gt3rs
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Posts posted by gt3rs
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Not sure if is a trusted source but here they say that DPAF 4k dci crop 60fps is active
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27 minutes ago, Mokara said:
The specs say the buffer is 1000 frames. That is a lot, but not unlimited. That corresponds to ~50 seconds at 20 fps, which is more than you will ever need shooting stills. After that you will be limited by whatever the file write rate is. To have unlimited raw stills at 20 fps you would need a card write speed of ~ 800 MB/s, and somehow I rather doubt that the camera is capable of doing that.
At 25 MB x 1000 frames = 25 GB Ram I really doubt that the camera has that amount of Ram.
You need around 500 MB/s for unlimited buffer and cfexpress can do 1400.....
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1 hour ago, Django said:
- DPAF (slaughters Panasonics DFD AF)
- Native lens selection
Nothing odd about it. If ain't broke don't fix it.
1D line has never been about resolution. And I'm pretty sure we're approaching mechanical limits for FPS.
What does matter and has vastly improved in the Mark III is:
10-bit HEIF (vs 8-bit JPG)
AF (28 times the resolution, almost 100% coverage, new deep learning AI tech, eye AF)
MF Peaking, Focus Guide
FPS (16 to 20 vs 14 to 16)
CFExpress (five times the buffer depth)
Twice file transfer speed
..etc
This update is a lot more substantial than lets say the A9 II which rehashes the same sensor, AF system, burst rate.. and (8-bit) video specs!
Also
- 20 fps fully silent with servo AF. In some occasions the 1Dx II is too loud for the environment.
- Integrated WiFi, the dongle is a real pita
- many choices of video bitrates
Curios to see:
120fps quality, hope is a bit improved although I doubt
4k FF quality
If it DPAF in 4k 60fps crop
If it can record video on two cards simultaneously
Rolling shutter in 5.4 and 4k and in electronic shutter
Unlimited recording time
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5 hours ago, Mokara said:
Probably because the amount of data the camera has to handle is too large. They don't do these things for no reason, it is usually because of limitations in the hardware.
Well, with stills the raw data is going into the buffer, so it does not impose a resource drain on DPAF. When the buffer is full the fps will drop by a lot. With video there is a constant requirement for compression (there is a 1:2 compression ratio for RAW as per Androidlad's specs), so there will be a difference.
It has unlimited buffer in RAW for stills. CRAW is also unlimited and is compressed.
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1 hour ago, Video Hummus said:
Big note on the insta 360 One-R. It has a 1-inch sensor.
So hopefully it’s 360 abilities will be well above their past 360 camera.
I like the idea of it being modular. I’m just a bit worried about it’s survivability.
Very curios too about the new Insta... I have a one x and I really like but I hope for a bump in video quality... Modular system is interesting but how solid will it be?
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Yep for video only a C200 is a better buy but best combination would be a C500 II + 1Dx III.
The 1Dx III can shoot stills at 20fps with DPAF 12 bit RAW.... I’m wondering if it would have been so impossible to do 24fps RAW with DPAF? At 60fps is probably too much but 24 is not so far off from 20.....
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Let’s get real which hybrid camera can do?:
FF internal RAW >= 4k at 60fps
FF 4k 60fps
FF 4k 30fps with DPAFActually which cinema camera can do FF internal RAW > 4k and at what price? Without cooling fan and fully weather sealed?
The key question for me is how good is 4k FF (oversampled?) and if the crop 4k 60fps has DPAF
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17 minutes ago, Django said:
No AF on 6K RAW & 4K60p seems like reasonable compromises for everything else you’re getting.
Hopefully they will have DPAF at least on 4k60p cropped so the same as 1Dx II....
I understand the challenge to have DPAF on RAW although the C500 II can do it but it also has cooling fan and almost 3 times the cost. -
If the above list is true the question is what are all the limitations for every mode.... like DPAF, Log, etc...Hopefully it can do 5.4k RAW 24, 25 with DPAF and 4k DCI crop 60p also with DPAF and CLog.
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If this is true: https://www.canonrumors.com/forum/index.php?threads/here-are-the-full-specifications-for-the-canon-eos-1d-x-mark-iii.38019/page-2#post-806877
RAW movie 5.472k DCI
Canon Log (OFF / ON)
Recording format RAW (12bit)
Audio Linear PCM
Movie recording Image quality
RAW (5472 x 2886) DCI (15,792,192 pixels Cinema 2600Mbps 1:1 straight-read)
4K DCI (4096 x 2160)
4K DCI crop (4096 x 2160)
4K UHD (3840 x 2160)
Full HD (1920 x 1080)
Frame rate
119.9p / 59.94p / 29.97p / 24.00p / 23.98p (NTSC)
100.0p / 50.00p / 25.00p / 24.00p (PAL)
*High-speed frame Rate video: 119.9p / 100.0pI think the frame rate are for Full HD as I really doubt it can record 5.4k RAW at 120 fps...…..
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Entire spec list? Not even the sensor resolution is in there.... Nothing new on the list that was not in the pre announcement.
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8K or above is very beneficial for reframing 360 videos. The challenge is to fit two big enough sensors + lenses so close to each other. So a dual m43 camera would be super but the stitching at close distance will be a big challenge. Having multiple m43 sensors will make the size too big to profit from the amazing freedom that you have put in on long stick. The Qoocam with 2 1/1.7'' sensors and 8K is a first step in to getting high quality reframing... curious to see how this segment evolve in the next few years probably next step is 1'' sensor.
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One think that I do not understand is why canon is not offering compatibility with hot shoe EVFs like the one from the M6 II: https://www.bhphotovideo.com/c/product/1318788-REG/canon_1727c001_evf_dc2_electronic_viewfinder_black.html So you can have both OVF and EVF.... They could even sell a premium one....
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6 minutes ago, OliKMIA said:
Good point but even the director in the link said it "everybody else was on the C300s." This is a niche market for very high end production that can afford a bunch of $6,000 camera because it's convenient in some specific situation. If I remember correctly, a few 5DMk2 were used a stunt cameras during Mad Max production. Not really a mass market.
If you check the BTS you will spot at least 3 others 1Dx II placed as remote for video.
Not sure why is so hard to understand that the main target is not video only people, but it is sport action photographer that also shoot video and there are many like me.
On the price, I have my 1Dx II since release so by the time the 1Dx III is on the market it will be 4 years old. I have more than 300'000 shutter click on it so let say I can resell it for less that 1000 USD.
So 5k in 4 years it makes around 100$ a month.... the ones that screams around about the price they change systems and cameras in this 4 years a few time and I'm sure that they end up with more than 100$ a month...And btw the 4k 60p with AF was the main drive for me to upgrade from the 1Dx and 4 years later not many cameras can do that.
Canon is really frustrating because they have the tech to produce better camera and not cripple it like omitting Log etc... Let see what kind of limitations and or crippling will the 1Dx III have..... on the C500 II they went all in let's hope they will do the same with the 1Dx III -
Just now, Adam Kuźniar said:
wait what where
Freesolo I have updated the post above. Again It is a camera for sport and action photographer that do also video, if you are video only buy a cinema camera but for people like me I want a single camera that does both the best it can.
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59 minutes ago, OliKMIA said:
Looks like another schizophrenic move by Canon:
- On one hand they don't want to be completely left behind and try to play the specs game by adding features for the stickers on the box
- But on the other side, the implementation will suck, it's probably going to crop and omit key video features to protect the cineline.
In any case, who will buy this camera for the video specs? Pro sport photographers don't care about video. Pro video people can buy a real Cine camera at this price. Video enthusiasts and indie filmmakers won't be served by a brick DSLR cam (limited gimbal value), fixed screen, no video assist features...
It reminds me the 1Dx2. The 4k60 on a FF camera was a big "wow" upon release. But then people realized all the dealbreakers: huge 800mbps file, no LOG, no video features, etc. I Haven't seen anyone using the 1Dx2 for video work: too big, to expensive, not video friendly, ergonomic designed for war and olympic games photographer.
Just won an Oscar but nobody uses it for video?
From freesolo director:"What cameras and lenses did the high-angle team have in hand?
On the walls we were shooting with the Canon C300s [Mark II]. Since I was directing and shooting, and also shooting a NatGeo story on top of it, I was filming with the Canon 1DX Mark II so I could film but also shoot stills. But everybody else was on the C300s. When we were up on the wall, we were using EF lenses, but when we shot vérité we often had the Canon Cinema Primes. The long shots from the ground up the wall were through the Canon 50–1000mm Cine-Servos. As you can imagine, that was a very critical lens throughout this film. Canon went above and beyond in their support of this film. We were very lucky indeed."
They used 1Dx II also as remote triggered video camera, on the BTS you can spot them multiple time. They had custom made long range camera triggers build around Arduino and long range radio
Again tons of pro photographer for Action and Sports do shoot video and many do with the same DSLR that we use for photo. It is not for you but the pro action and sport market is much bigger than the hobbits or limited budget video market and yes we shot video too -
13 minutes ago, thebrothersthre3 said:
Yeah this has DPAF and internal RAW, which puts it above the S1H. It better have clog though ?
The price is high for hobbyist but for a working professional $6000 is no biggie for a one size fits all camera.
The other good thing is this will force Sony's hand into the game.Log is in the press release now which Log is another story...: "shoot 4K videos including 4K60p with 10-bit 4:2:2 Canon Log internal recording."
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I'm really looking forward to this new camera but knowing Canon it is better to wait before celebrating especially for the video part.
The biggest unknown:
- Raw video resolution, crop, fps and codec. Assuming that the Video Raw is true because is nowhere to be seen in the official press release
- 4k 60p crop or no crop and codec. Codec cannot be MJPG because I don't think it supports 10bit.
Dream:
FF 6k Cinema Raw Lite 24,25,30 fps
FF 4k 60p 10bit 8:2:2 h264 or h265 derivativeWould still be very happy:
FF 4k Cinema Raw Lite 24,25,30 fps
<=1.6 crop 4k 60p 10bit 8:2:2 h264 or h265 derivative -
Curios about the crop if any maybe it has one in 4k and none in 6k Raw assuming that it has this feature. In the b&h video they mention RAW video but it is nowhere else to be found. One strange thing is the internal wifi that is in the announcement text from canon.... why it should still have the wifi dongle (apparently for speed, range maybe?) but sounds a bit strange to me.
On the still side I'm really exited about the 20fps with both electronic and mechanical shutter. I use a lot remote cameras and for some sports the mechanical shutter noise is not an issue with the plus that you don't have problem with led billboards, skews etc... but on some others a fully silent is a big plus like ice-skating galas etc..
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10 hours ago, Mokara said:
Most people who buy proper pro cameras such as the a9 or 1D series are not using them to shoot video. They are pros, so if they want to shoot video they will use a pro video camera. Right tool with no compromises for the right job. Hybrids are more important for advanced amateurs and semi-pros. But the a9 is not being made for those folk, it is being made for pro stills shooters.
It is pretty safe to say that the vast majority of pro stills photographers don't give two hoots about video. And that the vast majority of pro videographers don't give two hoots about stills. That said, both cameras are still very capable of shooting video as well, if some is required, they just don't need to be the best tools available for that. The primary purpose of the cameras was and will be stills.
Based that you are a pro photographer and you work with many of them you are pointing this out, or do you have some market survey?
At every ice hockey match that I cover we are 5 to 10 pro photographers all with 1Dx (ca 40%) or D5 (ca 50%) , more than half produces also videos from interviews at the end of the match to promo video for the club etc. When I cover FIS alpine ski people also do video. Same for Horse races and car races.The way that you get pay is to get affiliated to a team, event organization or web sites and then you start offering both photo coverage but also video (not for the match or race because are broadcasted) but interviews, trainings, promo of various type, special events etc....
When you have 2 top of the line cameras you don't want to invest also in let say C200 that is a big cost but also something more to carry around. Action is also an area that people use DSLR for multiple role. Just watch Free Solo and you see that they use multiple 1Dx for filming in addition to C300....
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1 hour ago, Mako Sports said:
This a9ii and the 1dxmkii actually arnt that different when it comes to video. Neither have flat profiles or log.
1DXmkii offers 4K 60, and a really high bitrate.
A9mkii has ibis, evf, and better video autofocus.
Better video autofocus since when? 1Dx II is probably the best video AF on the market still, even better than the C200 including AF at 120 fps. Also the 1Dx II you can upload custom picture styles.
58 minutes ago, no_connection said:Are you telling me you sit at world cup with 200 of the worlds best sports photographers with that much $ in gear and can't afford a 2nd body for video use? You simply don't do video and many times aren't allowed to ether. I have had argument about this with someone that is in the intended audience for this camera and it is a different world. When you are at such an event getting imaged uploaded to the agency while you shoot is one of those make or break things that Sony never had to offer for example. I would argue that pro photographers covering the Olympics is what Sony want to target. Not just action and sports. I'm not sure if my friend is going to the Olympics but if he is you could argue with him there.
So the A9 II is targeted only to the 200 pro photographers that goes to the Olympics, and out of them only 20 will shoot Sony...…so as soon as the Olympic is over they remove it from the market.....
And me and many other colleagues that do both photos and video we are not the target? I have 2 1 DX II and don't want to carry another video body.
Just out of curiosity how many A9 or 1Dx or D5 do you have and use for?
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On 10/6/2019 at 4:11 PM, no_connection said:
Simply because the intended audience for it don't care or have use for it.
As I do pro sport photography and video, own 1dx II, I think I qualify as intended audience....
Many of my colleagues do the same so video is an important aspect of a camera targeted for action and sport.
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10 minutes ago, Snowbro said:
People who bought the 1DX II in 2016 are probably still feeling pretty good, wish I hadn't sold mine. It accidently got ran over by a snowmobile and fell out of a moving car and still worked fine lol. It is a big heavy bitch though.
I remember reading here when it was announced... 1.4 crop in video, crippled etc... It was and it still a very good camera.
I have mine since it was released and it served me very well for both photo and video. Still the best 4k60p with AF on the market...
I was hoping that the new a9 ii would have much better video spec to eventually push canon and nikon to do better but sadly is not the case.
It is sad how these company they limit features even on their top of the line cameras...
Why no picture profiles, log, 4k 60p etc..?
I still hope that the new 1dx iii will have ff 4k60p with clog and fhd 120fps with much better quality... but knowing canon probably not.
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Merely a firmware update...
Canon EOS 1D MKIII specs revealed
In: Cameras
Posted
To put some reality in to the crippling story, I really think that this time Canon did the max that was possible in a FF weather sealed fan less hybrid DSLR.
There is no other Full Frame camera < 10k usd that come close to these rumored specs
Full frame camera that can record internally > 5k RAW 60fps + good video AF:
Canon C700 FF >33k usd (only with optional codex recorder 7k >usd)
Canon C500 II 16k usd
Full frame camera that can record internally > 5k RAW 60fps:
RED MONSTRO 8K VV >54K usd
Canon C700 FF >33k usd (only with optional codex recorder 7k >usd)
Kinefinity Mavo LF >12k usd
Canon C500 II 16k usd
Canon 1Dx III 6.5k usd
Full frame camera that can record internally > 5k RAW 30fps:
RED MONSTRO 8K VV >54K usd
Sony VENICE > 42k usd (only with optional recorder > 6k usd)
Canon C700 FF >33k usd (only with optional codex recorder 7k >usd)
Kinefinity Mavo LF >12k usd
Canon C500 II 16k usd
Canon 1Dx III 6.5k usd
Full frame camera that can record internally >= 4k RAW:
RED MONSTRO 8K VV >54K usd
Sony VENICE > 42k usd (only with optional recorder > 6k usd)
Canon C700 FF >33k usd (only with optional codex recorder >7k usd)
Kinefinity Mavo LF 12k usd
Canon C500 II 16k usd
Canon 1Dx III 6.5k usd
Alexa Mini LF > 58k usd
Alexa LF > 98k usd
Full frame camera that can record internally >= 4k 30fps 10bit 4:2:2 LOG + good video AF
Sony FX9 11k usd
Canon C700 FF >33k usd
Canon C500 II 16k usd
Canon 1Dx III 6.5k usd
Full frame camera that can record internally >= 4k 30fps 10bit 4:2:2 LOG
RED MONSTRO 8K VV >54K usd
Sony VENICE > 42k usd
Canon C700 FF >33k usd
Sony FX9 11k usd
Kinefinity Mavo LF >12k usd
Canon C500 II 16k usd
Canon 1Dx III 6.5k usd
Alexa Mini LF > 58k usd
Alexa LF > 98k usd
Panasonic SH1 4k usd
Naturally this is based on rumored spec and it just a spec comparison only, image quality, ease of use and job suitability is another story.
Again if you are video only a C200 or FX9 or C500 II is probably a better investment, for hybrid shooter like me it seem a huge upgrade from 1Dx II for video.
Then maybe in a week Sony announce the famous ready to launch since 2018 A7s III with 6k RAW at 60 fps with AF for 3.5k usd, but right now there is really nothing close.