Django

@ade towell still in test phase of the c200 but so far the face tracking has been absolutely flawless even though I try to stress the AF shooting wide open at F1.2-F1.4, and again face priority is a handy feature. How it compares to a 1DX2 however I can't tell you.. all I know is that for a cine cam it's pretty damn good!

I need to upgrade to 1.4 and try out this new eye AF performance. By the way, I finally picked up a C200 as an A-Cam to EOS R. They are so close in IQ when shooting C-log mp4. C200 doesn't even do eye-AF but has Face Priority feature which is awesome (AF won't budge if Face turns around or disappears). Hopefully that feature will appear in a future firmware. Canon seems to be on a roll with these updates..

@Mmmbeats why is this thread titled FS7 when it's visibly about FS5?

FS7 can output 10-bit 4:2:2 via HDMI up to 4K30fps. I've tested it successfully with a Ninja V even though it isn't really necessary since FS7 records 10-bit 4:2:2 internally up to 4K60p. The Ninja V with the SDI module should allow 10-bit recording from the FS5.

Netflix is probably the biggest 4K advocate with their infamous camera/file requirements. Now that they basically make TVs in partnership with consumer giants it’s only a matter of time before 6K/8K becomes minimum production requirement for their content. I must admit watching 4K Dolby Vision HDR content on my 65” calibrated OLED 4K TV is pretty damn glorious! I can see cinema production adopting this quickly (already the case for those shooting RED). 35mm film being roughly 6K equivalent in resolution, even analog purists may have to reconsider digital.

Yeah sharpness in 4K is a little overrated imo whereas in 1080p it is sort of essential these days not to have you're footage look like dated 720p. As we jump to 6K/8K the C200 4K might show signs of wear but that really won't be the case for another couple years before those resolutions become standard..

same here lol

1DX2 never got Clog even though it became a paid option on 5D4 and came standard in EOS R. Same thing on the Sony A9. It's like Canon/Sony are willing to give you great SOOC IQ on their flagships yet don't wanna risk them cannibalising their Cine lines. Codec wise I certainly hope they ditch the horribly inefficient MJPEG for h264 and give us at least 4K HDMI out. It'll be interesting to see what D6 has in store as that will be 1DX3's main competition.

IBIS is gonna be great for all those non IS EF L lenses. especially for static shots where it can substitute a monopod/tripod. and of course stills so you can lower that shutter speed and keep low ISO. 6K FF no crop? now that would be mind-blowing. there has to be some kind of catch though cuz wouldn't that risk cannibalising C500 mk2? surely 8-bit, no c-log & maybe even no DPAF. I'd still be all over it!

The guy has done his homework.. he is heavily invested in Canon glass, that’s why he chose 5D4 & 1DX2. Sony/Nikon DXO scores are therefore irrelevant. He wants the best FHD in Canon ecosystem. 5D4 & 1DX2 are soft in 1080p & shoot 4K in MJPEG making downscaling cumbersome to say the least. Cinema line models pros/cons have already been covered and he’s not interested in switching systems as you lose Canon DPAF/CS. EOS R is I think the only option that hasn’t been mentioned. In FHD crop mode it shoots a very detailed 1080p downscaled from 4K. Unfortunately it retains the severe RS and heavy crop.

..well here is a recent test showing just that (C100 external to ProRes upscaled to 4K vs C200 4K internal): other than high ISO noise level, IQ is astonishingly similar imo!

no, after going back & forth I went for a used FS7 with speed booster. I now get FF coverage of my Canon glass in up to 4K60p 10-bit. I do miss DPAF & color science is nowhere near canon so may still consider C200/C300ii.

Haven’t followed this discussion closely but C100/C100mk2 with even a Ninja Star recorder will give you super sharp 4K downsampled 1080p with minimum compression. Definitely the cheapest way to get the best FHD quality out of Canon ecosystem imo (ML RAW aside).

XH2 or XT3S (XT3+IBIS) would be an instant cop.. crossing fingers.

Nice upgrade but some strange omissions indeed. No touchscreen for that A9 AF also seems like a gross oversight (when the $6,500 C200 does it). Guess we’ll now have to wait & see what the FX6 will bring to the table..

Yeah if anything this is looking good for A7S3 release. Sony had to give FS line a substantial overhaul before introducing a lower-tier alpha bombshell.

Be careful not to confuse product segmentation & tech limitations. The 4K crop is because Canon likes to do 1:1 read-out for 4K. That is why the 1DX2 has 1.3x crop, 5D/EOS R 1.74x/1.8x & EOS RP 1.6x. It isn't some kind of on purpose crippling. Sad truth is Canon are lazy & slow to adapt. That is why they recycled the old 5D4 sensor inside EOS R and still haven't implemented IBIS anywhere. By the way, EOS R may be top of the line MILC for now but it isn't actual flagship status as they've hinted towards upcoming pro model.

@Mattias Burling Any word on Kipon about a EF-RF Speedbooster? In other news Canon just announced Eye-AF & Subject Tracking improvement firmware:

so i take it the goal here was not to exceed expectations..

Seeing as this cam is on a line above the already $10K C300 mk2, I think it is safe to say this will be in the $15-20K zone. So I'm sorry pal but nobody will be selling their FS5/FS7 for a C500 mk2! Not even close to being the same market. If this camera does succeed it'll be in the rental market.. Personally I'd be more interested in a $5-8K RF Cine cam from Canon.

My only regret was that I didn't buy it earlier.. so sorry I gotta go with Mattias on this one. Best affordable entry level lens imo too. I paid $450 for it at B&H by the way with a free filter, so more like 400 euros which is a steal.

Who said anything about investing 5-8000€ ? EOS R is 2300€ and all I had with me most of the time was the 500€ RF 35mm F2 IS Macro (super versatile lens). I used my summer vacation as an example but EOS R is way more than just a travel camera. I've used it on several personal & professional projects this past year. Also I haven't "gone Sony". I've been on multiple systems before, one doesn't cancel the other. I use whatever is the best tool for the project/situation. Sometimes it's Canon, sometimes its Sony.. Or Fuji.. Leica.. RED etc. People online are way too bent on this monotheist brand agnostic sentiment imo..

I recently purchased an FS7 for work related purposes, and while I'm delighted by the specs & robustness of the high bitrate codec.. SOOC my EOS R smokes it in colour department. EOS R was also the only vacation cam I had this summer across southern Italy & Sicily. Shot mostly standard, one-handed with DPAF. Footage is just marvellous, hardly any correction needed and not a single out of focus shot including tricky high altitude bits above Etna volcano. Couldn't think of a better camera to travel with. So yeah sometimes specs aren't everything.. Now about lack of 24p, it is quite odd since Canon cameras that lack it do offer 25p in PAL modes so it seems they "cripple" NTSC region only (US/Japan)?

newsflash.. camera companies segment their products! while canon may be more obvious at doing so, all others do it as well. fuji only does IBIS on XH series, panasonic released S1 with crippled audio, Sony keeps low bitrate codecs on alpha series to protect XDCAM line. etc while removing 24p as a R&D cost saving feature is simply a ludicrous theory, some other limitations may well be hardware barriers.

Well it's an APS-C camera so there will be a 1.5x crop regardless of resolution.. just sayin'