Django

I'm very prone to "motion sickness" (car travel, sea travel, VR etc): https://en.wikipedia.org/wiki/Motion_sickness zero problems in airplanes, trains, or when I'm driving myself (only as passenger). the worst is FPS video games & VR, I get sick within seconds. Probably why I had similar reaction to the gyro stab tests..

Pretty impressive stuff and not that big of a crop-in. However viewing those tests gave me heavy motion sickness (I'm super sensitive to it), felt like I was in a FPS / VR game. Stabilisation is almost too good lol. Kudos to BlackMagic though, their name really holds true.

I think it looks superb and makes me wanna dump my gear and go out and shoot with an XH2S immediately! According to the BTS video/page it was all shot in 6K open-gate mode, mostly Flog2 and those noisy shots were at ISO8000. I like the Fuji noise though it resembles film grain not ugly chroma noise or banding. https://fujifilm-x.com/fr-fr/stories/x-h2s-short-film-where-are-you-going-x-aditya-varma/

We often tend to obsess over camera bodies but it is indeed the native lens selection that makes/breaks a system for me. And hence I can't really recommend R7 at this point. It has only 3 RF-S lenses atm. Meaning you're going to have to adapt either FF EF or EF-S. Meh. On the other hand Fuji released its most accomplished hybrid and has a plethora of excellent lenses, including new generation primes and that parafocal motorized 18-120mm F4. AF on XH2S seems to finally be on point with a very sticky face eye detection. Plus of course the Fuji IQ and the film simulations for SOOC goodness. I'm also tied into not one but two other systems (Sony & Canon) and what I like about them is they have pro cine lines (I like having mirrorless + cine cam) and both FF/S35 but I'm finding it very hard to resist going back to Fuji with the XH2S and a couple primes (18mm F1.4, 33mm 1.4, 56mm F1.2) and the new 18-120mm. Can't wait to test that camera out.

Anton Bauer Titon base is the way to go imo for proper batt life.. dummy battery p-tap mode: works handheld too, here in USB-C mode.. most annoying part of the Pocket 6Ks is the unreliable battery life metering.. another reason to go external with indicator.

Hadn't read these posts, thanks @gt3rs for the feedback. To be fair to Canon, it seems most of the R5C video 'issues' are also there on the C-line cameras. The C-line AF is not as snappy as an EOS hybrid. It can't compete for sports/action. Video playback is one by one, no quick scroll. Etc. I understand how this could be jarring for EOS users but its something C-line users are familiar with. Its true Canon should further integrate the two teams/OS's and merge the features a bit. I guess you can feel its a gen-1 type product. For me none of those would be a deal breaker though. I don't do sports/action. I guess R3 would probably be a better solution than R5C for such cases. The battery situation however seems much worse than I thought. @gt3rs Have you looked into the Titon base P-Tap kit? Seems tailored for the R5/R5C: https://www.antonbauer.com/en/kit-my-camera/canon-eos-r5/

Film doesn't underexpose well so you get crushed blacks rather quickly hence the contrasty look but it obliterates digital in highlight DR latitude. Kodak Vision has been championing their motion film stock and I remember reading it gives DR readings anywhere from 12 to 20 stops depending on scan techniques and recovery methods. You can check some of the charts yourself: https://www.kodak.com/content/products-brochures/Film/VISION-200T-Sellsheet_US_4PG-EN.pdf The wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital "dodging and burning," a very powerful tool in the colorists' toolkit, is now even more powerful—up to two stops more image information can be extracted from scene highlights in VISION3 Films. If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured on these film could be lost. Kodak has recommendations for extracting the full density range stored on high dynamic range films in a technical document titled Scanning Recommendations for Extended Dynamic Range Camera Films Also recommend some of the great accompanying videos : notice at 1:40 how the DP states he overexposed the highlights by 6-7 stops and again at 2:00 the field is 4 stops over and the sky 7 stops over before recovering the highlights. have fun achieving that kind of highlight latitude in digital! ..again at 7:37 overexposing the grassy area by 3-4 stops and perfect recovery. Just some extra food for thought when comparing film to digital.

Right, now I remember! That was the build and settings that worked best. I just might pickup a 5D3 again at some point for nostalgic reasons and to experiment with ML RAW again. Good to know the workflow in post is simplified a bit too.. Absolutely. I actually also simulate the film workflow with my Leica M9 as the playback is totally useless on the super low res display, no live view and it only takes small size SD cards that I fill to the max with only 24/36 pics available. Changes everything. I did a pro portrait shoot recently with this M9 setup and the R6, end result was well 36 shots on the Leica vs +400 on the Canon. There were great shots on both cameras but the clients favourite was by far the Leica ones (and I did not tell them which came from which camera). There was just more work/effort put into the composition, direction etc.. was an interesting experiment!

They should just retire the non Pro 6K at this point imo. Confusing lineup with so little differentiating the 6K G2 & 6K Pro.

I can deal with no playback, but no Live View + No playback? Is that how it really was (I forget its been so long)? So what you're basically shooting from the optical viewfinder or guesstimating focus? metering exposure etc? If so that's actually good for skills (its why I still love shooting film for stills) but damn thank goodness for "modern comfort" as well!

damn got excited for a second reading the thread title but yeah what a snooze announcement..

Yeah its pretty much supply & demand but also its a camera that cost $16K when released and some owners are probably more reluctant to "dump" it for peanuts. The C300mk2 is still imo a great older cam as is the FS7. Its actually a camera on my current (Canon system) upgrade list. The C300mk2 has that one elusive codec that would be my perfect default go-to: 12-bit 4:4:4 2K Clog2 internal. That codec alone places the C300mk2 the closest to ARRI's ProRes 4444 XQ. The FX6 is also FF (no speed booster needed) and has that game changing E-ND. That said the FS7 is still above class (FX9 is its replacement) and is the only cam I know that has the native ENG shoulder mount with extended arm config. Not for everyone nor for every situation but I love the ease of use and comfort of that setup and the output it gives.. here is an old pic I found on google of Andrew at photokina during release !

OP already has a fast lens: Zeiss 50mm F1.4. Paired with a A7S / A7S2 it would do wonders in low light, I know, I had that exact combo. For AF lens, the Sony 50mm F1.8 would only add an extra $200.. another reason why I'd go FF Sony rather then Fuji on such a tight budget.

The 8-bit codec was plain weak. And the RAW had massive files. The 4K was also very soft and not in that good soft but detailed cine way. EF so almost no adapting or focal reducer. The body itself was very nice but I just ended up still using the FS7 9.5 times out of 10. Got almost no use of it, bought it right before the price drop and lost so much selling it virtually new. Worst investment ever for me basically. Crazy to think my R6 absolutely destroys it IQ wise. The FS7 still holds its own. I've bought it twice now. Such a workhorse. This of course kinda makes me doubt going C70 (even though I'm leaning towards it) over FX6.

@webrunner5 I have an iPhone 13 lol.. night mode just uses slow exposure trickery, nothing revolutionary.. but hey let me lift that 1DC paper weight artefact off your shoulders, I will give it a good home I promise !

smartphones are still terrible at low light. all that AI stuff is horrible. shooting manual is cumbersome. I mean I get it, they're great point & shoots for daytime snapshots posted on social media. We use them for that every day. But if you're actually a fan of photography as an art and character lenses I'd still recommend even the most cheap oldest DSLR/MILC.

Everybody's got a decent smartphone these days. I can understand wanting something superior even if your an amateur shooting family & travel. He's got a Contax Zeiss 50mm F1.4 that's one of my favourite lenses in the world, lets cut the guy some slack. I maintain that a Sony A7III is probably the best suited choice. It's not a camera I would ever buy but within that budget and his requirements it totally makes sense. As for IBIS, its totally unnecessary for your regular point & shoot photography needs. That said, for video it can really help for locked handheld shots. The tiny XT3 will produce shaky handheld footage. I'd recommend an XH1 over it for the IBIS alone if going the Fuji route. Cheaper too.

Thanks but its really not that impressive given the capabilities of these cameras. I can't agree with you that the sub $10K mirrorless field is mainly targeted at social media content. Flagship mirrorless models like R3/Z9/R5C/A7S3/FX3/GH6/S1H/XH2S and BMD 6K Pro are oriented towards a bunch of other pro video applications including corporate, documentary, news, sports, events, behind the scenes, indie cinema, music videos etc. It's been like that for a couple years really (5D3, A7S2 and BMD really changed the game). Of course the cameras are always rigged to fit such demands, which is why I said the camera body alone isn't the whole picture. And that's also when cameras like the FS7/FX6/C70 etc can also make better sense than rigged up mirrorless. The R5 overheating was debunked as artificial timers. That's not to say the camera doesn't heat up in 8K/4K120 and oversampled 4K60/30 but the issue was exaggerated by these artificial timers. R6 doesn't have an 8K sensor by the way and overheats as well. Clearly the thermal management on that generation of Canons isn't the best (wether its conservative artificial limitations or not). So in FF you're pretty much left with R5C & R3 only as your non overheating options. One lacks IBIS and the other costs $6K. This is indeed where the R7 may be tempting. Or wait for the next FF R series.. Canon seem like they're on a release roll. They really wanna grab users to sell their RF lenses now that EF is phased out. I use an agency these days for new clients. They call/email and I say yes or no. Of course this type of service takes a hefty commission but I hate marketing/prospecting especially post-COVID as the competition is hungry and fierce in my scene. Clients do bids and all kinds of shenanigans which can be a huge stress and colossal waste of time when deals don't go through. Still not earning near what I used to so times are hard which is another hurdle towards upgrade path. I use what I have for now and rent/hire extra when I can. I made some poor purchase decisions in the recent past (C200) so I'm really being careful and observing where the market is going.

Not for that particular lens but he also specified: Sony A7 III + 28-70mm f/3.5-5.6 OSS AF in video: keeping in focus a 3-year-old kid. They do but his budget seems super limited and focal reducers are often three to four times the price of an adapter. Just to be clear, I much prefer the image of Fuji also as well as the camera interface itself but yeah the Sony AF & IBIS will surely be more useful in this user case.

I'm not sure why you're quoting me, as I haven't used ML RAW since so many years ago. @mercer is the right person to ask. Also I have to agree with the others, it is a hack and hence rather convoluted to use. You have to find the right settings to not brick it and then you only have a couple seconds of shooting time really. I guess at some point I got the whole thing down and could shoot somewhat reliably with it but that was many many builds ago. No clue what the current situation is. The 14-bit output is phenomenal of course but you need to know how to unpack the footage etc. No way would I recommend going that route for "amateur use - family & travel". Not sure I'd recommend the XT3 either. For a 3-year old you're going to want robust AF & IBIS can't hurt. Plus he wants to adapt his Contax Zeiss 50mm. So FF is the better option. A7III seems like indeed the right choice for those particular requirements.

R7 is a smaller APS-C sensor and R3 is a 2.5x bigger body so both have better thermal management. But ok I was not aware of the theory of IBIS being removed for heat protection. If so that's kinda lame but R5C is after all just a tweaked R5 not an entire redesign. R3 & R7 do overheat in certain modes by the way, just nowhere as bad as R5/R6. I understand your point of view however you shouldn't assume all of us are doing social media content that ends up viewed on smartphones. I do a lot of high-end corporate work that ends up proofed by clients on 5K iMacs and often viewed on big screens & projectors in conferences, trade shows and what not. The clients have really high standards and my competition here in Paris delivers super high quality. I also do a lot of chroma keying, 3D integration, heavy grading & the occasional TV broadcast all of which benefit if not require 10-bit 4:2:2. +4K high resolution is also more & more useful for cropping, my editors always embrace it. The good news is that most mirrorless cameras now deliver high-resolution, pro codecs, RAW etc. Its now possible to get cine cam results out of prosumer cameras. So while all this may be marketing and overkill for some, it isn't for everyone. That being said, I'm not slaved to upgrade path. My 2014 FS7 still serves me good and the R6 is a mid-level camera. I do have access to a BMD 6K Pro for anything more high-end and rent/hire cine cam/DPs if/when the budget allows. Of course there is so much more than just the camera body itself to ensure a successful project and that should also be reminded. Yeah its like anything. My former career was in music and performing in front of crowds was quite a hurdle at first but after some time became second nature. I actually believe that having some apprehension isn't necessarily a bad thing, it keeps you a bit on your toes. Once that's gone, you can become lazy/bored/jaded and not perform at your best. that's when for me its time to switch gears. I still have my 5D mk1 and love the output. D750 is a workhorse, it's the camera that got me to switch back to Nikon for a few years. Most pleasure I get these days is from my 2009 Leica M9. So yeah imo, stills cameras peaked a long time ago and the switch to mirrorless is not necessarily an upgrade hence why a lot of pros I know still stick to DSLRs. Optical viewfinder, the ruggedness, battery life, even the off-sensor AF confidence of crosspoints is superior. The only real benefit of mirrorless is weight.

@MrSMW Looks like you've figured how to make the system work for you. For me shooting video at plus F8 is not a compromise that would work, especially under lowlight conditions. I shoot fast primes only so things like continuous eye-AF and tap to track are a god send when shooting wide open. But hey that's not to dog on other systems, we managed for years before DPAF and I still love shooting manual on Leica M. I just know that in a fast paced, unpredictable and exhausting +15 hour setting such as a wedding, I'd like the most flexible robust system there is but that's just me. I'm not a pro wedding shooter, only done it a handful of times and found it again rather stressing and exhausting, albeit very rewarding once you get through it! @Kisaha Yes I truly believe Canon are back with a very solid camera lineup. Within your budget may I also suggest taking a look at the new XH2S. It has excellent video features (6K open-gate, ProRes internal, IBIS, eye-AF, great DR & low RS) and excellent thermal management with an external fan option for extreme heat conditions such as yours.

@MrSMW By the way this makes me wonder how do you deal with Panny's poor DFD AF both for stills & video on something as demanding as a wedding? Spray & pray? If I was still shooting weddings on a daily grind I'd probably go 1DX3/R3 or Z9. Plus maybe a Fuji or Leica for candids.

Sounds intense dealing with 5/6 camera bodies but wedding shooting is an intense field (in a way the most stressful for me considering the expectations and chaos ratio). It's also beautiful, emotional etc. Here in Paris, I still see Canon used by the majority of wedding photogs (a lot are still on 5D/7D/1DX2/3 DSLRs). Videography: Sony (A7S3/FX3/A9/A1). Hybrid is still kind of an unestablished domain with everyone choosing its own camp it seems. Pros are always a bit surprised/curious with my Canon mirrorless. It's still a very CaNikon DSLR/Sony dominated scene.