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Everything posted by Kino

  1. I noticed the banding but assumed it was YouTube compression since I haven't seen it on C70 footage before. I believe uploading in 8K fixes some of these compression issues on YT. What I love about the C70, in contrast with the R5's more brittle image, is the highlight roll-off, color saturation (especially in low light), and overall cinematic quality, which are all evident in those clips. The image is nice and creamy:
  2. C70 in low light featuring rich tones and subtle gradations: RAW in this camera would be amazing, but you don't really need it. The camera is already reaching C300/C500 RAW quality with XF-AVC:
  3. Canon rep also confirms that there is no open gate, but leaves door open for future firmware (14:10):
  4. Correction: 16 bit is a number from CVP's claim on the C70's DGO. But I don't see how they came up with that number . . . Technically: 2 x 14bit (16,384 gradients) = 15 bit or 32,768 gradients. Still, it is much more than the 12 bit (4,096) in the R5's video mode.
  5. As proven by numerous tests, 10-11 stops is the best DR that the R5 can yield when shot in RAW. R5/R5C has no Clog2 during the RAW encoding. Selecting the Clog2 gamma in Resolve will yield the same DR: All of this makes sense when you realize you are comparing a 12 bit sensor readout in the R5 to a 16 bit source (2 X 14 bit readout in DGO mode) in the C70. Canon rates the C70 at 16+ stops, significantly above any claims they have made for the R5.
  6. There is no contest between C70 and R5/R5C when it comes to DR:
  7. Official Canon preview video from the upcoming stream confirms that only one camera (i.e., R5C) will be introduced during Jan 19 event: "a new addition to the Cinema EOS family . . ." This better be good. There is no point in adding a dizzying array of codec options if the dynamic range of this camera has not been improved.
  8. The current Cinema RAW Light on C200/C300 III records at 1Gbps, so this "LT" is a slightly more efficient/compressed version of what they already have. It should bring the image much closer to the levels of the C300 III RAW footage, which has better detail and colors (at the price of more noise in the shadows). Despite the rumors I posted above, I'm doubtful that Canon would undercut the R5C announcement by also revealing the new 8K cinema cameras. I would imagine a separate announcement later in the year for such revolutionary 8K DGO sensors. As you suggest, it may well be more of a "tease."
  9. Correction: According to Canon, C70 Cinema RAW Light recording will be internal to the SD card: https://www.canon.co.uk/video-cameras/eos-c70/?fbclid=IwAR2nBNoajqaNaIfH_u0du_JtTESFDUEEjCauYmzFwG1wGoxkgLjGc00TtY4 Cinema RAW light The EOS C70 now offers users the ability to capture Cinema RAW Light internally to SD cards*. RAW provides you with greater image quality and flexibility in post-production. On-top of the existing 10-bit XF-AVC currently found in the EOS C70, 12-bit Cinema RAW Light LT features data rates up to 645Mbps, offering much more manageable/efficient file sizes to streamline your workflow, while retaining the same benefits of RAW. Simultaneous recording of Cinema RAW Light and XF-AVC Proxies is also supported. * firmware available in March 2022
  10. https://www.canonrumors.com/more-than-just-the-canon-eos-r5c-will-be-announced-on-january-19-2022/ According to this source, Canon will also announce the following: RAW option for the C70 (this must be external); RF cinema glass; and C300/C500 8K cameras. I guess the R5C is just a stop-gap until we get those proper 8K cinema cameras. Canon is milking the R5 one more time . . .
  11. True. I had to look this up as I don't own an R5. The camera switches to 12 bit readout in Electronic Shutter mode. That is a serious problem. This is why Canon Cinema Cameras since the original C300 have always used 14 bit readout at the sensor regardless of the video encode. So, the R5 sensor, at least in its current configuration, is possible destined for poor video DR even with a shiny new "C" next to it. Perhaps this is correct, but if they can add CLOG 3 to the R5, then CLOG 2 should not be a problem.
  12. R5's dynamic range in stills mode is much better than the current video performance of around 10-11 stops. The R5 sensor should yield a higher DR, but the problem is the video encoding. Canon's Cinema "RAW" utilizes the Log profiles that are built into the camera. This is true on all the cinema cameras. For comparison, CLOG2 performed well on the old C300 II sensor from 2015, so there is no reason why it can't work with the much newer R5 sensor. Combined with Cinema RAW Lite, XF-AVC, upgraded ports, unlimited recording time, and the new XLR hot shoe, it makes for a compelling cinema cam far beyond the capabilities of the original R5. Withholding CLOG2 from this camera only makes sense if they want to protect the C70 or the future Cinema EOS 8K cameras.
  13. Clog2 is overkill for a hybrid camera such as this. It is also not necessary as the camera has been designed with Clog3 implementation, which can theoretically yield 14 stops of DR according to Canon. There is some extra shadow detail in Clog2, but highlights are very similar to Clog3: If this camera ships with uncropped 6.7K RAW video from a 30MP BSI sensor with improved DR and RS over the R5/1DXIII, it will be very compelling at $6,000 USD for certain shooters. However, those who need a broadcast field camera should obviously purchase a C70 or FX6 and not even think about these hybrids. There you will find all your relevant log functions and the waveforms required to expose them correctly!
  14. You basically get what you pay for here with these cameras. The special thing about the Komodo, however, is the ability to match the color of much more expensive RED cameras: What ultimately segments Komodo from Dragon and Gemini is the lack of HFR, more REDCODE compression options, and a pro interface or connections. Otherwise, RED is delivering some serious image quality that threatens its own high-end cameras.
  15. It's hard to believe, but Komodo looks better than Gemini in this ISO test:
  16. Some of the best Komodo footage so far and a great review (aside from the misreading of the Xyla chart):
  17. I think the Mavo LF image quality also owes something to the robust ProRes 4444 XQ codec that is available internally. It is better than many of the proprietary RAW formats that are partially debayered (e.g., ZRAW, BRAW). The Mavo Edge 8K should be an excellent choice based on what we have seen with the Mavo LF 6K. However, it is about to get very competitive in that price range. Lower down, even ZCAM is doing some impressive things with color and internal ProRes:
  18. I'm not sure about the C500 II, but it sure would put a damper on these plans: https://www.canonrumors.com/canon-to-introduce-two-8k-cinema-eos-cameras-in-2021-cr2/ One of these Cinema EOS cameras will no doubt be on the level of the C700, as they speculate, but the other one will likely be a cheaper and more compact variant that could be severely undermined by a fully-functioning 8K RAW camera for $4K.
  19. Kino

    Sony A7S III

    This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec: In the hands of a capable shooter, the lack of internal RAW is no limitation at all.
  20. If you look back on the clips that were posted, such as the plane at the airport, you can see that while Komodo has trouble with noise and low light, the color fidelity is not sacrificed as it can be with a lot of cameras in the $6K range. When the lights go down, the bit depth does not suffer: it does not go "thin" or start looking like 8-bit footage when you withdraw light. I can't speak to the colors in the grading process as I haven't downloaded any of the R3D files, but you can probably get it to match any of the modern RED sensors close enough. This is, after all, intended as a gimbal camera and not as a main one. So it is somewhat taking the place of the very capable RED Raven 4.5K, albeit in a very different marketplace. Nowadays, for just two thousand more, you can get a Kinefinity MAVO LF ($8K brain), which is an incredible camera for the price and I think a much better option as a proper cinema cam:
  21. Has anyone tried comparing the R5 overheating and recovery times with the BG-R10 battery grip in place?
  22. I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR: Then again, for $6K, you are getting a "discount Dragon," so no complaints!
  23. I have no doubt this 8K sensor will find its way into Canon's cine lineup with proper heat management. But you will be paying a lot more cash for this privilege. Like any Japanese conglomerate, Canon are masters of product differentiation. They will never give you everything in one product and they will never give you more for less. Indeed, it turns out this camera has amazing RS performance, but it is otherwise hobbled vs. the 1DX III when it comes to usability for video. It also lacks the more creamy look of the 1DX III and has slightly less DR. You can see how it clips easier in this test: :
  24. I watched the whole presentation live on their YT channel weeks ago. Grant did say you can switch the mount to EF by purchasing it separately, but my point is that it is a camera intended for high-end PL glass. That's not to say you can't use EF glass or that it won't work at all. On Blackmagic Forum, they posted a still image from the 12K camera using a Sigma 18-35 EF, so it is possible (but not ideal).
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