cameraeye

For me, for visual FX green screen where the higher the resolution the better and also composites where the raw footage can be framed wider, tracked out and blown up as needed.

I would hazard a guess (also with a complete lack of engineering background) that the kind of vibrations that the magnet couldn't curtail are from small and strong vibrations e.g. from mounting to a car. Shaking by a few pixels would ruin the shot and make it hard for creative control.

This was my only holdout on the C70, as much as I hate Canon for their incessant cripple hammer, I have ef lenses and the usability/colours are reliable.

Yes, it makes total sense from the perspective of advertisement to give new cameras to established reviewers with bigger followings. And the byproduct is as you say. Kudos for Sigma green lighting Gerald's review. I don't have anything bad to say about Gerald, but I do wish (whilst specs tell you a lot about what you need to know about a new camera) that more reviewers would consider looking at things differently sometimes. I actually like to wait until the later reviews to see filmmakers use it for a few months and allow whatever camera the company has made to really emerge. I was excited to see the FP-L announcement but a little disappointed Sigma used it to focus on the bigger megapixels. I hope they continue the FP line by advancing the video side to create an even better alternative tool.

Then to balance out Gerald's review- someone should do a video review with no expectations or pre-existing requirements and view it through it's own lens, see what its strengths are organically and perhaps in terms of an inspirational tool. I for one am tired of specs and templates of peoples ideal camera. I think we need more diverse and artistic tools in the landscape.

My time has come. Interesting they may have a 1 series body with the high megapixel count and this for speed.

They Brought back eye-controlled autofocus!

What got me very interested in the fp and eyes on new ones is when Andrew called it an artists tool. This gets me more excited than most specs (but raw is a must for my work and colour science just as important). For me something that supports and inspires the film is worth my time. Would be interested if Andrew reviews this one and still has the same impression- or if this model diverges the line away from this focus.

I don't have my 5D III to hand and may be missing something obvious, but how do you setup the switch between modes whilst filming?

I just love how every pixel on ML Raw bursts with life/filmic look. What kind of monitoring do you get on the M in 2.8k? Is it the normal canon quality or the low frame rate ML. Nice film!

Thanks. Initially I would be using the 50 f1.4, 17-40 L and less often 70-200 f4.

I think the fp is my next camera. Something truly flexible made for artists. I really want an external prores raw camera too. I’ve never used an L mount camera, how well does canon glass work on the fp? I know I can google but I prefer talking.

Someone posted a picture (I think @Andrew Reid) ages ago showing a hidden usb port under the hand grip on the back of a canon camera (maybe 70D?). I wonder if the R5 has one that can be used as a diagnostic tool to read camera data and shed more light on what's going on. Edit: Plug in cable > turn on camera > switch to 8K > Console: "soft-limit-cripple ACTIVATED!"

Stars Wars analogies do not bode well for future canon cameras.

Canon are certainly shook up since the days of only having sights for Nikon as a competitor. They also strike me as a company to have things in the pipeline way off for shipping- maybe they added the HQ modes after the design was finalised, didn’t like the idea of making it too-useful a camera anyway, got in touch with Tilta for a 3rd party solution and threw caution to the wind.

At this point we know it’s intentional. They also made the 1dxiii which doesn’t overheat. The fact that Tilta released their cooling system says they both had preproduction units and/or schematics, and were aware the camera would SHIP with overheating and thus made a viable business decision on that knowledge- with canon in the loop.

I was wondering this too. What if the R5 was designed and ready a while ago when Canon were still conservative on the video specs side and changed course late in the day.

I get your POV, but you can’t even do that. I should have a dedicated R5 completely unused for the time I want 120 fps? And then if we don’t get the shot, I should have a second when the first overheats? If it even can record anything at all?

But it’s not a bonus. Even if they didn’t market the video the way they did. You literally can’t use your “bonus” most of the time. You don’t sell someone chocolate and say actually you can only eat that for 3 seconds and then you have to wait to eat a little bit more. And you don’t include 8K RAW VIDEO if the design is inadequate to actually operate it. If it was a stills camera first, then you simply don’t include those video features at all. Basically what they did with all their other 5D cameras.

It’s beginning to feel like they’ve been caught with their hand in the cookie jar. If it’s as it sounds with a timer regardless of temp., expect many lies to cover it up.

Imagine if Canon created a breakthrough sensor with low RS, good DR, 8k and doesn’t overheat- but exactly like the 5dIII after the II thought, ‘we can’t give them something this good, let’s cripple it’. But then they cripple it too much on the secret insider cripple-o-meter and get caught because if they uncripple it everyone will know.

It is just bizarre. Either way you cut it, why did it get released? I’m looking forward to your findings and possible workarounds.

Back to the Candragon, I think it strikes a good balance if you have a (future) ProRes recorder for Raw when you need it.

Agree on the Sony hijacking. I personally do care about stills but, life is too short to wait around for the one camera to rule them all and waste money switching. When the perfect camera does come, I'll buy three no matter the manufacturer.

Agree. If you have the cash to explore all systems that's great. But in a frugal persons arsenal, story and craft matter so much more- if not for every filmmaker. I switched to Sony and got burnt and see no exponential improvement to their products in the areas that weren't good enough. I just had the feeling of being a beta tester for a 2nd version camera with the A7s II.