Django

R7 is a true APS-C hybrid: 32MP stills camera & 7K supersampled 10-bit 4K Clog3. With the best AF in the game. XT4 is currently its only competitor and $300 more expensive with less MP/resolution and not as sophisticated AF. XH2S should be announced next week with some big video features expected (6K / 4K120p) but will run you $2500 and its expected to require an external active cooling kit (similar to the Tilta one for R5) to not overheat. So stay tuned for more APS-C announcements..

Grading knowledge will be more less the same no matter what system you are on. I suggest indeed starting with just log, LUTs and simple curve/color adjustments. I don't think I'd chose my camera system purely based on those credentials. Going Fuji is APS-C and brings other pros/cons. That said, what I can tell you is Clog is very easy to shoot with on R6 thanks to the Rec709 View Assist and Clog is also very easy to grade with numerous existing LUTs. Fuji Flog is much less popular, so maybe requires a bit more effort. Or maybe you are just planning on using the film simulations like Eterna and shoot SOOC. In that case Fuji will be a lot less skill demanding.

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR. Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close. The 28-70F2 is a jewel of a lens ($3,500). Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project. So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC. I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

Correct, the crop only applies to the 1:1 readout 4K60p mode. Of course it isn't end of the world. You should know by now people here just love to sh!t on Canon and focus on every little shortcoming. This isn't a bad offering for their first gen APS-C RF models. R7 destroys any Sony A6xxx cam both in specs and ergonomics. The specs are actually very close to XT4 but with a 7K oversampled mode (and it beats it on stills side & AF).

I agree with you there, although nothing seems to really beat those flagship DSLRs in terms of tank like build quality. It's all about portability now which means my R6 lives inside a cage. The new thumbwheel placement around the joystick is also rather bizarre.

There is a non crop 4K60p mode but its not oversampled (probably line skipped). XT3 doesn't have IBIS. and XT4 is currently 1700€ so more expensive and much worst AF. I do agree though that RF-S (prime) lenses need to happen if they want this APS-C line to be successful, although you could always use Canon/Sigma EF-S with an adapter.

@MrSMW Please rectify your quote. I never mentioned Dan Watson nor did I even watch his video review! As for camera systems, Canon has a pretty solid mirrorless line-up (R3, R5, R5C, R6, R7, R10, R) and lens system (EF, EF-S, RF, RF-S). With 6K/8K RAW Light, DPAF2 and imo the best ergonomics and menus, I'd go as far as saying they've taken back their leadership position. Politics aside. And despite a few gotchas R7 can do 10-bit oversampled 4K, Log, DPAF2 & 4K60p which none of the same category Sony APS-C cameras can. If the overheating really isn't an issue in 7K oversampled 4KFine mode, I really don't see why the camera wouldn't be a perfectly solid choice as an APS-C hybrid for wedding or any other pro assignment. It's pretty much the new 7D.

Ok didn't realise this was in the Mini category. Yeah depends where you're at. Here in Paris, France we've got pretty big film studios & production houses. ARRI also has offices. I literally stumble on sets in the city daily with ARRI cams & lights. My friends production house has 3 AMIRAS. they specialise in high-end Multicam shoots for TV & events. Sounds good, let us know when that happens! Oh I know that but for some reason I thought eND was a better (less polluting) solution than standard built-in NDs? could be wrong though..

again: The R7's cropped 4K/60 applies a 1.81x crop on top of the sensor's existing 1.6x crop, relative to full-frame. This will be useful for achieving a zoomed-in look but means you're using just 1/4 of the camera's sensor, so there'll be a significant noise cost in all but the best light.

Not many folks in the world can afford this, aside from A-list actor/directors like Ben Affleck in the photo above. But usually no one person buys a brand new ARRI. It's either studios, production companies or rental houses. Rest assured pretty safe to say nobody here is in the market so its mostly just an industry look at what's happening on the high-end. As to how it could trickle down, well Canon & Panasonic have both copied the Dual Gain output of the OG Alexa sensor in C300/C70/GH6. Took them 10 years though! Again, its interesting to see ARRI took form them the built-in ND's. surprised they didn't go Sony's Vari E-ND but maybe there is a patent on that one.

Ok video specs are still a little confusing but from what I understand: 4K60p (oversampled) = no crop line-skipped 4K60p (1:1) = 1.6x + 1.8x crop So both 4K60p modes suffer quality hit. 4KFine (30p) is where its at for HQ IQ. It's rated at 30mn overheat but Gordon Laing shows a test with over 2 hours without overheat as do other youtubers. If that's really the case then that is the mode where it's going to be at for video.

wow.. was not expecting that kind of form factor! built-in NDs also rather surprising.. I guess they're also aiming at docu & action shooters that want the most compact rig. just pop on a lens and shoot. very interesting. oh and that rumoured DR is crazy. yeah new Hollywood standard for sure!

well this came out of nowhere !? seems like you've got the usual Canon limitations when you check the fine print: The R7's cropped 4K/60 applies a 1.81x crop on top of the sensor's existing 1.6x crop, relative to full-frame. This will be useful for achieving a zoomed-in look but means you're using just 1/4 of the camera's sensor, so there'll be a significant noise cost in all but the best light. The oversampled 4K 'Fine' setting can record for approximately 30 minutes. There are no thermal limits listed for the sub-sampled or cropped modes. so it's not just a 1.8x crop its 1.8x on top of 1.6x 🙄 and the 7K oversampled 4K overheats under 30mn. so that leaves you with: line-skipped uncropped 4K. C70 has the best DR of any Canon cam thanks to the DGO sensor. Also has Clog2. 4K120p no crop. Canon RAW Light. Only thing R7 has over it is oversampled 4K but yeah it'll be interesting to compare. I'm curious if C70s speed booster will be compatible too.

Sorry I don't know any specific R6 blogs/videos. This forum is one of the best places though! Been shooting Canon professionally for years. The advice I just gave you is the best I can think of. Well one more important thing, try setting your AWB settings to "priority white". Because by default R6 goes to a (imo) unpleasing yellow cast in mixed lighting. I think R6 surpasses Fuji colours but that's purely subjective. Color science is a very personal thing. Fuji does have some of the best white balance and that can make a substantial difference in overall color science. So again check your AWB setting! What bothers you with R6 colours exactly, can you be more specific?

..you can find Alexa's for as cheap as $4K. obviously very used (+6000 hours) and the older models but there are deals out there. and with this new generation, hopefully means more lower priced Alexas to be found on second hand market for us common mortals that dream of owning one some day.

I have an R6 and I find it has some of the best SOOC color science out there. Canon is considered a leader in that domain but the competition has mostly caught up. That said, some people don't like Canon colors so maybe its just not for you. Make sure you check various picture profiles though as Standard may be a bit to vivid/contrasty. But of course for best results and a cinematic look you have to shoot Clog. Clog is very easy to shoot with the view assist on. Grading Clog is also very easy and if you're a starter/amateur just go with LUTs. Only thing is you'll need a very recent computer (M1 Mac) to edit the h265 footage. I had an XT2 by the way and it did have a nice look thanks to the film simulations which are probably the best picture profiles out there (especially Eterna on later models). @webrunner5 I don't understand, you bought a Sirui anamorphic lens.. for a Sony Xperia ? How is that even possible to interchange a lens on a smartphone?

I disagree. In between CS, DR, codecs and specific IQ related features there is a lot to gain by going with one of these top tier cine cams. I mean look at all the cool IQ features in the Dragon-X including various OLPFs and highlight roll off options:

What resolutions were the non 8K R5C Raw images shot at and what's the zoom percentage? R5C 10-bit and Z9 can do 8K and GH6 6K yet they all look substantially lower resolution than the Canon 8K RAW. I ask cuz that plays hugely when comparing the fixed noise patterns etc.

If he's serious about making a film then it makes absolute sense. I love mirrorless for practical reasons but for that cinematic aesthetic nothing really beats ARRI, RED, VENICE & VARICAM paired with cine glass imo. There is a reason why they are standards in big productions and not an A7S3, R5C, GH5 etc. Hopefully he will share with us what pushed him in that direction!

Don't forget they managed to get dual ISO performance on R5C vs R5. Surely that explains the increased DR. There are proven over/under tests out there (ProAV) showing it.

I had some overheating shut offs on my XT2 shooting just 8-bit 4K24p (arguably in very hot weather). AFAIK this issue got subsequently worst with 4K60p 10-bit, especially on XT4 because of IBIS and bigger/warmer batteries: https://youtu.be/bPG1yAJZq4U I can only imagine what 8K60p / 4K120p would result in with no active cooling.

Fujirumors claims no active cooling... alongside 8K that surely means overheating. As a pro, overheating is my #1 concern. With high-resolution & 10-bit manufacturers really need to factor in air cooling. All the features in the world doesn't mean a damn thing if your camera can't make it through the day without bricking.

..If you don't like noisy footage, 6K Pro will be a step backwards in that regard for anything above base iso. You'll not only be losing AF but also IBIS. Also keep in mind EF mount means very little lens adapting choice. Finally be prepared for massive file storage requirements. Now don't get me wrong I love BMD IQ and the 6K Pro is great value but switching to it from a hybrid mirrorless system is a much bigger transition than just losing AF imho.

$11K?! You talking Australian dollars? Z9 is $5,499 USD.

It's hard to find fault on any of these latest-gen cams when properly exposed in daylight conditions. Komodo keeps being the one that impresses me the most: thick, rich & detailed without looking overtly sharp/digital. I'm shooting with one soon, can't wait to check it out for myself.. .