that bad! Congrats!

1 hour ago, MrSMW said:

It's all a matter of taste of course but I love Fuji colour.

I moved from shooting Natural to Flat on my Panny's but was a big fan of Eterna on the XT3.

Going back to that as my standard but this time around, with a very light Film Convert Nitrate grade.

Also interested in going back to shooting Jpeg and one of the film sims.

I used to to shoot mainly Classic Chrome, but am interested in Classic Neg and Nostalgic Neg, all with some personal in camera tweaks to see if I can achieve a SOOC near finished result.

Along with drastically cutting back my number of jobs (33 this year) and capping at max 20 per annum, I'd like to get my workflow reduced so I can spend a little more time on marketing.

No issues with bookings but I think you need to remain on top of these things regardless and even do a little more than is needed, simply to hold station.

Also, I'd just like a little more life back May-Sep which is something I haven't had much of for the last 20 or so years...

 

Having great SOOC results is the bomb! I remember when I did some weddings in the past I was shooting mostly RAW, which was a post production nightmare..I was planning to go SOOC just before I quit that business..

33?!? Wow! If you need any help call me, 23 years of experience, lots of equipment and positive attitude, have lived in France before..ha!

There are 2 threads for this camera. Can we decide which one to follow guys?

I am going back and forth, and I do not remember where I read what and what I have replied when and where!

3 hours ago, Django said:

Canon has a rumoured R7C on the way:

The Canon EOS R7 C will record 7K60P in Cinema RAW Light and will reportedly have the same codec options as other Cinema EOS cameras, including the Canon EOS R5 C.

There was also talk of a C50 ages ago but that rumour didn't seem to pan out..yet.

Definitely this Sony release, along the GH6 and the new Fujis heated the segment..

Canon has to respond, I read the rumors and I am waiting to see.

One R7C and an R6 mkII would be perfect to complete my set. My main jobs in the industry are irrelevant to cameras anyway, but I like to have options, and complete sets.

5 hours ago, IronFilm said:

Probably Canon's "answer" already exists, and is the Canon R7?? 

But I'd rather have this Sony FX30 instead!

I have the R7 already!

That is not it, it is a hybrid with video an afterthought. I would like to see a specialized cheap Canon cine camera, a cheaper C70, a lot cheaper C70!

..I feel a bit silly, waiting to go RF all these last few years..

At least I hope there will be an "answer" from Canon, at around that money..

Got the 50mm and 35mm RF this week!

I am so very sorry..there are no words..

Be strong, all of you, and share the love between you. 

3 hours ago, MrSMW said:

Sometimes, not even that.

Met one of my former wedding clients at another wedding last weekend and 3 years after theirs, they have not even watched their wedding film a single time.

So in some cases, we could present just a thumbnail and 10 minutes of blank content… 🤔🤨😂

So true! When I did some weddings in the past, the feedback was that they were watching only the trailer! And mostly because they were destination weddings (beautiful Greek Islands) and like the drone shots and the likes..

Funny thing, once I did second camera to the beautiful island of Antiparos (Tom Hanks's favourite holiday house). The A camera (and editor) didn't let me shoot a lot of footage, because he wanted a fast turnaround.

So, one morning, I took my NX500 (personal mini camera) with the 12-24mm 4-5.6f and a Manfrotto 70€ tripod and went down to the port. Later on I saw that he used ALL these "hobbyist" shots on the video!