Django

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.

F900 recorded internally to HDCAM tapes which was a 144mbps 8-bit codec. However the cam could also record 12-bit uncompressed via external hard disk as 2002’s Russian Ark was shot. In 2003, Sony introduced HDCAM SR media that could record 10-bit 444 with data rates up to 600mbps. So actually the 21 year old F900 was light years ahead of the A7iii as far as recording options! Of course that doesn’t take away the great IQ from A7iii but codec wise I believe it is in last position compared to its FF mirrorless competitors.

Actually the kings of DR is D850/A7RIV with 14.8 DR (DxO rating) followed by Z7 with 14.6 stops. I know the Z6 has better low-light and no line-skipping but any idea how Z7 will fare with the RAW upgrade? I think I read it will only output it in DX/APS-C mode? I still need a high-res OLPF-less hybrid in my arsenal, wondering if Z7 might be a worthy choice.

Hey better late than never. I've shot with the Z6 recently and really love its ergonomics, Z-mount primes & overall IQ/color science. With ProRes RAW it only gets better but yeah it's really a big shame you've got to A. send your camera in to Nikon B. no internal RAW (or even log right?).

You can't talk about the new MBP without talking about its potential shortcomings and alternatives. Just like in any other gear thread. I understand it might be annoying if you have no interest in switching systems but it's inevitable these things will be brought up. Btw, a pretty thorough video was already posted showing the video editing performance increase you can expect with the new MBP.

Yeah the whole point of upgrading is to say adios to proxy workflows etc.. That said I'm going back & forth myself with various (Mac) options but also including a Lenovo ThinkPad / ThinkStation for my pro audio/video needs. Lenovo is the only PC brand that imo competes with apple (no surprise they used to be IBM) on specs/reliability/design etc. The new ThinkPad P1 Gen 2 offers Xeon/i9's, dual SSD drive options, 4K OLED display (!), a multitude of I/Os (USB-C, USB3, SD card reader etc), arguably the best keybed experience and of course upgradability. In a rather sleek sexy black matte carbon package: That's all pretty sweet for a laptop VS the 16" MBP and the 4 USB-C ports forcing you to always have dongles connected etc.. I have no idea though performance" wise what that laptop is capable of compared to a MBP 16" and again I'm really weary going back to PC land because of virii, hardware compatibility issues etc. but damn I'm pretty tempted to pull the trigger (crazy cyber monday deal too at the moment!) especially considering I don't use FCPX or Logic.

It’s a different business model though. ARRIs get mainly bought by rental houses and Hollywood studios. REDs are owned by successfull DOPs & production companies. Hell the Raven was even sold on the Apple store: https://web.archive.org/web/20170903102810/https://www.apple.com/us_smb_78313/shop/product/HK8Q2ZM/A/red-raven-camera-kit-final-cut-pro-x

Sony only competes with RED on Venice level. Sonys mirrorless offering is imo in awful shape for serious videographers & filmmakers in late 2019 with one of the lowest bitrate 8-bit codecs and no clear competitive video oriented solutions (cough *A7S3 AWOL*). And even when you step up to the FS/FX line, Sony has no direct internal Raw options unless you fork out for a $2K add-on device. In short, Sony shouldn’t even be mentioned in this discussion imho. When you think of RED, you think of their game changing compressed RAW. REDs move into sub $7K cine cameras is mainly to counter BMD, Z cams, C200/1DX3, and all the other cams that may offer RAW, BRaw, ProResRaw etc for under 10 grand. As compressed RAW patent holders, REDs main concern is that if they can’t beat the competition in court, they can try in camera shops with something like the Komodo.

RED’s vision to have an affordable entry line goes way back to when they were talking about 4K for $4K. That never quite materialized but it seems now they finally might achieve it with 6K for $6K. It still does seem kinda too good to be true so the skeptic in me is either anticipating a price hike or specs not being met and indeed in any case a very limited number of actual production units. Their last mainstream project, the Hydrogen smartphone was a total flop with long delays, promised specs not being met and then ultimately the project being killed. Wishing them the best on this one as I really want a Komodo with those specs and price point but time will tell if that’s really the case..

SB’s usually degrade IQ to varying degrees, especially edge sharpness so I’d like to see the Metabones SB 4K compared to non-SB 4K as well as FF FHD. And obviously AF speed (with latest firmware EOS R has finally got a usable continuous eye-AF so that might be a good stress test). The control wheel feature with clickable function is also a super nice added touch, I don’t even think the official Canon adapters have got that click function (which Metabones claims can be set to DoF preview etc) so I wonder how that works.

It’s about time so I may order one although my biggest complaint with EOS R’s 4K is the horrendous rolling shutter. ..incidentally global shutter on Komodo is a massive appeal and could potentially kill 1DX3 sales for action videographers etc..

I think they also need a solid semi mainstream hit after that smartphone fiasco plus all the recent bad press they got. Some of those revelations like the cheap rebranded SSDs etc could honestly sink sales from such a niche company. It sounds like an effort to avoid criticism that they are now using non proprietary media storage. Anyways, this may well be my first RED product ownership and that does get me excited. Can’t wait for some more details..

APS-H? interesting.

Well it does sound like they are expanding that location so technically I guess they are building new facilities: Apple expands in Austin <- official Apple press release I have no idea how much Trump was involved in that but Jobs (who was a democrat) did complain the Obama administration was making it hard to maintain production in the US. Not trying to stir up anything or take sides... just stating facts.

Ok these specs make it my dream 2020 cine camera. 6K, GS, PDAF, RAW, RF mount... for $5-6K?!!! Plus it's a RED!!! That UI looks sexy as hell too. If sensor size is S35 or above, I'm definitely copping.

Yeah my first gen MacBook Pro Touch (2017?) had some quite severe issues (USB-C ports not working, battery problems etc) that required full motherboard replacement.. twice. Now I am faced with new issues and the laptop is no longer under warranty so it’s almost throwaway. That said I don’t see myself ever going back to PC world (virus and compatibility issues being the main grief). This new 16” sure is tempting for specs alone but I am very weary of these first gen MacBooks. I just might go with a maxed out Mac mini + BMD eGPu as an alternative. You get a lot more I/Os, they are upgradable and you can put them in a backpack from the office to home when needed.

Not necessarily. The RF 50mm F1.2 weighs twice as much, is twice as long, feels twice as cheaper in build quality yet it costs twice as much as its EF counterpart! Optically the RF certainly is superior in just about every way but it’s a bit odd when DSLR lenses dwarf Mirrorless ones.

not sure what to make of all these tests.. all I can say is I've worked on a narrative project shot on a full set of Xeen's and the rendition was superb as is the build quality etc. if I were to invest in cine glass those would be my prime candidates .

I'm talking about the difference in between 10-bit compressed and 12-bit RAW. The leap there is pretty staggering. have a look at 10:35 the amount of recovery he can bring back is kinda insane. in any 10-bit compressed camera that over exposed data would be gone!

Apple is pushing it hard inside iOS and latest Mac OS: https://www.macworld.co.uk/feature/iphone/what-is-heic-3660408/

To each their own, I recently bought a C200 not expecting to use RAW that much but with the very simple workflow, USB-C speed & storage space coming way down, I'm finding myself shooting RAW as much as possible. It's kind of hard to go back to 8-bit after 10-bit but even harder once you start messing with 12-bit RAW. Having access to RAW internally at a flick of a switch is a godsend imo and brings me back to MLRaw days (minus the post workflow & reliability issues!). I have 2 Atomos recorders (including the V) and use them as monitors 95% of the time. Internal recording is the way to go for me. HEIC is also very interesting for stills giving basically 10-bit 4:2:2 vs 8-bit 4:2:0 for JPGs.

Have a good look at that list, like I said.. Panasonic have three native lenses out for L mount. Sigma & Kipon are third party manufacturers, they make their lenses for every other mount out there.. Leica?! Cmon.. nobody here is dropping $5K on those. S1H is a solid camera.No doubt. But crap contrast AF. No internal Raw. And those three lenses can't even begin to compete with +30 years of EF glass. That said Andrew brings up valid points. 1DX3 is a DSLR brick. $6K. And we don't know about 4K crop or other caveats yet. Lotta competitive options in the FF / S35 market. I don't see many people outside Canon fanatics & pro sport photogs dropping $6K on it. Personally, as a pro hybrid shooter that swears by EF glass, does flash photography and shoots in harsh conditions, this is a dream come true. I'm done for the time being with MILCs for my pro needs. Not looking forward to the bulk/weight but compared to my FS7/C200 it isn't that bad at all really! Big question is will Sony wake up from their coma? A9II looks like a joke compared to this announcement..

That French "article" is merely speculative and sources (or should is say extrapolates) the specs from a B&H announcement. It's an apple news website, not even photography related so I wouldn't put much trust into it..

I can't speak for ProResRaw but I can indeed speak of Canon Raw Lite. I believe support/features were limited at first but as of Davinci 16.. Canon raw lite files are not only drag'n'drop but you get the RAW tab options as well (allowing full pre-bayer settings from WB, exposure to Log/Gamma etc directly from the NLE). It simply could not be any more "friendly" imho. Drag'n'Drop a CRM file, adjust Raw settings in real-time, edit & grade away. I'm on a 2016 MBP and I get zero hiccups while scrubbing/grading. Exporting in 4K is slow but probably not that much slower than any other RAW format. YMMV. PS: I highly doubt ProRes Raw will get such support anytime soon in Davinci with the compressed raw wars going on behind the scenes.

Actually it is quite the opposite. Canon Raw Lite is natively supported inside Davinci & Premiere (drag n drop) and FCPX via plug-in. ProRes Raw is currently only supported by FCPX (with Avid & Premiere future support announced)