Django

it's not so much that EOS R's 4K is soft but that other mirrorless 4K is supersampled & oversharpened. like i said much better than 5D2/5D3. there is also a crop mode where the 1080p supersamples from 4K and gives an incredibly detailed image. i have my 3 custom movie modes set to FF FHD / 4K / 120fps and i just switch between these 3 modes depending on the shot i need. i don't worry so much about resolution. with EIS you can crop even further, this can turn a 35mm/50mm into a 70-85mm with almost macro abilities. lot's of creative fun!

This is exactly how i shoot with EOS R. Mostly FHD mixed with a few 4K close-up shots and 720p 120fps bursts. If the editing is tight, nobody will notice the gap in resolution, even on a 4K 55" OLED TV. Does that mean 720p = FHD = 4K ? of course not, but when mixed together if shot & edited smartly they fit fine and your brain sort of gets fooled into thinking its all 4K because of the high detail close up shots. So it's kind of a trick but hey whatever works.. Agreed. C100 has some of the sharpest detailed FHD (i've seen some tests where it even beats the C200's FHD by a margin) and EOS R with RF lenses also does very sharp FHD. Unlike the soft 1080p from 5D2/5D3 era.

yeah i'll still take a simple exp meter over having to shoot with this type of cluttered view.. can you at least toggle zebras/histogram via custom button (like the front FN ones by the grip)?

BRAW is open source, there is already a plug-in for native windows Premiere support: https://autokroma.com/BRAW_Studio/index.html I gave Z6 a try yesterday, lovely ergonomics. But I didn't figure out an easy way to switch from AF-S to AF-C (miss the AF switch/button from Nikon DSLRs)? More troublesome, without exposure meter in video, how are people shooting? just winging exposure from LCD view?! Seems like an external monitor with exposure tools is a must, but then you got the HDMI lag... Nikon really needs to fix both those issues ASAP.

Yikes.. crippling audio?! that's certainly a new low..

Oh cmon, Panasonic removed a lot of video stuff to not take away from GH5 sales. They don't give you V-Log either, it's a paid option. People love to demonize Canon but none of these companies are church organizations..

huh? what DPAF features are they holding back?? also, aside from the +$30K C700 all the EOS Cinema line has cropped sensors. This is a tech limitation due to not being able to do full read-out of the 30.3MP sensor. That is why the EOS RP 26MP 4K crop is lower (1.6x) and 20MP 1DX2 4K even better (1.3x). This one hasn't got to do with camera segmentation. Canon isn't alone, just released S1 has a 1.5x 4K60p crop.

I'm hoping not but it certainly remains a possibility. They currently still have the weakest 8-bit 100mbps codec despite being on third generation. Could be. Sony manager recently admitted A7S is aimed at photographers first. 8 bit will do for video enthusiasts & YT community. For pro video they want you to step up to XDCAM. Not really. Nobody asked for rubbish DfD AF, 4K60p crop & a kilo weight size. I expect A7S3 to have killer AF, 4K60p / 1080p 240fps no crop, ultra-low RS, electronic auto-ND, next-level low light & a surprise feature like 8K burst or something.

There are many other advantages to a cine cam than just codec color bit depth. Photographers have had RAW in entry-level cameras for a while now. RAW didn't kill off high-end still cams, just like 10-bit 4:2:2 video in a MILC won't kill off pro video cameras either. Like I said, other camera companies with no cine line to protect are doing it so Sony/Canon may as well follow.. oh and btw +24-bit WAV is still quite the standard in pro audio.

Sony (and Canon) have got to change mindsets about this. Currently, if you want 10-bit 4K internal from them you have to shell out $7K minimum for an FS7 & $10K for a C300 II. indeed it seems XDCAM/EOS C managers are the ones cock blocking 10-bit internal from MILC line. I don't understand why they are so afraid of mirrorless. I seriously don't think MILCs are a serious threat to cine cams. There is room for both. And if they don't adapt, other players like Fuji, Nikon and Panasonic will..

I see it as a FF Stills / FHD camera with a bonus cropped 4K mode for extra reach on close-ups / money shots. 4K also works good on sticks as B-Cam to a C line cam. That said others do use it to shoot only in 4K (DBounce) or only 1080p (Mattias Burling). YMMV. There are always other options if those compromises are deal breakers.

I don't know if the future is that grim. All I know is CaNikon & Panasonic arrived late at the table.. in a shrinking market.

You misunderstood him, he is talking then about the selectable crop mode in 1080p. A couple seconds earlier at around 9:20 he clearly speaks of the FF 1080p used by famous YouTubers.

That's incorrect, EOS R shoots FF in 1080p. For stills, the extra 25% MP increase is definitely appreciated. 30MP is a nice IQ/file size ratio imo. Internal C-Log, 400mbps ALL-I codec, Dual Pixel AF, Vari-ND adapter, video exposure meters, no HDMI lag, vertical battery grip, better native lens line-up...

You misread me. Never said Netflix don't accept recorder footage. Just that they filter out potential transcoders (among other things) by requiring cams that fit their minimum requirements. Lines are more blurry when you consider ecosystems. GH5/EVA1 and soon S1 are all broadcast ready which can suit certain types of shooters. Besides GH5S shares same sensor as BMP4K which is clearly "cine" oriented.

Yeah but it became the industry standard for a reason. again the ecosystem. By the time FS7 was getting popular, most low to mid videographers had moved over to Sony Alpha mirrorless system. Same E-mount wether APS-C, FF or S35. Metabones/Adapters for every lens possible. Sony also came out with the cheaper FS5 and all that created strong incentive to rent/buy an FS7 when moving up. Very clever of Sony. Canon however was very slow to adapt to the mirrorless game with ageing outdated DSLRs and especially 4K. They missed that boat with until recently only the C300 mk2 & 1DC as the cheapest 4K options which were astronomically expensive and exclusive to EF lenses.. They are back in the race now with EOS R & C200 providing a strong combo and upgrade path. a RF C100 mk3, pro EOS R & 8K C300 mk3 will possibly put them back on the map. Videographers will always have a soft spot for Canon CS and their glass despite recent disappointments.. Panasonic are trying to go after that market with GH5/S1/EVA1 ecosystem. Problem is those 3 cameras have different mounts & sensor sizes. It's a mess and not really taking off.. they alienated their own MFT user base by going EF mount on EVA1.. and now expensive L mount for S1. Folks that'll switch systems easily need a consistent solution for their lens collection. BMD remains the only real pro budget cinema ecosystem alternative to ARRI/RED which is a different market then what the Japanese are going for.

Lol looks like you still didn't get it... I was attempting to explain to you why they have their strict camera policy. Nevermind. It is certainly expected to be a major showcase of Japanese high-tech superiority, just like PyeongChang was last year for South Korea (most expensive Olympics ever). Lot more at stake than gold medals

It's easy to transcode files / fudge metadata. and yes people do it all the time to get around broadcast requirements. again the approved camera list ensures no funny business is going on. .... timeframe seems to indicate somewhere before Tokyo 2020 Olympics.

You're not hearing me: there is no easy way AFAIK to determine if recorder footage is real 10-bit 4:2:2 X bitrate and not some other lower format transcode. Having a camera list with those internal requirements eliminates that doubt. Time code was just an example. And even though the Z6 actually provides time code it won't make that list due to the above. Z6 also has other big issues like the aforementioned HDMI record lag of 34ms / 9fps. It just isn't close to being there yet. But don't let that discourage you. The camera doesn't make the filmmaker good or "Netflix" worthy. FS7 or EVA1? Depends, i tend to look at cameras through an ecosystem eye. So like for me it would be C200/C300 mk2. If you're starting fresh and none of that matters, well EVA1 for the IQ. FS7 for just about everything else!

It goes without saying.. take a look, every one of the cameras listed can do those minimum specs internally and for good reason. If they just accepted a format (i.e. Atomos footage) it would be impossible for Netflix to control what is actually following the minimum specs and what is just transcoded footage. opens a whole can of QC worms. Hence the approved camera list. Like i said there are other unlisted broadcast/production requirements that those approved cameras meet, such as timecode (which is why the C200 isn't listed).

Z6 will not be approved by Netflix simply by "upping it's data rate". Minimum requirements are 10-bit Log 240Mbps internal. But that isn't just it. There are a bunch of other practical specifications proper to cinema cameras that exclude consumer mirrorless cameras from the list. That said, the list is only really for Netflix Original content. Meaning your project has already been commissioned by Netflix, you then gotta follow those "rules". There are exceptions though, Alexa Mini for example isn't on the list (as it is not true 4K sensor based) yet there is obviously Netflix Original material that was shot using it. Nikon doesn't even have a cine cam so I don't even see the Z series being used as B or C cams. Netflix requirements being put aside. As to answer your question: what is the best under $10K cine camera that meets Netflix standards: UMP 4.6K, C300 II, FS7,EVA1. EVA1 has the highest sensor out of those so perhaps indeed pulls ahead in the future-proof department. Camera has its quirks/cons though just like any other unit.

^ EOS-R has DPAF in 4K. I think you're confusing with M50.

1DX2 shoots 4K60p at 1.3x crop. So it isn't the only FF camera option. A7S3 will probably be first to do FF 4K60p no crop. As for S1 packing "so much more features". I dunno. It doesn't even have Log unless you wait & pay for it. Limited codec options (no ALL-I). Weighs almost double. And of course DfD AF that hunts all over the place. That last one is a deal breaker for me personally.. what good is great IQ if you miss the shot? YMMV depending on shooting style..

Ergonomics is a personal thing. I always use the grip on EOS R and the handling becomes perfect (much less without). Love the flip out screen etc.. Haven't tried the S1 yet and for all I know it's excellent/better. As for CS.. S1 does look great, closer to EVA1 than to GH5 imo (which had poor skin tones / magenta cast). Honestly I'd maybe consider switching to S1 + EVA1 if it weren't for Canon's DPAF. It is tempting though. Getting back to OP. As he doesn't need AF/4K and seems only to care about SOOC color, I'd go for the camera with best CS and highest FHD codec. That may still be EOS R?

your welcome, again nice work. basically just curious in what format it was shot and the grading level applied. i assume RAW ?