Django

Well I'm a C200/5D/EOS R owner and although this setup covers every scenario and allows multi-cam setups with one set of lens, I can't help but drool over this 1DX3 and it's 10-bit internal, 5.4K RAW & sports photo specs. It could potentially replace all 3 of my Canon cams. C200 is the toughest to let go of because its my favourite cine cam ever as far as workflow, ease of use etc. It makes everything else feel like a PITA (including my FS7). CRAW Lite is also a breeze to use in DavinCi with simple drag n drop of the CRM. It looks from the Canon videos you'll need a friggin utility to convert the CRM to a TIF with 1DX3 RAW (that could obviously change) and the crazy file sizes of course. 1DX3 remains tempting. Trying to resist the urge.

Regular CLog only but RAW may potentially allow Clog2/Clog3. Too early to tell though.

You guys seem to omit the fact most pros will be upgrading from their current gear (most likely in this case a 1DX2). Here in Europe, second hand 1DX2 ranges from 3 to 4.5K euros. So the upgrade really only is going to cost around half the retail price. But hey if you can't afford it, you can't afford it lol. Nobody is forcing anyone to buy/upgrade.

well I do maintain that if you are a successful pro and this camera suits your needs/requirements, an upgrade could be a worthy investment. the main target for 1DX3 is.. 1DX2 owners, and so it has been since the first 1D camera (same for Nikon D series). the 4 year cycle (timed for the olympics) being a pretty reasonable time frame as far as ROI. on a related note it's interesting to see how many 1DX2s have popped up in my local classifieds since the announcement on Monday. nows also a good time to pick up nice deals on 1DX2s if 1DX3 price tag is out of reach.

He’s using the old EF 50 F1.2 with the adapter. That lens is slow to AF due to the heavy glass especially wide open and EOS R motor struggles even more with the adapter. But anyways DPAF isn’t magical or flawless. You gotta learn how/when to use it. Wether on my cine cams or EOS R, I always have an AF on/off custom button assigned and rarely keep DPAF on for long shots like that. Philip Bloom put me on to that whole technique back in his C100 review. Not having an AF on/off feature on Sony’s drives me crazy. You never wanna go fully automatic.

Well considering these cats drive, race & crash +100K supercars for a living, I somehow doubt spending 6.5K on a camera upgrade that makes em shoot their 10M views YT videos / sport photos is going to be a problem. If they aren’t the target audience for 1DX3, I don’t know who is! As for the difference between 1DX3 and the previous gen not being significant, I wholeheartedly disagree with you. Especially if you are an action/sports hybrid shooter.

huh? wtf cares.. trust fund or not these cats are getting 10M views that's a fact.. so they're getting paid. and seem clearly connected to their local motorsports scene in LA, which is surely why Canon USA gave them early access to 1DX3s. anyways, I'm not interested in vouching for these guys, my point was simply that if you're a pro sports/action hybrid shooter this new cam seems like a no-brainer. bottom line is its class-leading specs in this category.

It's a motorsports YT channel. Some of their vids have got +10 million views (FYI a million views gets you 3-7000 USD I'll let you do the math) so if anything it's more like the 1DX pays for the cars than the other way around..

IMO the D780 is DOA. It's a Z6 in DSLR form factor (but with no IBIS, Z-mount or ProResRAW). Still no internal N-log or 10-bit so you gotta carry an Atomos on top of it for any type of serious video work. At $2,300 this makes no sense whatsoever when you can already buy a Z6 new for $1800 or less.

As Andrew said few pages back, it's main gotcha is..it's a DSLR! Add the price tag to that and lack of IBIS and its clear this camera will remain niche despite its class-leading specs. While I don't see this camera making many mirrorless shooters revert back to DSLR, I do think that it might be competing with similar price and much more expensive cinema cameras. But yeah the main target is going to be hybrid action/sports shooters that need that durability, reliability, weather sealing, ergo, crazy AF/FPS that only a sports DSLR can bring ya. As this promo video showcases a perfect intended scenario:

You can probably thank RED for the absence of a compressed RAW format. The coolest bit of new info to me is that the 4K h264/h265 supersamples from 5.5K. This is the first time Canon doesn’t do a 1:1 readout for its 4K and means we are finally going to get a really sharp detailed 4K image. It’s crazy because this camera will basically deliver an IQ that blows away the C200 and even the C300II. I hope Canon will now unlock at least 10-bit on the C200 or they might have a problem selling them with this beast of a camera on the market. I myself am seriously considering parting with my C200 in favor of the 1DX3, although they’d probably make a mean combo.

all that rumour states is some shops in Japan have started taking pre-orders for 792,000JPY incl tax which roughly converts to 6.500 euros.

- DPAF (slaughters Panasonics DFD AF) - Native lens selection Nothing odd about it. If ain't broke don't fix it. 1D line has never been about resolution. And I'm pretty sure we're approaching mechanical limits for FPS. What does matter and has vastly improved in the Mark III is: 10-bit HEIF (vs 8-bit JPG) AF (28 times the resolution, almost 100% coverage, new deep learning AI tech, eye AF) MF Peaking, Focus Guide FPS (16 to 20 vs 14 to 16) CFExpress (five times the buffer depth) Twice file transfer speed ..etc This update is a lot more substantial than lets say the A9 II which rehashes the same sensor, AF system, burst rate.. and (8-bit) video specs!

I rarely shoot pro work as a one-man band these days so yeah I’ve got access to a sound operator whenever needed, other times a wireless lav system might suffice. XLR inputs aren’t for me the main reason I use cine cams. Having multiple (SDI) video outs for director/recorders, proxy recording, ND filters, battery life, no limit recording times, in-camera LUT support, Paint tools, Cine EI etc are the types of features I’ve grown to rely on. Still I find it quite amazing you can now get 10-bit, 5.4K RAW video inside a FF hybrid stills camera. Wasn’t expecting it this soon in a Canon either.

I’m a C200 shooter and am considering 1DX3 as an A/B cam. C200 can’t do 10-bit or FF. Come to think about it the 1DX3 + Atomos V could probably replace my EOS R, 5D, C200 & FS7! ?

What about the A7SIII / A7S?? I thought it was being announced soon? A 15MP Sony Mirrorless Camera will be Announced Soon

Simple: none of those cine cams can shoot stills. 1DX3 is for hybrid shooters who are invested in Canon ecosystem and will be using it as a A/B cam. Besides, the C200 can't shoot 10-bit, and the EVA1/FS7 can't do internal RAW nor do they have DPAF. The FX9 is $4.5K extra and can't do internal RAW either. So on the video level alone, the 1DX3 punches way above its weight/class despite what all the naysayers have to complain about it.

Again I do not see many limitations to the 1DX3 aside from its price tag. 5.4K internal RAW is actually a first inside a FF hybrid. Just like when 1DX2 introduced 4K60p inside a DSLR in 2016. As for the Pro EOS R, I believe that won't be EOS R MK2 but a much more expensive high-end model. They need to move those pricey RF L lenses, and if those are anything to go by I don't think Canon will go low on specs for their eventual flagship high-end model.

I find the overall specs pretty impressive, especially for an action/sports DSLR. But it's clear that at this price point & form factor, 95% of the people on this forum are outside the target audience. If/When these specs trickle down to the Pro EOS R model with RF mount & IBIS, is when people here might take notice.. Btw... the only other hybrid cams that can do internal RAW are the BMPCC 4K/6K, both of which are crop sensors that can barely do stills and have zero AF & the Sigma FP, also a lousy stills shooter with no EVF and an AF so poor it makes Panasonic's DFD AF seem stellar. Again no AF during RAW shooting seems a reasonable compromise imo (most pros shooting 5.4K RAW will be using manual cine lenses anyways).

10-bit DCI 4K60p, 5.4K RAW.. etc yeah yeah another bad joke from Canon! Thank god Sony is here and will now include 10-bit in the A7S Unicorn. Get with the times, Sony is the new Canon. A7S3 should have dropped 18 months ago, hell they're already on mark IV generation with people still waiting for the mark 2 successor.. ?

^ lol.. I'm confused as well. here is what cinema5d (which is the site androidlad used for his DR assessment) has to say about their own DR tests: One word about image scaling: if you scale the Sony FS7 image from UHD to full HD (1920×1080), you get an increased dynamic range in IMATEST of about 0.3 stops in the Sony FS7 example (resulting in 12.4 stops), as the downscaling averages 4 UHD pixels into 1 FHD pixel thus lowering the noise. Another argument for 4k acquisition and 2k delivery. What happens by downscaling and how is the dynamic range increased? Well, the signal value of four neighboring pixels has a high degree of correlation (luminance will be roughly the same), whereas noise for those pixels in general should show no correlation as it is random. Now, by downscaling (or averaging) four pixels of an 3840×2160 image to 1 pixel of an 1920×1080 image the signal value should stay very much the same, but the noise value will reduce because noise is random (uncorrelated), hence averaging (or in mathematical terms the root mean square value of noise which is measured in the recorded image) scales with the inverse square root of the number of samples that we average. Hence 4 pixels into 1 gives a factor of two (sqrt(4)=2) higher signal to noise (SNR) ratio. Higher signal to noise ratio for a given luminance = higher dynamic range. The cinema5D Camera Lab is Back – Dynamic Range Tests also interesting to note there an increase in DR with h265 10-bit intra vs h264 and a full stop of gain from UHD h264 (12,1) to h265 UHD->FHD (13) in the XT3 results.

Don't forget it's 5.6K RAW so downscaling to 4K should give better signal to noise ratio (hence increased DR). Anyways I guess we'll have to wait for real-world tests to find out..

all that test shows is that 2016 1DX II footage has similar DR to the 2013 1DC using CLog1. not sure how you make the jump to the 2020 1DX3 having similar DR even though it's a new sensor and camera that can shoot Clog2 & RAW, none of which the aforementioned cameras could do.

C-Log should definitely add an extra stop of DR. Usually around 12 stops on Canon DSLRs. Raw should give you extra wiggle room so perhaps 13.

1DX II didn’t have Log so I think we can expect better DR in this model. Overall pretty great specs imo. Looks like we’ll finally get FF 4K no crop on a Canon hybrid. 6K RAW internal is a pretty big surprise and if FF no crop a class leading feature on a hybrid system. No AF on 6K RAW & 4K60p seems like reasonable compromises for everything else you’re getting.