swithdrawn

I finally found some right-angle adapters by UGREEN that seem to work with 4k 60 10-bit. https://www.amazon.com/gp/product/B00QV4IPVA/ref=oh_aui_detailpage_o01_s00?ie=UTF8&psc=1

We use SanHo cables on our three GH5 and Ninja V's recording 4k 60 10 bit. They work fine, but what I've been having trouble with are right angle adapters... can't find any fast enough. The Zacuto adapter that came with our Zacuto cage actually performs the best and hardly ever drops - but every other adapter (including additional Zacuto adpaters) drop frames all the time. Anyone have any luck identifying a fast HDMI 2.0 right angle adapter?

My checklist to switch from my two 1DXII's was S35 sensor (either native or through a speedbooster), 4k60, ProRes and removable batteries. So.... anyone want to buy some 1DXII's?

Yeah, my bad. I meant they figured out how to oversample from a larger sensor to produce a 4k image that was taken from the entire sensor, and not from a cropped portion of it. Good points about Samsung's strengths in chip manufacturing... wish Canon would get it sorted out.

Samsung managed to figure out 4k FF years ago. I already see amateurs and casual pros with a lack of technical knowledge expecting to utilize the 4k frame grab feature or to shoot some video for clients. They are going to be pretty annoyed when they discover their new investment turns their 24mm into a 41mm lens. Keep in mind Canon does not even mention this anywhere... No it isn't. I agree the codec is not a big deal. I would have even took pixel binned FF 4k but man, the crop...

It won't be. 1080 is garbage on the 1DXII, the more expensive flagship.

You're right, people aren't seeing the whole picture. They're seeing an extremely cropped picture. It's fine if you like the XC10 and if you like the 5DIV and they fulfill your needs. But seriously it's 2016 and yes I need the ability to change lenses and yes I need at least APS-C and yes it's reasonable to expect this in a $3500 dollar camera body. The fact that Canon are performing acrobatics to protect their cinema line while the competition leaves them in the dust is infuriating to everyone with huge Canon glass investment. Canon bodies have their strengths with color and reliability, but it doesn't matter how great this camera ends up being in the real world, the crop is simply a deal breaker.

No kidding.. I have to do the same now... I am the ultimate Canon color fan, even I can't use this turd.

Yeah until you point it anywhere near a blue LED at a wedding reception or concert.

The Quicktime Animation and uncompressed AVI codecs are even older, but you wouldn't say it looks bad. It's just not efficient. Definitely not a deal breaker for most, I would rather have this over 4:2:0 long gop.

Lol, I think he was comparing the a6300 to the 5D3 h264. Congrats, you are one of the few crazy enough to stick with MLRaw. It is beautiful footage. I've shot about 15 weddings and events with MLRaw and the workflow has driven me to near insanity and added days and days of transcoding to my production schedule (and forget next day edits). So, with all I've invested in Canon I'm annoyed they will once again not be providing the tool I need.

I mean the codec could be worse, but calling it a selling point is really a stretch. I genuinely want to know how one defends the worse-than-aps-c crop factor, though. I get the 5D is a stills camera. The Mk3 fit my needs for many years; I built my business providing a full frame look to clients, shooting wide, with good color. Clients are demanding 4k, so now Canon have forced me to choose to either change my look completely with horrendous crop, or go with Sony and deal with the crappy color. I'll go with Sony, and most of my peers already have made the switch. I wasn't really expecting Canon to come through with a good 4k full frame DSLR under $4000 but I had hope anyway.

Yeah, but EF-S lenses won't be able to mount, and for anyone who needs to shoot wider than 24mm and faster than f4, you are SOL. The widest you can go is ~24mm equivalent on the 14mm f/2.8L. Yes there are 3rd party options but I don't think they'll stand up... I love the Tokina 11-16 for time lapses and wide safety shots but I would definitely not use it on a 4k hero shot at f/2.8.

This is Canon we're talking about, you expect them to have come up with a new way of reading out the sensor that wasn't included in the more expensive 1DXII? DPAF is great, I have used it on the 1DXII and was really excited about this camera. If you never have to shoot wide this camera will be great for you... but unfortunately that's a deal breaker for me.

You mention full frame image, but the 5D4 4k crop would be worse than APS-C. I would take the GH4 with speed booster over the 5D4 spec'd as rumored. You'll get around 1.4 crop instead of 1.7 and v-log. DPAF isn't worth all of that sacrifice to me. Of course 5D3 14bit RAW is better... it's better than most anything else... but way too cumbersome, and only 1080p at the end of the day.

I have held on to Canon for so long, even shooting on the 5DIII with Magic Lantern RAW for events (so painful) and am going to be so disappointed if there's a 1.7x crop. I mean you might as well get a GH4, a camera from 2014, with a speed booster. It will yield a much wider FOV and you get log for half the price. So freaking disappointed. Have Sony fixed color handling issues? I've tried the A7s for events and it had really weird clipping under certain lighting conditions (blue LEDs mostly) using slog. I've preferred the color from the 5DIII/MLRaw but I just can't justify it anymore.