Django

Lol it isn't about me dude. The topic says: Selling my Blackmagic, missing my 5D. For his budget RP is the closest he's gonna get to a 5D but with MILC advantages, DPAF & RF compatibility . And for 4K, 1.6x crop isn't that big of a difference to Fuji's 1.5x crop. I highly doubt at his level, 10-bit H265 is going to be a priority.

4K crop has been addressed.. you’re still getting FF stills & FHD video for $999 Retail. Obviously if the budget was bigger there are a plethora of better FF options, but in that price range it’s either RP or crop sensor for MILC hybrid.

Let me subjectively agree with you! The main reason I’ve stuck with Canon throughout the years (5D3 ML, C100, C200, EOS R) is mainly because the color science and motion just has that pleasing organic look.. especially skin tones. The L lenses also have this unmistakable character that I love. It’s quite a shock for me to now finally see FF no crop in oversampled 4K in 10-bit and at HFRs. The combination of all that with IBIS, DPAF2 and the return of the DSLR thumbweel & joystick is really everything a Canon enthusiast could ask for... and why I’m willing to overlook the overheating issues (which hopefully shouldn’t affect my style of shooting). Still gonna wait until July 28th before deciding wether to go with R5 or R6.

No offense taken. I won’t get into the sensor size debate, that said there are undeniable differences in between M43, APS-C, FF & MF. It isn’t just about bokeh either, especially when you are looking at the whole system. I’ve owned the Fuji F1.4 & 56mm F1.2 lenses. They are nice and compact however suffer from steppy AF which is quite annoying in video. Hopefully Fuji redesigns Mark 2 versions of their fast primes..

No, Fuji X series are APS-C cameras so that's a 1.5x crop over Full Frame in both stills & video (4K60p adds a crop on top). EOS RP is a FF sensor and does Full Frame shooting for stills & video in FHD & 1.6x crop in 4K.

XT3 is a fine camera but you will still be missing the full frame look of the 5D2.. as well as Canon colours/skin tones. I know when I went from 5D3 to XT2 I was missing those things.. also autofocus was step back (especially with young kids). The 4K IQ is excellent though on the Fuji. But at your level, is 4K IQ really more important than all the other caveats?

OP sounds like he wants the full frame look on a tight budget, is coming from Canon, and has an amateur hybrid interest. Sounds exactly to whom the EOS RP is marketed for. Add the cheap but great RF 35mm F1.8 and you got yourself a decent entry-level FF hybrid & quality fast prime lens combo for under 1.5K €.

1080p looks really good on R6. Finally a Canon camera without the soft FHD look. Wonder if it's 4K oversampled. Good to hear about the low 4K RS too. R6 is looking pretty solid!

Wow.. with these numbers alone we are close to global shutter in 4K. These high MP cameras seem to serve a double purpose when you lower the resolution. I mean this camera just may trump RED/ARRI ??

@SteveV4D 8K > 6K though. Seriously, it seems clear you have zero interest in the Rx series.. yet you keep talking up the P6K. An S35 cam with no AF, no IBIS, no stills functionality, poor battery life etc. I'm not shitting on the P6K but it is just not in the same category as the Canon R5 hybrid. No camera is really at the moment (although that may change come July 28th).

8K is just as useful for 4K delivery as 4K has been for FHD delivery. From R5's website: "Of course, recording in 8K doesn’t mean you have to output in 8K. One of the big practical advantages of shooting in 8K right now is that you can oversample the 8K down to 4K in order to produce an image with more detail and better dynamic range than a native 4K one. Alternatively, you can choose to crop a 4K frame from the full 8K image in order to have more creative freedom in post-production. "Say you were filming an interview where the final output is going to be 4K," suggests Clive. "If you're smart with your light and with your shooting angle, you could start with a wide 8K shot and then just grab a 4K section of the frame for a close-up headshot later. So one camera angle and one take will give you two cuts. For someone who's working alone with a single camera, that's a massive bonus."

Maybe in the short term but in the long run 8K will become the norm, so I think it will be quite the opposite in years to come with regards to R5’s 8K capabilities. When Canon introduced 4K with the the 1DC in 2012 people also called it overkill and look at us now. I personally look forward to test out this new tech resolution and take satisfaction in knowing my investment will be future proof for the upcoming decade. The 4K HQ mode that supersamples from 8K is what I’m most curious about and will surely be the sweet spot for stellar 4K IQ on this camera.

Like I said, at the moment only cine cams can do it, no other hybrid and certainly no other FF hybrid (until perhaps the unicorn A7S3). Zcam is pretty much a sensor in a box. For $1500 you’re only getting the M43 sensor version. You gotta step up to $2500 for the S35 version and that is still not FF. No AF, no IBIS, no EVF etc..

Yeah it looks stunning because 4K120 is simply stunning! Especially at 10-bit 4:2:2. The only cameras that could achieve that previously were ciné cams. The FS5 II for example, could shoot 4K120 RAW but only in couple seconds burst mode and externally with expensive flagship recorder only..

“For brilliant, true-to-life moving pictures, the new Leica Q2 offers a 4K video mode with 3840 x 2160 pixels and frame rates of 30 or 24 frames per second.” It also does C4K at 24p.

I still dream of owning it but can’t really justify the expense after purchasing a M9 + 28mm Summicron last year.. The good news for video though is that an update gave the Q2 full manual control with shutter speed control/priority (was previously locked on auto only in video mode). If you can afford it this camera is a hybrid hidden gem imo.. it’ll be mine some day!

Motion cadence has never been an issue on FF Canons with ALL-I codecs, especially at these high bitrates. 24p will look more than fine rest assured. Check out Peter McKinnon’s footage for proof. Also now that we know CLOG3 is coming, DR shouldn’t be much of a concern either. At this point rolling shutter and ISO performance are the only major unknown variables as far as cons. CPU/NLE performance for HFR & 8K is also good to know (I’m on holiday with just a smartphone and shitty connection so keep the info coming folks!) apparently 8K RAW sample footage is coming next from that YT account so stay tuned.. Btw, is that 4K120p footage already slowed down in cam ?

@noone like I said it depends on your style and requirements. I shot quite a few weddings back in the day with a 5D3 during the day and would switch to A7S/A7S2 for video/stills during the evening, again with just a fast prime. Cropping & large prints were often a challenge with just 12/5MP. Yeah it’s always doable but 24-30MP and above is simply the new norm. I will still purchase the A7S3 for specific low light use and the video specs but with 12MP it is ruled out of my book for serious pro hybrid run & gun shoots. Looks like my combo will be like the good old days with a 5 series Canon all-rounder and a A7S for backup in low light (or when R5 overheats!).

Meh.. fairly standard practice from them. Pre-pandemic this type of launch would have warranted a big hoopla press event in a staged environment with media card doors sealed but instead they went with sending preproduction cameras with NDAs on footage etc. We’ll have to wait for production units to get more than the “hands-on” review..

Announced by the end of summer is what the Sony exec stated.. ⏳

Link? Sounds strange as official Japanese R6 page states 40-50mm depending on FF/APS-C for 4K30.

Depends on your shooting style also. I mostly shoot stills with a 35mm 1.4 on FF. I like the convenience of switching to an APS-C crop for more telephoto 50mm reach. With a 12MP sensor that would mean 8MP cropped images which is really pushing it for pro use. In comparison R5’s 45MP translates to 30MP APS-C shots. Thats not to say the 12MP A7S series don’t have their purpose, for dim situations like concerts / nocturnal events, where a flash isn’t desired, they rule. But that remains niche purposes imo.

The Sigma FP is a 8-bit only internal recording camera, has no 4K60p, no PDAF and Sigma just confirmed it can’t even record LOG due to « design limitations ». It’s a very powerful camera in relation to its minuscule size and surely an ingenious passive cooling design, but thermal issues remain and are surely the cause of such limitations. The S1H, despite an active cooling system and body almost twice the size/weight can only do 4K60p with a S35 crop. No PDAF either on that camera. Canon chose to unlock superior specs at the risk of overheating, which I understand is a polarizing decision, however I’m not sure there is a strong case to be made against its thermal balance giving the power it unleashed compared to those two cameras with a passive cooling system. Sony however, if the spec rumors are true may be on such a breakthrough..

No DPAF in 4K60p though.

Wow lower RAW bitrates and CLOG3 is huge. R5 definitely seems like the better investment now.