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Everything posted by Django

  1. This is simply untrue. Almost all Sony cams are made in China, A9 is made in Thailand. Nikon D850 is made in Thailand. Panasonic GH5, S1 etc made in China. Fuji XT3: made in China. Previous XT series were made in Japan. big quality control drop and a lot of issues on the MiC XT3. Only Canon still makes a large part of their cams in Japan, including the affordable EOS RP. Nikon did produce the Z series in their Sendai factory which hardly produced any cameras except for D5 & DF. So kudos to them!
  2. i see kid giving fake advice all the time on canon forums over there. one day he's an EOS R owner, the other a 5DIV expert.. when we all know he's probably still on his Rebel 500D.. SMH
  3. Nikon would need to sort out lot more than the AF for me to consider Z6. As others pointed out you basically need an Atomos for video (just to shoot N-Log) which defeats the purpose of a compact hybrid. shooting handheld, on gimbal/slider with the camera tethered to a recorder via HDMI is a PITA. False assumption. A dual cam setup allows for a lot of flexibility including A/B multi-cam setups. FS7 can also do a lot more than just 10 bit 422. 4K60p, 180fps in cam and up to 240fps RAW in 2K externally. A cine cam also gives you ND filters, XLRs, SDI, TC, Battery life & overall reliability/ergonomics that are invaluable on a long paid shoot. That's another reason why Nikon or Fuji aren't really an option for me as they offer no cine cam ecosystem. And since I like to work with one lens set per shoot that kind of eliminates Panasonic as an option as well. Leaving Sony as the only practical alternative to Canon. Canon still has DPAF advantage on their cine cams so I'm not really ready to switch but I like to keep an open mind..
  4. I would be happy with 1DX2 specs (no crop) + IBIS in a mirrorless body with dual card slots & C-Log 1/2/3. (IBIS is already confirmed btw) Canon obviously have to keep developing their tech. I expect quad-pixel AF. Better DR/ISO/RS etc.. We'll just have to wait & see what they come up with. If they drop the ball on video in the pro model, I'm out too. Either A7III+FS7 or S1+EVA1. Not super keen on either alternative atm, but it is getting tiresome to feel held back.
  5. No, they need that pro model to sell those pro lenses. The delay is just R&D / sensor tech related. Canon admitted in their Q1 financial report released few days ago that EOS R was rushed to meet demand/competition.
  6. it's $2,699 but still way overpriced compared to EF version or even the $1500 85mm 1.4 that has IS. yeah the optics are superior but who in their right mind would drop that kind of cash to put on a R/RP?! i'm sticking with EF for the conceivable future.. canon better drop that pro model pronto..
  7. FWIW pretty much all classic American TV shows were shot on film during the 80s/90s. Problem is the footage back then was immediately re-scanned into NTSC (480p) for cheaper/faster digital editing, fx, scoring & network distribution. Today only major blockbuster shows (like Seinfeld etc) can afford the complex job of getting "remastered" to HD/UHD.
  8. @andrgl I do own the 55" 4K OLED TV but I don't edit on a 4K/5K display for those very reasons you mention since i mostly shoot FHD. that might change when i get a C200 though.
  9. you can use EF-S lenses in any mode but it won't "reduce the crop". automatically jumps to 1.74x for video. RS stays about the same. Bummer on both, i know!
  10. it's not so much that EOS R's 4K is soft but that other mirrorless 4K is supersampled & oversharpened. like i said much better than 5D2/5D3. there is also a crop mode where the 1080p supersamples from 4K and gives an incredibly detailed image. i have my 3 custom movie modes set to FF FHD / 4K / 120fps and i just switch between these 3 modes depending on the shot i need. i don't worry so much about resolution. with EIS you can crop even further, this can turn a 35mm/50mm into a 70-85mm with almost macro abilities. lot's of creative fun!
  11. This is exactly how i shoot with EOS R. Mostly FHD mixed with a few 4K close-up shots and 720p 120fps bursts. If the editing is tight, nobody will notice the gap in resolution, even on a 4K 55" OLED TV. Does that mean 720p = FHD = 4K ? of course not, but when mixed together if shot & edited smartly they fit fine and your brain sort of gets fooled into thinking its all 4K because of the high detail close up shots. So it's kind of a trick but hey whatever works.. Agreed. C100 has some of the sharpest detailed FHD (i've seen some tests where it even beats the C200's FHD by a margin) and EOS R with RF lenses also does very sharp FHD. Unlike the soft 1080p from 5D2/5D3 era.
  12. yeah i'll still take a simple exp meter over having to shoot with this type of cluttered view.. can you at least toggle zebras/histogram via custom button (like the front FN ones by the grip)?
  13. BRAW is open source, there is already a plug-in for native windows Premiere support: https://autokroma.com/BRAW_Studio/index.html I gave Z6 a try yesterday, lovely ergonomics. But I didn't figure out an easy way to switch from AF-S to AF-C (miss the AF switch/button from Nikon DSLRs)? More troublesome, without exposure meter in video, how are people shooting? just winging exposure from LCD view?! Seems like an external monitor with exposure tools is a must, but then you got the HDMI lag... Nikon really needs to fix both those issues ASAP.
  14. Yikes.. crippling audio?! that's certainly a new low..
  15. Oh cmon, Panasonic removed a lot of video stuff to not take away from GH5 sales. They don't give you V-Log either, it's a paid option. People love to demonize Canon but none of these companies are church organizations..
  16. huh? what DPAF features are they holding back?? also, aside from the +$30K C700 all the EOS Cinema line has cropped sensors. This is a tech limitation due to not being able to do full read-out of the 30.3MP sensor. That is why the EOS RP 26MP 4K crop is lower (1.6x) and 20MP 1DX2 4K even better (1.3x). This one hasn't got to do with camera segmentation. Canon isn't alone, just released S1 has a 1.5x 4K60p crop.
  17. I'm hoping not but it certainly remains a possibility. They currently still have the weakest 8-bit 100mbps codec despite being on third generation. Could be. Sony manager recently admitted A7S is aimed at photographers first. 8 bit will do for video enthusiasts & YT community. For pro video they want you to step up to XDCAM. Not really. Nobody asked for rubbish DfD AF, 4K60p crop & a kilo weight size. I expect A7S3 to have killer AF, 4K60p / 1080p 240fps no crop, ultra-low RS, electronic auto-ND, next-level low light & a surprise feature like 8K burst or something.
  18. There are many other advantages to a cine cam than just codec color bit depth. Photographers have had RAW in entry-level cameras for a while now. RAW didn't kill off high-end still cams, just like 10-bit 4:2:2 video in a MILC won't kill off pro video cameras either. Like I said, other camera companies with no cine line to protect are doing it so Sony/Canon may as well follow.. oh and btw +24-bit WAV is still quite the standard in pro audio.
  19. Sony (and Canon) have got to change mindsets about this. Currently, if you want 10-bit 4K internal from them you have to shell out $7K minimum for an FS7 & $10K for a C300 II. indeed it seems XDCAM/EOS C managers are the ones cock blocking 10-bit internal from MILC line. I don't understand why they are so afraid of mirrorless. I seriously don't think MILCs are a serious threat to cine cams. There is room for both. And if they don't adapt, other players like Fuji, Nikon and Panasonic will..
  20. I see it as a FF Stills / FHD camera with a bonus cropped 4K mode for extra reach on close-ups / money shots. 4K also works good on sticks as B-Cam to a C line cam. That said others do use it to shoot only in 4K (DBounce) or only 1080p (Mattias Burling). YMMV. There are always other options if those compromises are deal breakers.
  21. I don't know if the future is that grim. All I know is CaNikon & Panasonic arrived late at the table.. in a shrinking market.
  22. You misunderstood him, he is talking then about the selectable crop mode in 1080p. A couple seconds earlier at around 9:20 he clearly speaks of the FF 1080p used by famous YouTubers.
  23. That's incorrect, EOS R shoots FF in 1080p. For stills, the extra 25% MP increase is definitely appreciated. 30MP is a nice IQ/file size ratio imo. Internal C-Log, 400mbps ALL-I codec, Dual Pixel AF, Vari-ND adapter, video exposure meters, no HDMI lag, vertical battery grip, better native lens line-up...
  24. You misread me. Never said Netflix don't accept recorder footage. Just that they filter out potential transcoders (among other things) by requiring cams that fit their minimum requirements. Lines are more blurry when you consider ecosystems. GH5/EVA1 and soon S1 are all broadcast ready which can suit certain types of shooters. Besides GH5S shares same sensor as BMP4K which is clearly "cine" oriented.
  25. Yeah but it became the industry standard for a reason. again the ecosystem. By the time FS7 was getting popular, most low to mid videographers had moved over to Sony Alpha mirrorless system. Same E-mount wether APS-C, FF or S35. Metabones/Adapters for every lens possible. Sony also came out with the cheaper FS5 and all that created strong incentive to rent/buy an FS7 when moving up. Very clever of Sony. Canon however was very slow to adapt to the mirrorless game with ageing outdated DSLRs and especially 4K. They missed that boat with until recently only the C300 mk2 & 1DC as the cheapest 4K options which were astronomically expensive and exclusive to EF lenses.. They are back in the race now with EOS R & C200 providing a strong combo and upgrade path. a RF C100 mk3, pro EOS R & 8K C300 mk3 will possibly put them back on the map. Videographers will always have a soft spot for Canon CS and their glass despite recent disappointments.. Panasonic are trying to go after that market with GH5/S1/EVA1 ecosystem. Problem is those 3 cameras have different mounts & sensor sizes. It's a mess and not really taking off.. they alienated their own MFT user base by going EF mount on EVA1.. and now expensive L mount for S1. Folks that'll switch systems easily need a consistent solution for their lens collection. BMD remains the only real pro budget cinema ecosystem alternative to ARRI/RED which is a different market then what the Japanese are going for.
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