mechanicalEYE

I was very excited for the Leica SL2 and bought mine in December 2019. I have been using it ever since and it is every bit as beautifully designed as the previous model, but this time with high-spec 4K video features, IBIS and an anamorphic 5.5K mode. As usual, I paid the full retail price out of my own pocket and didn't take a camera on loan. This is something I am now regretting because the SL2 has a major show-stopping problem which effects ALL models out there and isn't isolated to mine.
NEW BLOG POST:
https://www.eoshd.com/leica/leica-sl2-has-power-flaw-and-should-be-recalled-until-then-i-recommend-not-using-for-professional-4k-shooting/

Yes with adapter. Canon has a VND adapter that I would go for if I had EF lenses.

Consider when R came out most of the critique is on the lackluster video feature..
And now photographers are criticizing Canon for not releasing still spec.
Either way people just gonna critique no matter what.

The recent rumor posted by CanonRumors states that it will be an RF mount XC10 style body.
https://www.canonrumors.com/rf-mount-cinema-camera-in-the-works-cr2/

The recent rumor posted by CanonRumors states that it will be an RF mount XC10 style body.
https://www.canonrumors.com/rf-mount-cinema-camera-in-the-works-cr2/

They printed it.  https://www.usa.canon.com/internet/portal/us/home/explore/product-showcases/cameras-and-lenses/eos-r5

hadnt seen any S1H samples with the FD's but heres a S1 video with Canon FD 55mm f/1.2 Canon FD 85mm f/1.8, and Angenieux 28-70 f/2.6 Angenieux 70-210 f/3.5.  
 
 

I'd think Canon would want it out as soon as possible. RF glass sales are dependent upon of sales of R series cameras and with couple RF models in the pipeline, I'd think summer release as long as COVID-19 allows it. 
Also Canon Rumors is saying Canon supposedly has plans for an RF mount cinema camera . 

hadnt seen any S1H samples with the FD's but heres a S1 video with Canon FD 55mm f/1.2 Canon FD 85mm f/1.8, and Angenieux 28-70 f/2.6 Angenieux 70-210 f/3.5.  
 
 

hadnt seen any S1H samples with the FD's but heres a S1 video with Canon FD 55mm f/1.2 Canon FD 85mm f/1.8, and Angenieux 28-70 f/2.6 Angenieux 70-210 f/3.5.  
 
 

hadnt seen any S1H samples with the FD's but heres a S1 video with Canon FD 55mm f/1.2 Canon FD 85mm f/1.8, and Angenieux 28-70 f/2.6 Angenieux 70-210 f/3.5.  
 
 

https://global.canon/en/news/2020/20200213.html

Only until the S1 mk2 / Z6 mk2 gets released a few months later....

You have Tony Northrump on your Youtube timeline... My condolences. If it were Sony rumours he'd be going bananas believe me. Biggest hype monger on there.

EOS R -like most MILC systems- is aimed at photographers first, videographers second.
Again BM isn't even in that hybrid market, so they aren't competing with it let alone dominating it.
Canon have two cameras coming (R5 & R6) one will be expensive, the other less so. 
Seems like a sound strategy, not to mention if the specs are true it very well might be the class-leading FF units for 2020.
Only wild card left is Sony and I don't really see them topping this.

I wouldn't count them out.

Sounds like your blog name might finally start to make sense again, although the "HD" is starting to look a little small compared to 8K 🙂

"Netflix approved" means NOTHING to over 98% of us. 

As that only matters if you're making a commissioned project for Netflix, and if you are then you'll have plenty of budget to hire a Varicam LT / VENICE / Weapon / whatever!

If you're doing a project to later on sell to Netflix? It doesn't matter what you use! Whatever you feel is right for the story. Could be your iPhone, could be an old DVX100, could be an Arri Mini, could be a Z Cam E2, whatever you like!
 

You can't freeze time or be satisfied for very long, where's the fun in that... Always chasing knowledge, perfection, performance is what this forum is about. I find it fascinating that the image in ProRes RAW on the Z6 has the weird attributes it does compared to the internal H.264. I guess that makes me a camera nerd. So be it.

Will add the Fp now!
This is the most surprising thing for me. As surprising as lack of Olympus attention is sad.

Sony aren't as popular (at least with the active registered users here) as thought.
Maybe there are a lot of Sony lurkers.
Shows Blackmagic's power of marketing and lure of ProRes and RAW.
Market it as a cinema camera, sell it cheap, put ProRes and RAW in it.... And you have a winner, doesn't matter if camera itself is basic.

Since I found the YouTube comparison between the Sigma fp and the Blackmagic Pocket Cinema Camera 4K so worthless, I did a comparison test of my own.
I wanted to compare the cameras in two respects: 
(1) dynamic range when shooting a high-contrast subject under optimal light/with optimal exposure + robustness in grading the resulting image;
(2) low light/extreme high ISO image.
My setup was as follows:
Completely dark room; Both cameras with the same lens, Tokina 28-70mm/2.8 (Nikon mount adapted to L-mount and MFT respectively) at the same aperture setting (f4) on both cameras, but at 35mm focal length on the Pocket 4K and at 70mm on the Sigma fp to compensate for the different sensor sizes; Record settings: UHD 23.98p on both cameras, full frame CinemaDNG 12bit on the Sigma fp and BRAW Q0 on the Pocket 4K (= best quality codec settings on both cameras);  For the high-contrast test: daylight-temperature LED fresnel with maximum focus/spotlight on a plastic appliance reflecting some of the light to create high contrast; both cameras at minimum/native ISOs exposed ETTR/to the right. Both cameras set to 11.25 degrees shutter angle (in lieu of an ND filter, since motion rendering is irrelevant in this test).
(Note: Lowest, respectively native, ISOs on the two cameras are ISO 100 on the Sigma fp and ISO 400 on the Pocket 4K. Never mind that nominal difference, both cameras have almost identical clipping behavior at these settings, i.e. ISO 100 on the Sigma fp behaves like ISO 400 on the Pocket 4K. On both cameras, the zebras turned out to be reliable indicators for sensor clipping: To go absolutely sure that I would optimally expose the sensor, I also shot the scene at larger shutter angles - 22.5, 45, 90 and 172.5 degrees -, with zebras popping up as early as at 22.5 on both cameras. When looking at the material in Resolve, this was indeed where clipping had occurred and waveforms remained clipped in the RGB parade even when lowering exposure in Resolve's Raw control tab.)  For the low-light test: same 'scene' as above, but with the LED fresnel turned off and only a practical light in the background turned on. Both cameras set to maximum ISO (256.000), at f4 and 172.5 degrees shutter angle. Treatment in Resolve:
Basic image adjustments only in the Raw tab, interpretation in P3 color space with Rec. 709 gamma: adjustment of white balance/tint and exposure to make the Sigma fp and Pocket 4K footage match. (The raw material of the Blackmagic Pocket 4K was much warmer than that of the Sigma fp with the same Kelvin settings...) No highlight recovery. (Wasn't necessary anyway since there was no clipping in the images.) No noise filtering or sharpening, although the Pocket 4K's BRAW codec already has some baked-in temporal noise filtering. For the extreme grade, only a solarization-like custom curve was applied that pushed the shadows to the maximum and was meant to provoke banding in the material by pushing contrasts:
I exported 16bit TIFF screengrabs which can be downloaded here (6 TIFF files in a zip archive, 133 MB).
Here's how the well-exposed high-contrast scene looks like (25% downscaled images):

Sigma fp

Pocket 4K

- Note that the difference in sharpness may be my user error, and is also influenced by the different depth-of-field between 35mm/f4 on MFT and 70mm/f4 on full frame. The manual focus aides on the Pocket 4K are much better with latest firmware, so nailing focus without an external monitor was easier.

1:1 crops of the above two images:
 
Sigma fp (left) - Pocket 4K (right).
 
Extreme grade, with the same curve (as posted above) applied to the two above images:


Sigma fp

Pocket 4K
1:1 crops of the above:

Sigma fp

Pocket 4K
 
Low light, with both cameras at maximum (256,000) ISO, 172.5 degrees shutter and f4:

Sigma fp

Pocket 4K
1:1 crops of the above:

Sigma fp

Pocket 4K
So, to summarize, I think it's fair to say that the full-frame 12bit CinemaDNG material of the Sigma fp simply shows the benefit of a larger sensor and its lower image noise (even at base ISO if you compare the full-size TIFFs). It's thus only logical that it holds up better in extreme grades and in low light.
My likely user error in nailing the focus of Sigma fp also shows the strengths of the Pocket 4K, namely better camera assist functions and overally a better user interface/more practical user experience for video shooting. - But it's also nice to see that the Sigma fp has some genuine advantages over the Pocket 4K, especially for my own type of videomaking which revolves around event videos (concerts at indie/DIY venues) shot in extreme low light conditions.
 

So i said i'd post some stills, these are basically ungraded.
This frame is in a sequence with car lights, i like the tonality of this very subdued moment. Shot 12bit to manage shadow tonality.

From a different point above. All shot on a 50mm M Summicron probably wide open.

I think i hit the saturation slider here in Resolve. But this had car rolling over camera. It's a 21mm CV lens and i see some CA aberrations from the lens that i would deal with in post. But i'd never let a car run over a Red!

shot on an 85mm APO off a monopod. Nice tonality again and it's day light from windows with some small panel lights bouncing and filling in

A reverse of the above.

Some fun shots.
I think the true benefit of something like the fp is the speed at which you can see something and grab it. Using it just with an SSD plugged in and manual M lenses gives a more spontaneous feel. Now most of the film will be shot on Red, in controlled conditions with a crew and that's the right approach for multiple dialogue scenes and careful blocking. But the fp has it's place and i may hand it too someone and just say grab stuff.

 
cheers
Paul

High irony. It's you he's playing.
His own supporters.
He plays you like a fiddle, plays to your needs. You needed an alternative to liberal elites, socialism and you wanted someone to stand up to China, bringing back the blue-collar jobs in the process. In principal there is nothing wrong with this. Trump supporters are a bit like Brexit supporters, as in some had heartfelt concerns, genuine needs not being met by the current system, genuine reasons for voting "out" of a globalist system that wasn't working for them.
The tragedy is nobody really stood up for these people in a constructive way, and then social media came along and really fucked things up further, polarising and distorting the truth. Hipsters all over, in gentrified neighbourhoods, in every coffee shop, self obsessed, never looking up from their Macbooks to even notice there was a problem. Ignorance all around. A complete failure on both sides to see the point of view of the other. Divided we fall.
So when Trump comes along he fills the vacuum perfectly. Like Boris Johnson in the UK, he is patriotic, he's a fixer, he wants to get things done and unite the country, and he wants to win big. The art of the deal, not a politician, not a robot reading from a script about LGBT+ rights, someone who you could imagine actually running a factory, defending a house, or fighting off a communist invasion. Like in the good old days.
Someone you could imagine walking in through the doors of a factory like Apple's, giving a rousing speech about how the US is the most powerful country on God's green Earth, and then overnight the profit doubles and he goes for a beer with the workers done the pub.
Trump.
HAHA
Fooled by a gameshow host.
Pretty much everybody internationally laughing at you, pointing, saying "how could you be so stupid to elect this guy".
How does it feel?
I'd be angry too.
It's a massive let down. Not just for you as a Trump voter but for me as a Brit, with the close relationship and culture we share as two powerful Western economies.
We are going to fall like Rome.
Trump filled a dangerous vacuum left by Obama, and he did it 100% for self-serving reasons.
Supercharged by the internet, a faction on both sides has become radicalised. In the UK we have the Labour party's swing to a hard-left, socialist party. The Conservative centre-right has been shown the door, and we have our own far-right movement at the heart of government to contend with, along with the same kind of corruption to go with it... The Russian inception deep into business and communities.
I am in the centre. You can't be played if you arm yourself with the facts.
But it is a lonely place to be in the world today. Nobody wants to hear you.
The system is broken. People died to defend our democracies, but now we've been disenfranchised from within, locked in a Hobson's choice death spiral where no third party or independent can break through or turn things around - no evidence based or factual based running of the government is possible any more.
It is the same in the US, and it is clear even after a few years in a chaotic and corrupt self-serving government that Trump still has millions fooled. That is extraordinary to me. Where are you getting your news from? Social media is now the largest and most powerful publisher in the world. So probably from that. It was a social media phenomena that first got Trump's campaign noticed and the traditional media talking about it. It is social media that keeps him there.
If you are rich and powerful enough, and opportunistic or famous enough, as was Trump, then you can come in and pretend you are out for the workers and the patriotic, wave the flag, lie a lot, grab pussies, throw up the reality distortion field, take the Russian money, smash the government and claim the credit for Apple building computers in their existing 2013 factory.
In the UK we throw rocks at politicians at every turn, rather than nurture strong and honourable leadership, we don't encourage talent to go into public life, they earn far more at private companies, in scientific projects, running their own business, creative sector, filmmaking, you name it... We need more good people in politics but it is not happening. The tribal arguement between left and right makes a collaborative cross-party atmosphere where good ideas on both sides can be executed, impossible. We have had this for decades. Then when the system turns even more toxic and tribal we double down with aggressive questioning, asking why nothing is performing, why the health service is broken, why promises keep getting broken and on and on... until we end up with such a poor calibre of politician they end up doing severe harm to the interests of the country, then we wonder where it all went wrong. The US and UK are a democracy and we, the people, get what we deserve.
Wake the fuck up.

Unless you're an American citizen why don't you STFU.  We come here for your video expertise, which is significant, not your political opinion, which is suspect.
Everyone knows Trump didn't open that factory, that it has been making the previous generation Mac Pros for years now.  He DID, however, convince Tim Cook to bring production BACK to Austiin, Texas after previously stating that the new Mac Pro would be made in China.  So in a sense he did kind of open that factory again.  Those of us who are logical and unbiased knew what he was implying.  Get over it and stick with cameras, please.  Otherwise you look like a fool, Andrew.