Django

So the only difference in between S1 w/upgrade & S1H is the 6K and anamorphic modes? Kinda makes S1 a supervalue at the moment with the free upgrade. kudos to panny for doing that!

Seeing how this release plays similar to the GH5S, which priced itself way above its class, I think the +$4K estimation is probably true.

Price will make or break this thing. But for now it's just Panny flexing hard at Cine Gear: 6K FF first biiitches!!!

Yet speaking of F1, I was in Monaco for the GP last weekend: 90% of the camera gear was from Canon. Go figure.

It's a bit of a tough choice as the IBIS on XH1 is really practical for handheld 4K when shooting primes but XT3 just has so much more specs. I'd still probably go with XT3 as it doesn't crop in 4K, has much better RS.. and of course 10-bit, 4K60p etc..

iPhone 7 was indeed used by academy award indie filmmaker extraordinaire Michel Gondry for a short sponsored by Apple. It was more of a challenge type promo, so not exactly your typical film project but I remember Gondry said the challenge was fun. and sometimes fun-factor is what you need. Bottom line to me is if it was used for professional work than yes it is capable of professional results. Maybe not to you/me or Michael Bay's standards. But it might be to some guy out there that might just change the game, so who are we really to judge? I know a very famous photographer that sells in the biggest galleries that has exhibited work shot on a iPhone on more than one occasion because he documents stuff and you know the best camera is the one you have with you. Btw, smartphone camera technology is making more advancements than anywhere else in the field and soon that tech will probably trickle up into "pro" cameras.

Any camera that allows you to get the job done and get paid is a pro tool imo. Of course if you're doing high-end cinema, sports photography or have broadcast requirements, that may exclude most hybrid MILCs (at least as A-cams). The C200 is definitely pro gear even if it isn't Netflix approved or has a broadcast-friendly codec. There is a indie feature film presented at Cannes festival this year making buzz that was shot on 4 C200s, another one last year was shot on couple A7S2s.

Canon are very good at segmenting/crippling products but others do too. The 128kbps audio crippling inside S1/S1R is a good example of that. You gotta look at companies with no cine line to protect like Fuji or Nikon for unrestricted video features. Or dedicated video companies like BMD or the Chinese cams. That said politics aside, I'm a happy Canon owner. The IQ & shooting experience always puts a smile on my face despite the limitations.

Pretty sure Panasonic has been using TowerJazz sensors (which they own) in a lot of their latest bodies.

"game changer" "dream cine gear" a lot of big words being thrown around! panny better deliver.. all i hope from them is to sort out a reliable video (PD)AF system. panasonic is currently still last in that department.

GS? 8K? RAW? PDAF? That's what it's going to need to live up to the hype at this point!

I'm in NYC right now and considering picking up a Z7 as I need a high MP stills camera (and still have a bit of Nikkor glass). I saw one the other day for $2K ! This recall BS is kinda giving me second thoughts though. My D750 got recalled twice and I swore never again.. you guys think Z7 is ok for video? 4K has line skipping right?

This is simply untrue. Almost all Sony cams are made in China, A9 is made in Thailand. Nikon D850 is made in Thailand. Panasonic GH5, S1 etc made in China. Fuji XT3: made in China. Previous XT series were made in Japan. big quality control drop and a lot of issues on the MiC XT3. Only Canon still makes a large part of their cams in Japan, including the affordable EOS RP. Nikon did produce the Z series in their Sendai factory which hardly produced any cameras except for D5 & DF. So kudos to them!

i see kid giving fake advice all the time on canon forums over there. one day he's an EOS R owner, the other a 5DIV expert.. when we all know he's probably still on his Rebel 500D.. SMH

Nikon would need to sort out lot more than the AF for me to consider Z6. As others pointed out you basically need an Atomos for video (just to shoot N-Log) which defeats the purpose of a compact hybrid. shooting handheld, on gimbal/slider with the camera tethered to a recorder via HDMI is a PITA. False assumption. A dual cam setup allows for a lot of flexibility including A/B multi-cam setups. FS7 can also do a lot more than just 10 bit 422. 4K60p, 180fps in cam and up to 240fps RAW in 2K externally. A cine cam also gives you ND filters, XLRs, SDI, TC, Battery life & overall reliability/ergonomics that are invaluable on a long paid shoot. That's another reason why Nikon or Fuji aren't really an option for me as they offer no cine cam ecosystem. And since I like to work with one lens set per shoot that kind of eliminates Panasonic as an option as well. Leaving Sony as the only practical alternative to Canon. Canon still has DPAF advantage on their cine cams so I'm not really ready to switch but I like to keep an open mind..

I would be happy with 1DX2 specs (no crop) + IBIS in a mirrorless body with dual card slots & C-Log 1/2/3. (IBIS is already confirmed btw) Canon obviously have to keep developing their tech. I expect quad-pixel AF. Better DR/ISO/RS etc.. We'll just have to wait & see what they come up with. If they drop the ball on video in the pro model, I'm out too. Either A7III+FS7 or S1+EVA1. Not super keen on either alternative atm, but it is getting tiresome to feel held back.

No, they need that pro model to sell those pro lenses. The delay is just R&D / sensor tech related. Canon admitted in their Q1 financial report released few days ago that EOS R was rushed to meet demand/competition.

it's $2,699 but still way overpriced compared to EF version or even the $1500 85mm 1.4 that has IS. yeah the optics are superior but who in their right mind would drop that kind of cash to put on a R/RP?! i'm sticking with EF for the conceivable future.. canon better drop that pro model pronto..

FWIW pretty much all classic American TV shows were shot on film during the 80s/90s. Problem is the footage back then was immediately re-scanned into NTSC (480p) for cheaper/faster digital editing, fx, scoring & network distribution. Today only major blockbuster shows (like Seinfeld etc) can afford the complex job of getting "remastered" to HD/UHD.

@andrgl I do own the 55" 4K OLED TV but I don't edit on a 4K/5K display for those very reasons you mention since i mostly shoot FHD. that might change when i get a C200 though.

you can use EF-S lenses in any mode but it won't "reduce the crop". automatically jumps to 1.74x for video. RS stays about the same. Bummer on both, i know!

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.