Django

There seems to be a design problem with the hinge: The guy ended up getting it fixed by Canon and says its better then new now and I see others are reporting the same: I figured I'd share my experience with the Canon C70. After purchase, the flip out LCD quickly became loose and clicky. I sent it to Canon Canada through my vendor and they did a great job fixing it. Way better than the original hinge. The only issue was how long the repair took. They had to order in a part which took about 2 weeks, so in all I was without my camera for about a month. I've been seeing the issue come up a lot in Facebook groups, and I've been advising people to send theirs in to be fixed, I only hope that the Canon repair centres are stocking up on the necessary parts so that the repair time is quick. So If you have a loose LCD, send it in. The repair is worth it. https://community.usa.canon.com/t5/Professional-Video/Canon-C70-loose-LCD-screen/m-p/333954 I guess this is what herein2020 was referring to: So is the hinge on your brand new C70 "fixed" or does it feel flimsy enough to end up like the one above?

FYI Andrew has a GH6 in-hand but like others is silenced by NDA until official camera launch tomorrow..

Agreed, not to mention that DGO tech is lifted from nothing other than the mighty ARRI Alexa's Dual ADC design.. And with Canon RAW getting included this camera gets even closer. As for Sony, must admit I am still on the fence with FX6. I had C200 & FS7, and only kept the FS7 as I favoured it 8 times outta ten. The FX6 pretty much improves everything and adds the E-NDs which I think is a complete game changer. It seems much better build than C70 and has more professional I/Os like SDI. The IQ is pretty fantastic too. Excellent lowlight and low RS. Yes its the same sensor as A7S3, but with the FX image processing gives a much more organic/cinema IQ. I also like the idea of having native FF support of my E-mount Zeiss lenses. No adapter, no speed booster. Still, can't shake off the wonders of that DGO sensor. I love having clean shadows. Curious to know more about how you are finding the IQ. And of course also when RAW becomes available next month.

ARRIRAW is supported natively in Resolve but with a limited number of settings. Best workflow is to use the official ARRIRAW converter. Never claimed resolution would fix those specific issues, just saying there are real benefits to high resolution for other real-world requirements. There is always a trade-off somewhere. I have great respect in ARRI for their overall dedication to IQ across the pipeline but there are other companies doing interesting if not better achievements in other related areas such as Komodo's global shutter for instance. That said, I do think ARRI's Dual ADC tech is absolutely key to their DR and latitude, and that is certainly something I'm glad to see trickle down to more affordable cameras.

GH5 has good battery life I'm sure but Canon cine-cam BPA batteries are next-level. A Canon BPA-60 will give you approx 400 minutes, that's over 6 hours of continuous shooting! I like the physical battery life indicator as well: ..super handy to quick check the levels of your spare batteries! it's little things like that, that can be life savers on the field.

Despite its name, the FX3 isn't a "real" cine camera imo. It's a re-housed A7S3. Plain & simple. Sony we're pretty lazy and didn't include any OS features from the FX line and obviously its missing eNDs, XLRs etc. R5C is also a rehoused R5 but at least Canon gave it a true EOS cine mode with Lut support, assist tools and even dual ISO. If it had IBIS and full HDMI, it would be close to the perfect hybrid. In the end both are halfway houses to an actual Canon C / Sony FX line of cameras. I much prefer C70's approach of taking top of the line C300mk3 DGO sensor and putting it in the most compact DSLR type form factor while still retaining ND's, XLRs on the body and bigger all day battery-life.

You're not alone with that thought, which is why many including myself left the system. The option to turn off chroma NR should definitely be there, especially since unlike in RAW stills there is no getting around it in video.. Like I've been repeating, this an infamous issue in the Fuji community. It's kind of a taboo subject though. Whenever it gets brought up, people usually dismiss it by saying shoot RAW. I still think its quite jarring as the jpg film simulations are a huge part of the Fuji-X philosophy. Again, for videographers there is simply no workaround this issue, hence this topic should really be brought to Fuji's attention imo.

Yeah not a fan of SD cards in general (consumer media with associated problems). And its true V90's are expensive and limited in size (I also use them with the R6). You do get two slots so it's more like 512GB before you need to do a physical swap. Not ideal if you shoot long events that require no interruption though. Kind of a shame to have to down res to 2K just because of that! Keeping the S5 for lower-budget gigs, rough-environments & handheld IBIS shooting is smart, I'm also on a cine cam + mirrorless setup depending on the job. Kind of a shame to keep hearing about the screen & joystick quirks, Canon's hardware is usually flawless. Guess quality control is slipping or maybe its just first-gen design quirks. The obvious main advantage should be IQ. I think you'll notice night & day improvement with your previous C200, which I've also owned and was really noisy and 8-bit. Being able to go FF with the speed booster is also super nice, just get the normal $100 adapter for your EF-S lenses.

A quick search on GFX forums confirms this: Same with my GFX 50S. The OOC jpgs have heavy chroma NR applied (with in camera NR -4). Developed raw, with NR off or low, moire false-colour artefacts become apparent (colours between dead white stalks in field below), though small coloured objects are retained - such as red berries on distant trees, even the subtle colour shifts in the autumn leaves is lost. The chroma NR removal of fine coloured information in the OOC jpg is great loss IMO. The bayer CFA of the GFX is v.prone to moire and false colours on hard edges, but not x-trans - with those sensors OOC chroma NR need not be so high. Fuji X jpg engine chroma noise reduction setting very high

LOL.. there is no catch.. all they are saying here is that 16-bit ARRIRAW can be converted to 12-bit ARRIRAW. RAW is RAW though, nothing is baked-in.. again their CS is an ensemble of things: To create such outstanding images, all components of the imaging chain are custom designed by our engineers and carefully tuned for optimal performance, starting with the optical low pass filter, the CMOS sensor, the imaging electronics, and the image processing software. .. do not under-estimate the "custom" factor here. As just discussed above, the 2xADC (DGO) tech alone is revolutionary and game-changing. It took 10 years for Canon to even notice and reverse-engineer it. GH6 is apparently also trying to copy that albeit with a different method. Pal, please don't make this into a small guy VS corp situation. I know you think I'm your enemy here but believe me there is no "luxury" in this field at the moment, more like do or die... that said I actually encourage you to challenge anything that isn't clear or dubious to you. that's how you learn and debate is good for all of us, so thank you my man.. keep it coming 😉 to answer your question, what I've been trying to tell you is that one of the main benefits of high resolution..is actually to help in "difficult situations" i.e. reframing/stabilization/still extraction. No one is actually delivering 6K/8K outside of mastering for future-proof archiving. a very good point made above though is that +6K could be a hinder to things like DGO tech and makes me understand/reconsider why ARRI (obvious IQ leader) isn't in any rush to go there...

Indeed CineD reports 12.8-13.9 of DR on Canon's DGO sensor vs 13.8-14.8 on Alexa ALEV sensor. That's a stop under for the Canon's which is pretty impressive. On latitude test the Canon DGO also comes closest to ALEV with a 2-stop difference. What's most impressive is that these Canon results are on the 10-bit XFAVC codec. Canon claim upcoming RAW update on C70 will increase DR, could be PR we'll have to see.. RED/Sony/Panny are still imo worthy competitors. For RS (or lack thereof on Komodo) and resolution. You do make a strong point about +6K resolution bottlenecking DGO type DR. Makes better sense why C70/C300III didn't aim above 4K..

No, check out the Petapixel article I linked, this isn't a new finding and predates even video capabilities of the Fujis: it is known as the "Fuji watercolour effect". Fuji apply heavy chroma NR in their Jpeg/h264/h265 engine for their immune-to-moiré claims of the X-Trans CFA. I assume they do the same in the GFX100 as that model does not have an optical low-pass filter despite being a Bayer sensor (Fuji claim its megapixel count is so high it can resolve complex textures with little to no moiré effects). Not sure if this chroma NR applies to GFX100 Jpegs or 4K video only.

Canon have managed to reverse-engineer the tech: Canon has published its white paper regarding the technology implemented on its newest cameras (C300 Mark III and C70) which is the Dual Gain Output (DGO) that allows 16 stops of dynamic range. The technology utilizes the same concept being used in the ARRI cameras for more than 10 years. Learn more below. https://ymcinema.com/2020/09/27/canon-releases-the-dual-gain-output-dgo-4k-sensor-white-paper/

Arri's website: https://www.arri.com/en/learn-help/technology/image-processing Already gave you my thoughts on that.. I shoot RAW/Log, have certified Davinci Trainer experience, work in an ACES workflow, create my own LUTs from scratch, use power grades, film curves, film stock etc.. and when that's not enough, I hire a pro colourist.. so yeah colour matters to me lol.. but does X/Y/Z CS hold me back in any way? Nope. I think the difference between us is as a pro I'm simply not obsessed with matching ARRI CS. Neither are all those you referenced on Netflix that shoot on RED, Varicams, Venices etc. The goal is to have a clear vision for each project/scene. It's then up to DoP, lighting & color grading to take us there. Obviously this greatly varies depending on the budget/job type/talent. Another way to go is creating and loading custom LUTs directly in-cam. Well they messed up / crippled V-Log, a paid upgrade. So until we know more details, I'll remain skeptical. Again with these assumptions. I'm not always working under controlled environments. Plenty of run&gun / docu experience under my belt. I'd never pick a BM for that type of work though. Uncontrolled environment is when I want built-in ND's, DR latitude, flexible ISO/DGO, IBIS/EIS, PDAF etc.

Stick to Canon RAW if you want good colour 😉 Seriously, I dunno looks like GFX's X-Processor 4 engine also applies insane amount of chroma NR?

Arri's overall image is an ensemble of things: To create such outstanding images, all components of the imaging chain are custom designed by our engineers and carefully tuned for optimal performance, starting with the optical low pass filter, the CMOS sensor, the imaging electronics, and the image processing software. The image processing step comes after the RAW image data: Nothing is "baked" into an ARRIRAW image: Image processing steps like de-Bayer, white balance, sensitivity, up-sampling or down-sampling, which are irreversibly applied in-camera for compressed recording, HD-SDI outputs, and the viewfinder image, are not applied to ARRIRAW. All these parameters can be applied to the image in post. ARRIRAW converter allows you to apply these image processing parameters to output ProRes 422/444 LogC files. You can also do it in-camera directly when shooting ProRes. Their actual color science isn't secret: We openly publish our color science as standard SMPTE documents (Recommended Disclosure Document (RDD) 30:2014 and RDD 31:2014). Ok but have you actually worked using Alexa/RED/BM/Canon RAW footage on an actual project? Because I have. I ask this, because out of all your researching you still seem to not grasp many basic aspects concerning RAW, Log & ProRes. It sounds to me like you are mostly interested in matching your (GH5) camera footage to.. an Alexa. That's a fair intent and I'm sure you learn a great deal about CS & colour grading in the process but if that is your ultimate goal then perhaps buying Emotive Color matrix power grade will help you more? Well, first off not every camera uses Sony sensors. Canon produce their own. And second, each brand and subsequent camera model has its own image processing, codec choice, log curve, colour matrix, optical lowpass filter (or lack of i.e Fuji XTrans) etc. It took a while for DSLR/MILC hybrids to disengage from the photo side and fully bring all the cine elements to their video modes but we're getting there now with RAW/10-bit Log/ProRes etc. DR/RS keep getting better. I do think the gap is closing, even if ARRI/RED are still ahead. ProRes is just a codec. A damn good one (especially ProRes 4444 XQ) but it's a lossy baked-in codec as are h264/h265. Now how a camera decides to encode these codecs from RAW is where the whole image processing happens. Adding sharpness to match the look of RAW on a compressed codec is a well known technique. Has nothing to do with ProRes itself. Personally, I like to convert RAW myself and have full control on things like sharpness or NR. ARRIRAW has a bunch of conversion settings, including precise sharpness, detail & NR but also various de-bayering algorithms that all shape the look. Again ProRes is just a codec. It's a pro standard and insures certain bitrates and bit-depths. Like any compressed codec it is useful for file-size and fast turnaround. Not every project allows you the luxury of storing & converting RAW footage. That said, ProRes remains lossy and image processed vs. RAW. Saying it's indistinguishable from RAW is plain wrong. RAW can be pushed in almost infinite ways compared to ProRes. Especially if you bake in a Rec709 profile instead of Log to your ProRes output.

Agreed. Competition has caught up since 5 years ago and playing field has levelled as far as codecs. Just about every cam does high bitrate 10-bit 4:2:2. Nikon now has internal NRAW/ProRes, Canon has CRL/XFAVC. BMD BRAW/ProRes. Its great GH6 has ProRes but its basically to be expected. I also think they should have RAW internal by now. So should Sony (especially on FX6/FX9). There are couple Komodo users here. Personally I'd rather rent when it comes to those types of sensor in a box cine cams. No NDs, XLR inputs, EIS etc means a crew and when you're at that budget, renting makes more sense imo. C300 mk3? Well other than costing $11K and weighing a ton, the C70 is a much wiser and popular investment especially now that it's getting RAW via free firmware update next month. You're basically getting C300mk3 IQ for half the price. Combine that with an R5C and you've got a pretty versatile and future proof hybrid combo for less than a C300mk3.

Ok rather than blame Sony or high-resolution etc.. Let's try and actually tackle the actual IQ/CS situation to understand the bottlenecks and what's at stake shall we? There is much more to CS than sensor manufacturing. Sony make sensors for Sony/Nikon/Fuji/Panasonic yet they all fine tune to their respective CS through image processing. And CS evolves.. for better or for worst depending on personal preference. Some people prefer pre-GH5 color gamuts. Same with Canon, some miss the 5D3/C100/1DC CS.. fortunately Canon bodies allow to set the log color matrix to "Cinema EOS original" or the more ARRI inspired CS "neutral". You get to decide. Every camera manufacturer has its own golden standard. For Sony its Venice and A7S3/FX3/FX6/FX9 allow proper Venice S-gamut3.cine in log but also S-cinetone profile for a baked-in Venice look. For Panasonic, their gold standard is obviously Varicam. But what some may not realise is that GH5's Vlog-L doesn't operate in V-Gamut but in Rec709. So it's kind of a fake Varicam CS. Also seems to dead-end ACES workflow with no appropriate IDT support from Panny AFAIK. You have to step up to S1H for proper V-Log/V-Gamut. ARRI -the Hollywood gold standard- Log C uses Alexa Wide Gamut (AWG) with either 10-bit ProRes 422 or 12-bit ProRes 4444 XQ. AWG works in a much larger colour space than Rec709. The encoding was done with a complete and deep ACES workflow in mind. This whole relationship is what makes for a class-leading grading platform. Other important IQ related aspects are in-camera sharpening and NR. Both seemed to plague GH5. Will be interesting to see if GH6 tackles some of these issues.. we still know nothing of the actual ProRes flavours or if Log is still Vlog-L or proper Vlog/VGamut...

By the way no need to prove that RAW files hold the missing colour information as the article already states that: On the bright side, it has been shown here that much more color information can be extracted from the raw sensor data than FujiFilm’s in-camera processing is currently capable of. The alternative is to shoot RAW. Which is fine, but demosaicking X-Trans files is less efficient than demosaicking Bayer files—anyone who as tried it knows this translates to a much slower workflow. Plus you lose all of that “color science” too, because, sadly (shamefully, in my opinion), FujiFilm does not publish color profiles for their sensors nor embed the color matrices in the RAW files as some other manufacturers do. Unfortunately, RAW video hasn’t yet made it to Fuji cameras so it seems likely you are stuck with this issue as you can’t bypass the in-cam heavy chroma NR in the compressed h264/h265.

All I’m saying to you is that it’s a well documented issue and that article details exactly what’s going on, the reason why and potential solutions Fuji has yet to adopt except by going Bayer on GFX series: The reason that FujiFilm hasn’t fixed the Waxy Skin-Tone problem after all these years and three camera generations is simply that they can’t—not without a significant, breakthrough advancement of their algorithms. They made a proverbial deal with the devil with their immune-to-moiré claims for the X-Trans CFA. If they get rid of the moiré, people will complain about waxy skin tones, and if they get rid of the waxy skin tones, people will complain about moiré (but, hey, they never made marketing claims about not making people look like wax figures or wooden dolls, so it’s no surprise which problem they’ve prioritized.) Certainly, more sophisticated moiré suppression algorithms could do better at sparing skin and faces where the color smoothing is most objectionable (but could they ever recognize chicken skin, I wonder?). Will Fuji ever invest any time or money in that kind of optimization? Especially with reviewers constantly praising their JPEG engine (from a comfortable distance and without wearing their spectacles)? In the future, I sincerely hope that FujiFilm stops producing sensors with the X-Trans CFA. I am convinced that the X-Trans CFA causes more problems (many) than it solves (none) and FujiFilm could have well known this from computer simulations before ever manifesting it physically. If the GFX 50s is any indication, then the next generation of X-series cameras may indeed utilize a Bayer CFA. In the meantime, a firmware update to give users the option to customize the chroma NR/moiré removal strength ramp ourselves in camera (like some other manufacturers do with their High ISO NR customization) could alleviate the problem for users who consider the lifelike rendition of human faces more important than complete freedom from moiré. I challenge FujiFilm to offer a solution.

@Attila Bakos Not really necessary. This article breaks it down, it has to do with Xtrans & Fuji’s heavy chroma NR jpeg engine : https://petapixel.com/2017/01/27/x-trans-promise-problem/

So looks like I was right, it is because of Xtrans vs Bayer sensor.. again google « Fuji watercolour effect » you’ll find plenty of talk about it..

That is with battery and memory, GH6 weighs 823g with those included. A far cry from OM-1’s 511g, the exact same weight as it’s original 1972 35mm counterpart! Gotta love that attention to detail..

https://www.43rumors.com/gh6-vs-gh5-size-comparison/ https://www.43rumors.com/this-is-the-full-panasonic-gh6-spec-sheet/ dimensions & weight are at the bottom of the spec sheet.

comp was already done in the leak video..