gt3rs

I'm quite a fan of enabling EIS on post based on gyro and other metadata. Insta360 allows you to turn it on and off in post so you could decide what is best. For example if you have the camera on a roll-cage in a car you want to have it off but on a helmet you want to have it on. With GoPro's you need to select it first as it does on the camera itself on insta it does it on post. Also in post it could use more processing power of a PC, disadvantage you need to process the files before using it. It is very cool on the FX9 that you can do it in post, I hope Canon will follow as they simply need to add the metadata (maybe is already there).

Sure it does, I would never be able to track somebody at 560mm or at 50 1.4 while doing actions. The limitation is max 30fps at 60fps is manual focus only.

Some frame grabs at 5.5k Grab from 5.5k 60fps 16mm 2.8 at 1/1000 Grab from 5.5k 25fps 1/50, 560 mm using DPAF Grab from 5.5k 25fps, 1/50, 50mm 1.4 on Ronin S

My guess is somewhere in between C200 and C500 II maybe at 11k if you want the FF look mostly for movie you get the 500 II if more doc action etc C300 III with s35..... c200 is the entry level... let see

I don't like to criticize camera comparisons because it takes a lot of effort and is basically impossible to get it right. Just a couple of things are puzzling me: Kind of a wired way to test DR.... by just looking at the highlights..... also how did he check that the exposure is exactly the same (iso don't match already but also iso between models and brands are also not 100% matching)? Highlight recovery is not the same as DR. Also the stabilization test where it is evident (as it should be) that the Panny is better, it is completely ruined by the AF... for something like this I take EIS + working AF than OIS but crappy AF.... as I can put it on a gimbal and solve the issue, much harder to keep the focus.... Would have liked to see also the comparison in HFR between 1Dx III 120 fps vs 180 of Panny..... instead he does not even mention the 120fps of the 1Dx.... Maybe I missed it but he should mention that Panny has as an advantage the flippy screen and many more video features like waveform/zebra, etc....

I use Resolve Studio (paied) to add motion blur for time lapse and works quite good if you have a good GPU, did not try yet with normal scene... you need the payed version for this feature.

From a marketing prospective it make no sense to have both announcement on the same event. Two announcements means more press coverage and more important spread over time... So I agree with you will be Cinema stuff only.

Some more observations: I did try out RAW quite a bit and is quite impressive also in Resolve is easy to work with. I will probably use RAW more than what I first thought I would. I wish RAW 50/60 would still have AF but you cannot have it all… Other than for shutter speed you can pull a picture from the RAW file and it will be almost indistinguishable from a RAW photo (12 vs 14 bit), in some cases I will use a compromised shutter speed so I can get both video and stills. On Canon web site you can download the LUTs: https://www.usa.canon.com/internet/portal/us/home/support/details/cameras/eos-dslr-and-mirrorless-cameras/dslr/eos-1d-x-mark-iii/?subtab=downloads-software For RAW you can decide how much highlight protection by either enabling D+ or Log (yes is confusing), be aware that if you record proxy to this setting will affect the proxy: As already said the menu with all the resolution/codec is super messy I wish you could enable only certain modes…. like disabling all the UHD modes, IBP etc…. Also the 100/120fps is another separate setting and once you disable it put the camera to FHD…. I find very good the AF that has various option for size like small, surrounding, vertical or horizontal zone etc.. a big improvement over the 1Dx II for video. I did try again the Active Track on Ronin S and if you set the tilt stiffness to >80 it has no problem with an iPhone on the hot shoe (1Dx III + 50 1.2 + iPhone X max) Some interesting comparison that I found on youtube (again these cameras are not really targeted at the same audience but still interesting to see): 1Dx III vs C500 II https://www.youtube.com/watch?v=Ab2pj8CEJzE 1Dx III vs RED Scarlet W https://www.youtube.com/watch?v=LUYGQFXlwXY For video a mirrorless version with flippy screen and the RF ND adapter would make an amazing camera…..

To summary up the findings so far around Resolve Studio 16.2 and 1Dx III files: - HEVC ALL-I and IPB 10bit 4:2:2 25fps neither Quick Sync or Nvidia 20xx can HW decode them. From our test seems all done in the CPU. - A top class desktop CPU 9900K can software decode in realtime both HEVC ALL-I and IPB 10bit 4:2:2 25 fps - A top class Notebook CPU 8750H can software decode in real-time but really at the limit (not really usable on a timeline without setting half resolution) HEVC but only IPB 10bit 4:2:2 25 fps not ALL-I (this is a strange one as IPB are more computationally intensive, probably the software decoder is more optimized for IPB). - A top class desktop CPU 9900K with a Nvidia 2080ti can realtime playback RAW 24fps. Probably even at 60fps I would need to upload and send a file to @Trankilstef - A top class Notebook CPU 8750H but with a medium gpu 1050ti cannot real-time playback RAW 24fps, CPU is at 70% and GPU at 100% so maybe a gaming notebook with 8750H or 9750H with a 2070 or 2080 is able to do real-time RAW playback. Hope to find it out soon - A top class Notebook 9750H with 2070 cannot playback real-time HEVC ALL-I 10bit 4:2:2 25fps. We would need to test IPB I just cannot imagine if the R5 at 8K will also be HVEC 10bit 4:2:2 if there is a machine that can playback those files. Hopefully there will be HW decoding in the future for this file type. Thanks a lot to @KnightsFan @Trankilstef and @Matthew19 for the tests and contribution

Just to be sure did you restart Resolve after checking and unchecking as the setting needs a restart?

FYI I have Sandisk Extreme Pro 256 GB and 512 GB cards and both works with RAW. Did not test 60fps RAW yet but did film quite a bit 25fps RAW with no issue.

Inspired by @Matthew19 I did try 10bit 4:2:2 h265 but IPB and on the XPS i7 8750H it can at least play back in real-time in the media preview window and on a FHD timeline on the color tab. CPU is 100%. I did try with enabled and disabled HW decode and got the same result so is software decoded by the CPU. So as the 10 core Xeon CPU of the iMac Pro is almost twice as fast as the notebook class i7 8750H cpu I see why is not problem. Also puzzled why All-I is slower that IPB....

You need to enable the intel integrated graphic card (some PC bios do not allow it at all). But from my test 8750H and @KnightsFan test 9750H quick sync does not work for 10bit 265 4:2:2 files..... Resolve shows media offline. If we turn off we can see the playback but is choppy. Now the question is why the 2080ti can decode realtime 10bit 265 4:2:2 but @KnightsFan 2070 cannot, seems strange.... driver version maybe? On more test that @Trankilstef could do is uncheck the NVIDIA decoder in resolve and see if there is a difference so we are sure that is the GPU decoding. Btw we use all the same 10bit file for the test. @Matthew19 I think without specific HW decoder it is impossible even on a 10 cores to be able to decode 265 via software only. Are you using Resolve Studio too? With a 10 cores and a good GPU it should be possible to do realtime playback of RAW..... @Trankilstef PC can playback real time RAW too

I have sent you a PM, as posted in previous posts I believe only the new 20xx can HW decode h265 10bit > 4:2:0. If you can decode in real-time 10bit 4:2:2 S1H file you should be able to do the same with the 1Dx III as the specification should be the same 10bit 4:2:2 h265....

Super, I have sent you a PM with the link please report back here if it works or not. Thx!!

Did test at one icehockey match, unfortunately U17 only as pro were already stopped here, here some observations: I did try the auto point selection AF in OVF at let the AF pick the right point and it worked well, with the 1Dx II I had to always use single AF point with surrounding. So I was impressed that you can have all AF points active. AF seems better but as U17 are slower than Pro is hard to me to compare. RAW noise at iso 4000 and 8000 is probably ½ stop or 2/3 of a stop better than the 1Dx II. For the third period I only shoot as a test in LV at 20fps with electronic shutter. I did handhold a 200-400 while taking picture looking at the screen on a hockey match… very silly… but surprisingly the AF worked very similar to the OVF version. So comparing both LV vs OVF in term of picture in focus I did not see much difference. While using LV remember to disable automatic display of the last picture taken, because as soon as you depress the shutter it show the last picture and you need hit the shutter again to see the live feed. Once disable I found it fairly easy to follow the action but definitely not as easy as the OVF. I found only 1 picture that you could see the hockey stick curved due to the rolling shutter on all the other photos I did not notice and issue. If you use the electronic shutter you can only shoot either in single shoot or 20 fps, so you get tons of pictures. You can of course use LV with mechanical and there you can set whatever fps you want. I use electronic because I wanted to test the fully silent mode when I shoot things that the sound is annoying. I wish there was an optional EVF hotshoe mountable like the M so you could have best of both world. If R5 will have the same LV AF performance it will be very good, I saw some test with the 1Dx III in LV with basketball that were promising but icehockey is even faster so I was really surprised how good it is. Some random observation for video: 120fps HD I would say has no improvements over the 1Dx II in sharpness, the advantage here is the 10bit log and the electronic IS. The LV AF has many more choices than the 1Dx II like various zones etc. so you can have small AF point or a whole vertical zone so it is easier to keep the focus on the subject. Did film some somersaults on a gymnastic mat at 120fps 24mm at 1.4 with AF at the AF was spot on. 1Dx III balances well on the Ronin S as the 1Dx II (there is a silly video on YT of a guy using counterweight etc. but not needed at all). Tested with 50 1.2, 24 1.4 and 16-35 2.8 Did some OneWheel rail action filming with the Ronin S, 50 1.2 at 1.4 both using the people tracking and zone AF. It worked quite well in a difficult situation, if you can see the face then the people/face/eye tracking works very well but as son as you don’t see the face is more tricky. But at 1.4 I could never manual focus the same scene, I’m sure people can do it but I really can’t. Did some test with the Active Tracking on the Ronin S again with the 50 at 1.4 and worked surprisingly well, but with an iphone on top of the 1Dx III you would need counter weights (I do not have any) so it works only if there is no tilt on the camera. 10bit h265 log files are a pita to work in resolve at least on my machine. Did some filming handled with both 50mm and 70-200 (with IS) with the EIS on enhanced and logically it is far from gimbal stability when you walk or run but if you are moving slowly is fairly good. Did try filming a galloping horse at 200mm handheld and the result was quite usable of course not like a great fluid head. I did set the new thumb joystick as AF stop and direct AF move. If I’m filming handheld I find it better than using the touch screen to change the AF point while filming, more stable. Simply press and slide and you stop AF, move the point and reengage AF. I also set the front button to toggle AF for period that I don’t want to have AF in some part of the scene. To pull a photo in DPP you need to position the playhead on the right spot and mark in and out and then export the movie so you get a single TIFF file. Would be better to have a single button save picture…. I find quicker in Resolve. Ideally would be cool that in DPP you could extract a 12bit CR3 file out of the CRW file. DPP plays back RAW files in realtime but a lower resolution, once you stop it switches to the full RAW. Currently is the only software that I can paly back real time. DPP with the installed HVEC codec can play back 10bit LOG file but not in realtime in my machine, same speed as in Resolve. For HVEC movie you can extract a picture with a single click. Curious too see what the R5/6 will bring and if they will do a mirrorless version of the 1Dx III sooner than later. If somebody has a windows machine with a Nvidia 2070 or 2080 would be cool to see if Resolve Studio version can HW decode these 10bit h265 files…

Can't speak for androidlad but 1Dx III the 10 bit 4:2:2 is h265 only and only this codec has Log. I doubt they develop this for a single "small" volume camera it is also not used in their Cinema camera so it is a fair guess that it would be in the R5. Just be ready that at the moment editing this format is really pain at least in resolve at 4k, I really cannot imagine how slow it will be at 8k. 5.5k RAW are faster to edit.

Since when can the EOS R record in 10bit? Or are you using an external recorder?

5.5k RAW should work fine on your machine I get around 20fps (it shows 25 fps in the UI but it stutters) with a gaming notebook 1070 8gb and i7-7700 HQ. On the above notebook Resolve 16.2 I can edit 120fps FHD both 8bit and 10bit in real-time no problem, I can edit 4k DCI and UHD 8bit 25fps no issue and I'm at the limit for 50fps. 4k DCI or UHD 25 fps 10bit is a no go (like 7-13 fps) 10xx NVidia cannot decode > 4:2:0 10bit h265 in HW..... new ones can do 10bit 4:4:4 but not sure can do 4:2:2..... https://developer.nvidia.com/video-encode-decode-gpu-support-matrix

What software do you use for editing and what machine type for the 10bit files?

I also think so. I think it will do 8k h265 10bit <=30 fps, hopefully 4k DCI/UHD 10 bit super sampled up to 30 fps (maybe up to 60fps) , 4k 120 fps probably will be 1-1 crop.... and already would be a super video machine. Hopefully there will be some crops mode to lover the rolling shutter. Editing 8k 10bit h265 natively will be really hard. Hopefully as the format become more popular more optimization and gpu support will be available.

5.5k raw at 60 fps is quite close to 8k 30 fps in data so it would be in theory doable. Not sure they will do it

Yes it will be aggressively high. If production is limited they will try to capitalize on early adopters. I would guess around 3900 usd

Did a super quick test and is quite visible at 4k 25fps FF and quite good at 4k 50fps FF. So I would guess ~30ms at 25/30 fps FF and ~15 at 50/60 fps FF

As for my type of work (mostly sport and action) none of the mentioned camera comes in my consideration due to lack or not great AF. The Z6 would be the only one but the lack of 4k 60p and having tons of Canon lenses makes the Z6 not attractive to me neither.