gt3rs

8 minutes ago, gt3rs said:

It can be powered by the USB-C you need a PD compliant one and powerful enough. Canon R5 you need a 45W one I bet this one too.

Cameralabs used a Mac charger to power it.

here is powered over power bank 

1 hour ago, Attila Bakos said:

From Newsshooter: "Canon has a new AC adapter for the R5 C as well as a compact power adapter and a DC coupler that features a dummy battery at one end. While Canon hasn’t stated that you will be able to shoot 8K 50/60p with a V-lock battery, etc. I think it is safe to assume that you could by attaching the DC coupler to another battery source."
So it won't be powered via USB-C, but you can probably find a solution to power it with an external battery.

It can be powered by the USB-C you need a PD compliant one and powerful enough. Canon R5 you need a 45W one I bet this one too.

Cameralabs used a Mac charger to power it.

Apparently 8k 50p is possible on internal battery, 8k 60p needs external power.

Seems that AF works in 8k 50 and 60.

Also 4k 60p is oversampled so sharper than the R5. Not sure about 120p

It has dual iso.

Finally it has all the C line assists like WF, false color, etc…

Price around 600$ more than R5.

20 minutes ago, kye said:

OMFG is right.

I'd say "what the f* did I just watch" but I only made it to 2:27s.  I haven't seen acting that bad in a looooong time.

Then I thought, "did Canon give a pre-production model to some random influencers and this is what they posted?".  Nope.  CanonUSA official YT channel.

*facepalm*

Worst intro video ever, it is so bad and completely useless.

58 minutes ago, Video Hummus said:

What in the actually fuck. That is the cripple hammer right here. Unless you can have a battery grip and then do it. More detailed pictures on Canon Rumors. What the hell is that port on the top right of the picture.? Could this be the external power plug for 8K60p?

 

I think is the timecode terminal

Mmmh 8k 60p apparently only with external power source whatever it means....

14 hours ago, BenEricson said:

This isn't really practical though... I'm talking about Premiere Pro, 3/4 tracks of video, multi camera etc. At least the Komodo will easily cut in premiere.

 

Is not practical for you because the lazy Adobe developers...... Is not that RED RAW is faster is just the software implementation in Premiere that is faster.....

Again in Resolve 8k CRL is way faster than any of the h265 codecs that R5 has even 8bit ones.....

Instead of advising to transcode CRL to ProRes you should write to Adobe that they wake up or just stop paying lazy Adobe for the subscription.... they are always late and slow with all.... I'm still paying PS subscription but boy they are lazy.

CRL vs 10bit gives you a tad more DR, changing the WB, ISO after the fact. It also don't break a part as quick as Log3 10 bit files at least with my editing skills. So for me is the faster of the codec that R5 has for editing and the one giving me more quality and flexibility so why I should not use it? Only draw back is storage but I don't do long stuff and I have brought 2 x 2 TB CFexpress for 499$ each (ca. 500 hours of CRL at 24p)

So you can believe me or not but with the R5 and my PC the CRL is the one giving me the faster turnaround..

17 minutes ago, Django said:

 

by the way what resolution & crop factor does this correspond to: 2976 x 1570 (Super 16mm) ?

8192 / 2976 = 2.75x crop from a 8k DCI and around 3x from the full frame 3:2 sensor

Res is a tiny bit more than 2.7k

4 minutes ago, kaylee said:

could this be it...SLR form factor with a vent on the side...?

I really hope is like this, a R5 with a vent, hope they keep the same swivel screen.... I don't want to go back to 1D style of bodies and weight.

1 hour ago, Video Hummus said:

R5C confirmed to have internal unlimited 8K/60P Recording

Also:

Full-featured 13 assignable buttons (hint at a more C70 style body)
Simultaneous audio record enabled with HFR

RAW LITE in several bitrate flavors

https://www.canonrumors.com/here-are-some-canon-eos-r5-c-specifications/

I did not expect all this I was expecting a R5 with a fan and that is it.  Audio in HFR it was just about time, but 8k 60 RAW unlimited and Super 35 6k RAW is pretty cool. XF-AVC is also great as no more hard to edit h265 10bit...
Hope it has more video centric helps like scopes etc...
If the body is not too big I will swap out one of my R5. Let see if is all true and what are the caveats.

Price will be much higher than the R5 I guess at this point.

17 hours ago, BenEricson said:

interesting! Okay thanks for clearing that up.

Yes. You’re right. They’re also doing a lot of noise removal etc. It is a really clean image. Maybe raw improves things.

Watch some 4k uploads on Vimeo of the Komodo and then watch some stuff with the C70. There is a huge difference in sharpness and color depth with the red. 

I suppose this is like the iPhone though. The good and bad is the processing. The processing hides noise and artifacts, but can remove detail etc. Ultimately, the processing an iPhone does, is optimal in most scenarios.

I probably should back up on what I said about Canon Raw Lite. I don’t have any experience with the codec but have some second hand experience. My very talented editor friend was complaining about how ridiculously slow the files were editing. (30 min to import an hour long interview.)

I recommended re-compressing the CRL files to 12 bit 444 ProRes. That seemed to be a solid work around. Again, maybe the work flow gets better / smoother as premiere releases updates. A free added feature is always welcomed. You’re right though, they just want to sell units and compete with the Komodo / Pocket 6K.

CRL plays back real time in Resolve on a gaming notebook and I’m talking about 8k so 4k is no problem at all. I shoot 95% in CRL. 

There is no need to transcode it at all maybe with other NLE is needed but not in Resolve on a good machine.

11 minutes ago, Kino said:

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.

Is not the problem of raw light but the readout speed they need to switch to 12bit, this is why photos in ES have the same DR as video, mechanical has the full DR.

I cant agree more, It got so restrictive now especially with flying over people that < 250g is almost the only way to go.

On 11/1/2021 at 5:50 AM, Emanuel said:

•  IMHO under 250 grams is where the deal is for the obvious reasons :- )

On 10/31/2021 at 4:44 AM, kye said:

Totally agree about your comments that it's an "action" camera and that "action" is often best filmed with a fisheye.  I've watched enough skateboarding / skiing / surfing videos to know that it's definitely the right tool for the job.

The thing that bothers me about these cameras is that they don't have a way of turning down / off the ridiculous sharpening levels, or writing a higher bitrate / bit-depth.  For example, offering an unsharpened 130Mbps 10-bit 4K in a straight log curve would be great.

In terms of not getting that kind of footage any other way, it depends on what the situation is.  Sure, if you want to get footage by attaching a camera to the brim of your hat then yeah, you're not getting that with any other camera, but you don't have to compromise size or weight that much before you can get spectacularly better footage.  For example the BMMCC shoots 1080p RAW and is very small:

or the ZCam E1, which is barely bigger than the GoPro:

Both are MFT mounts and can take lenses of 7.5mm or 6mm (and some even wider if you dig far enough into C-mount history and industrial lenses) that offer seriously wide FOVs.  The 7.5mm lens is FF equivalent to a 15mm on FF and is about the same as most GoPros.

It's always a challenge of overheating vs features, and camera manufacturers have ALWAYS released cameras that work in some conditions and not others.  It's funny that most cameras don't work for people in the hot countries but when the people in the cold countries in the northern hemisphere are effected then it's all tears and forum fist shaking! 😂😂😂

Z E1 215 gr, mft 7.5mm 170gr.... BMMCC is 300gr without battery and lens..... 0.5 KG on your helmet is super dangerous, try to convince an athlete to attach these to his helmet..... compared to a GO 2 27gr or this new osmo at 57gr.....  some of the people that I work with they complain about an insta360 R or GoPro imagine this. Since I use a GO 2 nobody is complaining.... quality is barley usable but people agree to use it. 
Crash happens all the time to so better throw away a 300-400$ camera (and some time is just the lens protector that breaks) than a 1500$....

Also for helmet mount or Mtb mount etc you need great stabilization so that rules out camera like Z E1 or BMMCC....

Consumer action camera has progressed so much especially on the stabilization, horizon lock, etc.. that is almost not financially doable to build a more pro version as the market is way to small compared to the investment needed.

Insta and Gopro offer some flat profile but only 8 bit and has some sharpening on it..... 10 bit and no sharpening I do agree it would be great.

I was very exited about the 1 inch insta but at the end is the one that I use the least as is too narrow for body mount, it has minimum focus etc. so I end up use it as kind of remote camera but most of the time for that I can put one of my R5 with a much better quality, like for ice hokcey net, car roll bar, horse showjumping obstacle, etc... 

 

On 10/30/2021 at 8:11 AM, Eric Calabros said:

Its bitrates at 12:1 is ideal for me, but does RED let them use it? I mean if they let Nikon do it, everybody else is going to ask their green light. If this raw is edit-friendly as intoPIX claims, RED would feel threatened. We think a giant like RED shouldn't be worried about hybrid camera market, but they don't think like us.

They could have a license agreement. Canon seems to have one with RED, Nikon could have also done this. It could be fairly rentable for RED to license it.

I think it would be great to have action cam with a 24 or even better 35mm 1.8 lens to chest or helmet or bike mount.... for sure you will not see all the artifacts as it will be all oof.....

They call action cameras because they are made for that, not for narrative work.
I'm sorry that you don't like that people enjoy skiing, snowboarding, mtb.... but you don't need to watch and it does not have to be extreme as the target are consumers.
For a action POV camera the wider the better and I can tell you the 1 inch insta that is probably the better camera of all the action camera stays mostly at home as the fov is useless for POV and for non POV a mirrorless camera is 1000 better. 

I do agree that quality is horrible from all but you get footage that you will not get in another way. Is the same as 360 cameras quality is horrible buy you can capture scene that would cost 100x more to do with a real camera.

10 hours ago, Emanuel said:

And when you see two unrelated people saying the same...

It's not from nowhere.

It depends on the usage, for POV Sports like helmet, chest and so on the wider the better, you want the ski, snowboard, horse etc in the frame, it also show more the speed.
I do prefer much more a 360 reframed or GO2 than normal GoPro FOV for POV. 
If you want to use it as more normal then yes they are too vide. GoPro approach with the additional MaxMod lens is not a bad idea.

I find the 1 inch insta too narrow for most POV work. Car mount is ok but body mounted is not that great.

I'm not sure about this Osmo..... the mount is terrible for action/sports one impact and the clips will break and you will lose the camera. Seems a terrible design for an action camera. GoPro mount based on a frame or embedded in the structure is the best solution as the swivel part take the force but camera normally will not detach..

11 hours ago, IronFilm said:

They are indeed doing exactly that:

Canon was one of the first putting a 1.4x TC on the 200-400, I never understood why they did not add it to all new big lens.

Nikon is doing it right it, it is super convenient the embedded TC. So now they have 180-400 F4 and the 400 F2.8 with TC and I'm sure they will do the same with the 500 and 600. It is so logical...

One recent example

6 minutes ago, kye said:

The aspect of this that might be cumbersome (selecting images from huge bursts) will really depend on the features that are provided to the user.

For example, Nikon could easily implement a feature on the camera itself to detect that images were part of a burst and show them like a video being scrolled through.  The user selects one or more images to keep, and maybe there's a button that says "Delete all non-kept images".  Maybe from that burst, maybe from all bursts that have one or more "Kept" images.  You might hit a button for the camera to show you the bursts that haven't got anything Kept yet, so you knew you hadn't cleaned those ones up.

With a slick interface design, the right button allocations, and a bit of practice, the process of culling your bursts might be quite an easy and straight-forward process.  This would be instead of having to transfer all images from the card, select ones on the computer, carefully and manually remove the ones you didn't want, probably all in a program that doesn't know where one burst stops and the next one starts.

Just something to keep in mind.

I used to use PW remotes for my remote camera, now in most cases I just start video recording and select the image after from the video, is much quicker to find the right moment in Resolve that culling many images. The big advantage for me no more miss fires, buffer full and so on. Also the fact that now camera are fully silent is a big plus too in some environment that I place the remote

Photo DR is 1 stop less that  Z7 II apparently but nevertheless seems impressive.

Spec are now public, seems a really impressive camera and priced quite aggressively at 5500$. 

I'm not a Nikon user but I'm very happy to see Nikon bring such camera to the market. To me at least at spec level it seems a much better camera that the R3 form 500$ less especially once they get Raw video and 8K 60 but even without it is still a better camera on paper.

3 hours ago, Eric Calabros said:

Of course there is. Your camera is blind to the events happening "between the frames".

So you are saying that you will have a better chance to time it perfectly with 1 shoot than spray at 120fps? Do you realize that there is a lag in by pressing the button until capture, so at 120fps it gives much more chances to capture the perfect moment. 
Of course you may miss it because it happens between frame 76 and 77 for a duration of  < 8 ms...... 

Rarely but sometime I do this I let filming the R5 at 120fps and pull the frame there when I want the perfect moment. I mostly do at 8k 30fps as the quality is better.

So is not a change the world feature but I do find it quite useful, it would be better FF than crop imo....

2 hours ago, Django said:

If the latest rumours are true, Z9 will be without mechanical shutter. I don't understand how flash sync would then work ?

I guess we'll find ut tomorrow..

You can sync with full electronic shutter is basically the readout speed e.g. R3 is 1/180 … A1 I believe is 1/200

14 hours ago, SRV1981 said:

That said,

What do you think makes more sense for a balance of photo/video - sports/events/docs

1. 24-105 f/4 + 35mm f/1.8

2. 35mm f/1.8 + 85mm f/1.8

3. 70-200 f/2.8 + 35 f/1.8

I will most likely get 1 lens to start and then i'll save for a second... to me, it seems that the above combos will get me where I want to be in most situations.  Again,  this isn't work so I don't have to worry too much and can change lenses for the most part without worrying about missing footage (i.e. I can shoot with one lens and if I want to get another angle I can stop and patiently switch lenses - no rush)

EF 85 1.8 I had that it is ok but too short for most sports, I sold it as it was mostly collecting dust. If you find a really cheap used ok but if not stay away as there is a new RF 85 2.0 so the EF 85 1.8 value is tanking... 200 $ max

If it would be me:

EF 70-200 IS II used (1000 usd), Adapter EF-R (100 usd), RF 24-105 4-7.1 used (220 usd)

When you have some more money left add

RF 35 1.8 used (350 usd) or RF 50 1.8 used (180 usd) by looking at the focal length that you will use the most out of your experience with the RF 24-105 4-7.1......

If you did not buy yet the R6 I believe is sold in kit with the RF 24-105 4-7.1  (this is why there are so many used one on the market selling out of the kit, I got mine for 190 usd)