jpleong

This is a good review. I can actually feel you trying to give Canon some love. I was genuinely stunned when the EOS R was released and, in every functional way, it is still the same old Canons I had before. There's nothing improved upon. When I buy a camera, it has to replace a previous model and the EOS R in no way, shape, or form replaces anything that came before it and that is not promising for the future. If I want it to replace an 80D, it has to shoot better 1080p. Nope. Replace the 5D4, it has to shoot better 4K or better stills. Nope. As an events/wedding stills camera it's not any better than the 5D2 (the SAME burst rate w/ AF) unless I want to be tweaking CR3 dynamic range in post all day (which I don't). DPAF and Andrew's EOSHD CLOG extended my loyalty to Canon (I've got half-a-dozen EOS bodies, just as many L-lenses, and double that EF and EF-S lenses) but Fuji has the X-T3 and that body and system (refined eye-AF, film simulations, F-LOG, and low rolling shutter) has the potential to wipe away what little advantage Canon had over this market segment. Even if Canon releases a higher-end Pro-R that gets the feature set we assumed (hoped/prayed) was coming for years, now, it's still going to be north of $3000 USD. I sincerely doubt that feature set on such a hypothetical camera is going to be better than what is on the Fuji X-T3, which is available now and is half that price. Heck, I outfitted my X-T3 completely for documentary shooting (three primes, booster grip) for the same price as the EOS R body alone.

@DaveAltizer Thanks for shooting and compiling that. It would have saved me a lot of trial-and-error picking the EOS HD profiles weeks ago...!

I've been using the EOSHD C-LOG for the past month, now, shooting for a hybrid web-series and cooking class called "STIR!". For the most part, I've really been pleased with the results. Not having much experience color grading, it's been pretty easy to achieve a look I like using either the Technical or Creative LUT presets in Adobe Premiere's Lumetri as a base. Here's the commercial for the next event, shot entirely with C-LOG on my 5d4 at 1080/60p and using the (legacy) Cinespace2383 creative LUT as the base. and here's the episode we just released: I switched to EOSHD C-LOG in the middle of taping the segments. Can you tell which is which? (probably, since I'm a newb ;-) I did have a rather "serious" issue between cameras, which I simply wasn't expecting. The last segment, about Moriah Pie beginning at 23:26, the interviews, gardening footage, and home kitchen cooking were shot with the first of my two 80Ds with C-LOG at 1080/60p. Any shots involving pizza service/actual restaurant operation were shot by my 2nd Unit with my second 80D with C-LOG at 1080/24p. The footage was not easily interchangeable between the two. The 2nd Unit's footage looked entirely different when I'd apply the same LUT (and ended up only needing a contrast push to get it to where I wanted it to be). The weirder part was that I shot some footage in the same commercial kitchen with my 5D4 at CLOG/1080/60p and it matched my own 80D footage easily. I haven't had the opportunity to really use the scientific method to figure out why things turned out the way they did, but I need to. For the record, on the Moriah Pie segment: Interviews: 80D-A -> 24-70/f4L IS at CLOG/1080/24p IPB Gardening/Home Cooking: 80D-A -> 16-35/f4L IS at CLOG/1080/60p IPB Commercial Cooking/morning meal (lens flares): 5D4 -> 35mm/f2 IS at CLOG/1080/60p IPB Commercial Cooking/evening food service: 80D-B -> 40mm/f2.8 STM at CLOG/1080/24p IPB So, I'm thus far enjoying EOSHD C-LOG and just need to figure out what I'm doing wrong on one of these cameras. I will be using EOSHD C-LOG on a fleet of rented 1DX2s in the very near future! Cheers, JP