Django

People like to throw the word organic around but this really captures it imo. Almost makes me wanna repurchase a 5D3! 14-bit RAW FHD >>>>> 8-bit 4:2:0 4K. RAW really lets you go hard on the grade without it looking fake/cartoonish. Worth the workflow effort for narrative. Great execution as well.. especially considering limitations. Getting some dope eery Lynch vibes from it! Care to share some more technical details about shooting/post?

Right.. kinda like you don't wanna say the S1 is heavy because your friend can carry a Red One all day. Anyways enjoy your new kit!

So you are seriously claiming S1 continuous AF is on par with Canon/Sony? No need to feel so defensive. I own various cams of various size/weights myself (mirrorless, DSLR, cinema). I use the right tool for the right job. S1 is on the heavy side though, it is a fact and worth mentioning imo.

Cmon now, continuous AF for video is clearly not the cameras strong point and isn't close to being in Canon league or even Sony I'm afraid.. There will always be heavier cam rigs to compare with but fact does remain S1 is by far the heaviest FF MILC.. it's even a few grams heavier than a D850! With the grip and extra batteries we're probably talking 1DX2/D5 territory. It's a valid factor to take under consideration imo. Lotta people go mirrorless to gain on weight.

That 4K60p is looking good. CS seems on par with EVA1. I like what I'm seeing. But hearing dude say "missed focus" 20 times in that wedding vid puts a big cringe on my face. What good is having superb "organic" imagery only to miss the shot? That said, stick some manual/cine glass on this cam and you maybe got yourself a mini EVA1..

Those numbers are facts, not sure how you can argue Nikon is similar or that GH5 is "suspect". Sounds like fanboy talk.

You are spreading around a bunch of misinformation here: The Z6 records UHD 4K at around 140Mbps in 8-bit 4:2:0. C200 shoots either 8-bit UHD at 150Mbps or 12-bit RAW DCI 4K at 1Gbps. 1DX2 does 8-bit 4:2:2 DCI 4K at 500Mbps. EOS R does 8-bit 4:2:0 UHD at up to 400Mbps GH5 does 10-bit 4:2:2 DCI 4K at 400Mbps. XT3 does 10-bit 4:2:0 DCI 4K at 400Mbps. A73 does 8-bit 4:2:0 UHD at 100Mbps. (edited) Sorry to say but Z6 is indeed at the bottom internal codec wise.

Ha now you know how we feel! And this is mild compared to any Canon thread.. CaNikon are the historical big dogs so they always have it tougher but people have to realise they are also newcomers to FF mirrorless. Both have done pretty well IMO for first effort cameras. Nikon put in more effort than Canon on the hardware side but kinda dropped the ball on a few critical features. Good news is that can be dealt with in firmware upgrades if users are vocal enough about it. Nikon doesn't really have a video department and videographers are a tiny percentage of their customers but hopefully, word will get back to them. I have a soft spot for Nikon myself, shot with them way longer than Canon. But lack of an upgrade path and slow adaptation to video kinda forced me out. I still think there is strong potential for Z series but Nikon has to be very careful not to screw up, they made some poor decisions in the past that cost them a lot. Alongside Fuji they are in a unique position to innovate with no cine line to protect, but its also a double-edged sword as far as R&D and experience.

Surely the fact that there is no exposure meter in video mode and no internal log doesn't help with the quality of the footage out there which the majority is probably shot without a recorder.

Yeah i know.. 2K 10-bit out is ok but still inferior to EOS-R 4K 10-bit out and of course C300 mkII's 2K 12-bit 444 internal! Plus SDI means you gotta buy a ninja flame or ninja V + SDI module ($900).. only to record a 2K signal.. meh.

still debating in between the two. had a go at some C200 raw footage and boy Canon Raw Light really isn't that light at 1Gbps! I feel like those data rates might just be too much disk storage space for me to handle and are going to cost a fortune in Cfast cards. So really I'm afraid the C200 will probably be used with the 4K (UHD) 8-bit 150mbps codec 90% of the time.. and then that just begs to question am i really making a huge upgrade worth $7500 from my C100 & EOS R that can already shoot internal 8-bit UHD 4K at even higher (400mbps) bitrate as well as 10-bit external (which the C200 can't even do)? Only thing I'll be gaining as far as IQ is less RS and maybe a stop of DR. On the other hand the C300 mk2 shoots nice chunky 10-bit 422 DCI 4K / 12-bit 444 2K internal.. is broadcast ready, Netflix approved straight out the box and has raw 4K out. It can record to 3 media cards at once internally, and 5 with the outs. Just seems like such a workhorse. But yeah, dropping $10K on a 4-year-old camera is a little nerve racking when second hand C200's are floating around at $6.5K..

If processor & resolution are strong RS factors (which I’m inclined to agree with) shouldn’t C200 have less RS since it uses dual DV6 digic processors running UHD instead of dual DV5’s doing DCI 4K on the C300 ii ??? @HockeyFan12 Please share with us the info coming from Canons sensor tech!

I see no reason to doubt the official 8.3ms claim.. cinema5d even rated it at 6ms: ..they’re probably a little off but we’re definitely in that ultra low zone it seems which is indeed an extra bonus point for the 300mk2..

This whole “alliance” thing sounds shakier than a EU council about the UK.. rather confusing to say the least. That said S1 sensor really seems top-notch. Low light clean as a bell. Is it a new towerjazz design? How is the RS?

I’m with webrunner5, every Z footage I’ve seen has this grim crushed black oversharp look. I thought it was because of lack of internal Log or maybe even lack of exposure meters but that ProRes RAW footage looks the same. Surely the camera is capable of a nice organic IQ in the right hands but I still haven’t seen it..

+1 on tips above. EOS R actually has a much more robust codec than the dated one in C100 and therefore grades Clog much better. I advise recording externally on C100 if shooting CLog. Also important to set CLog on EOS R to “classic EOS cinema” color matrix setting for best match up with your C100mk2. As for Clog vs WideDR it depends on your level of CG. If you’re not sure what you’re doing maybe best to avoid Clog! Especially in controlled environments. This goes for all cams, log can often create more post headaches than necessary..

Should also be noted the S1 footage uses the new $2500 50mm 1.4 Lumix while the A73 is rocking a cheap F2.8 Tamron zoom.. not really an even playing field.

Yeah correct RAW has never been so relevant with the various light options not taking more space than prores & with native drag n drop support from NLEs

I shot RAW ages ago on 5D3 and BM Cinema Camera.. which the work from those cameras coincidentally ended up on big screen & major art installations. Shooting RAW & developing it takes more time but doesn't necessarily require more staff (unlike manual focus which may require an AC). I've been doing a lot of corporate / digital content stuff with fast turnover lately but I'm definitely hoping to get back into the more indie/artistic projects where RAW will be put to good use again (part of the reason for upgrading my personal equipment). For that to work into my workflow it's better if it's internal and supported by my favourite NLE. That kinda rules out ProRes RAW options for me. So imho, RAW isn't overrated at all -even for low budget shoots- for certain projects that might involve heavy grading or require ultimate IQ / DR.

ALL-I is an Intra Frame codec just like ProRes. It’s the top choice for minimizing compression artifacts & editing ( unlike XAVC-S for example which is Long GOP) so I’m not sure what your point is..

That shootout is pretty obsolete though as the C200 now bridges that gap in between the C100 & C300mk2.. As for the middle codec on C200, you're right an atomos will be required for direct 10-bit 2K recording but a workaround is obviously to shoot in raw and export to 10-bit/12-bit DCI 4K (at the cost of hefty CFast cards..) Maybe if I was starting out but the plan is to upgrade from my C100 within the Canon ecosystem. Besides I need DPAF for multicam shoots & internal RAW is only offered by C200 within the current Japanese cams (i place UMP in another category due to Size & V-Mount). If Panasonic/Sony were to develop a reliable AF for their cine cams, have internal RAW and maybe add IBIS or another killer feature I could be tempted to switch in the long run but for now Canon got my $$$. It's as if the other companies were stuck in the classic cine "crew" paradigm with follow-focus / sticks / external recorders when the game is changing with more & more solo operators and small businesses mixing MILCs & Cine cams who try to avoid hefty/costly rig add-ons. Again i'll say it loud & clear: F ATOMOS. Jeromy really lost me with his antics & bravado. Instead of declaring holy wars over codecs he's trying to push, his company should focus more on hardware people actually want i.e 4K Ninja Star..

a C100 mk3 will not cannibalise C300 mk2 or C200, we're talking about Canon here.. they are masters at product segmentation. anyways, thinking more of RAW.. i'm kinda leaning back towards C200. It's cheaper, smaller and does RAW internally, screw Atomos. Besides i use Resolve and it has native support for Canon RAW light files. No way I'm dropping $10K hoping Resolve gets ProRes Raw support in the future. as for big boy video not being cheap.. yes & no. you are getting very close to Arri IQ for under $10K.. much less if you buy used. and indeed you gain reliable AF!

It's only supported by high-end Sony/Canon/Panasonic cine cams & Nikon Z mirrorless.. so not even a complete ecosystem.. and again only FCPX which is the biggest caveat. Not every Apple user edits in FCPX.. but yeah one can only hope other camera models & NLEs will support it in the near future (although I don't see Resolve/BMD rushing to the table after basically being compared to the axis of evil by aforementioned CEO douchebag #1 ? )

EOS R already offers internal ALL-I codecs ranging from 90-180Mbps for FHD & 480Mbps in 4K which basically equates to a middle ProRes codec as far as motion.. 10-bit 422 however is worth going external imo.

If anything, Jeromy at Atomos seemed to indicate to me in that NAB interview that he needs to lay off the blow and quit thinking he's the CEO of Stark Industries FFS!