Yurolov

Like I said before, and most people disagreed with me, the future of m43 is a gimbleless future. If they can give us perfectly stabilised footage straight out of camera that alone makes it unique among the competition and saves a lot in time and the extra cost of a gimbal. I don't know what 7.5 stops will mean practically once they do their crop but I would imagine we are getting pretty close. 

It's funny how in his thumbnail the focus on all the cameras is sharp except the canon. 

The proper test for photos should be how does your software of choice develop your raw files. Yes, raw files can be manipulated but the development you get from lightroom very much represents, if you are using canon, the canon look (or if you are using another manufacturer - then that manufacturer). I don't think comparing the default jpeg profile means anything because literally no one will be shooting full frame cameras like that. The program process the raw for you then you edit. I can only make soony look like canon if I know what the end point is - and I would need a canon for that. 
The people on here who actually think there is any validity to this test should actually take it: https://docs.google.com/forms/d/e/1FAIpQLScDnq2nCYioH628uZXG_oVevanWlAeX0w8wRPXEFlls3aRq6g/viewform
Look at how small the pics are - it is a joke.  
The bigger joke is thinking that this applies to video as well.

"During her time there, she made the case that the business should focus its attention on content creators.
That was a really valuable business opportunity, and an area no one was really focused on," Sud said. She made the case to Vimeo, and "because of that, I was given an opportunity to run the company."
lol. Guys she is a visionary.
They should start by updating their servers so people can stream 1080p let alone 4k. I didn't even need to go to Harvard Business School to come up with that idea! ?

"During her time there, she made the case that the business should focus its attention on content creators.
That was a really valuable business opportunity, and an area no one was really focused on," Sud said. She made the case to Vimeo, and "because of that, I was given an opportunity to run the company."
lol. Guys she is a visionary.
They should start by updating their servers so people can stream 1080p let alone 4k. I didn't even need to go to Harvard Business School to come up with that idea! ?

He was shooting jpeg on god knows what color profile for each camera. The test has zero relevance for shooting professionals. I give u slog2 on a a7sii and clog on a Canon, and you better believe there is a significant difference. There is a direct comparison done by that potatojet guy. Same thing, blind test. 80 percent picked canon. All of a sudden we are all miraculously wrong and Sony is really the best lol. 

Two under exposed, one zombie, one dying and a Canon.

The same thing happened with the xc10. Specs were crap but the image was unmatched for a s16 look. It is the nature of canon. If u like good images then the Eos r will give u that. Talk about absolute sharpness in 4k is complete nonsense; its unimaginative and any artist worth anything could care less about it. 

The same thing happened with the xc10. Specs were crap but the image was unmatched for a s16 look. It is the nature of canon. If u like good images then the Eos r will give u that. Talk about absolute sharpness in 4k is complete nonsense; its unimaginative and any artist worth anything could care less about it. 

Good point. Just speculating here but it might also be part of a terms of settlement or something whereby they are forced to impose these rules. Seems fairly draconian otherwise. Vimeo is a no go anyway because u can't even stream in 1080p without constant interruptions. 

I used to use a6500 on the first version crane. Footage was smooth as anything and it was because of the ibis. I put other cameras on there and it just wasn't near the same. Ibis is a necessity. 

When you're moving the frame, a longer lens will of course make the contents of the frame move through quicker.
Of course even if you use a 35mm equiv. wide frame, completely still on a tripod, stuff can still move in the frame - a sparring boxer, a train, a swift movement from an actor, and trigger the distortion.
The important thing is to do comparison tests. All cameras at the same focal length (equivalent, so not all same lens but same FOV), on same tripod, moved at same speed at exact same moment.
I just did a test for myself of the Z7 vs EOS R and the Z7 is nowhere near as bad.
That is both in 4K (full frame on Z7).
I could share it, but you don't deserve it

Does Anyone shoot Anything in normal speeds anymore? Jesus what is the deal with trying to see if Anything is worth a crap on a camera at 120p Slo Mo. Sam Peckinpah is alive and well.

Let's get back on topic:
 
@7:50 1080p footage with the new rf lens - looks quite detailed. I am quite surprised. 

@DaveAltizer has done a very nice test. 
I habe to disagree though after viewing the footage that the color science is largely irrelevant. I still think the Canon looked much better. If all you care about is image pick the Canon. Clog is so easy to work with and looks so nice. I can't say the same for the Sony. The skintones were off and all you have to do is look at the color of the grass in the background to see who has the more sophisticated image. Too bad for the Canon that the RS makes it unusable for everything but static shots. 

If you need to color grade then raw is the preffered option. Isolating skintones even in 10 bit is not a perfect science. There is still a fair bit of blockiness. The bmpcc has a good codec but its advantage also lies in the fact that the image, sans grading, is more pleasing as regards skintones etc. This saves a lot of time in post. It also looks more filmic and has better motion cadence, that is, it is generally more like film. Whereas the japanese mirroless cameras dont have the same pedigree and in fact lean more towards a camcorder look. So i dont think codec is the only difference. This was always the appeal of the original pocket. 

No, you don't understand Mattias. This one does 500 quarks while the other does 100 quarks, so as you can see you are clearly mistaken. 

That looks great. Specially the red tones and the higlight roll off. How did you get the skin so smooth?

Oh really am I beeeeiiing sarcaaaaastic?

The much maligned auteur, Terrance Malick, did a short film for the introduction of the new pixel, showing off the phones motion autofocus abilities.
Some interesting features for taking photos I gotta say. They are really pushing computational photography. 

I have an EOS R on the way in the UK. In stock at most places. So I will review it, at least. Whether I keep it or send it back, I am not sure. I can't see myself being as enthusiastic about using it for video versus some of the similarly priced alternatives like the A7 III and Nikon Z6 (clearly technically superior for 4K in every way) let alone what else I have to play with at the moment (X-T3, etc.). But I do intend to explore what it has to offer at least, keeping some small flame of Canon alive on the site. A few EOSHD articles and maybe a guide if I end up using it more often. Can probably get some nice stills from it even if it doesn't work out for video. I won't be using the native R mount lenses on it, will be using the EF adapter... a bit like a mirrorless 5D IV. Also might be able to run some Magic Lantern tests on it to help A1ex and co, so thought it was worth a purchase.

There is a Korean auteur called Hong Sang-soo. His most recent cinematic releases were done on the F3. I had the pleasure of seeing them on the big screen and the images were very good. I personally don't think the two compare if you are talking about cinematic imagery. 

Keep in mind folks Jordan used a slow cheapo 10-18mm EF-S lens on that Hawaii footage. So he's already in APS-C crop mode, adding further crop with EIS, shooting mainly in 1080p with an optically bottom range slow aperture ultra-wide lens. Hence some noisy/soft shots. not exactly the best testing combo imo.
DPAF Face Tracking, it isn't magic. If you got several faces in the shot, it may trip. A73 is even more unreliable in such circumstances.
EIS also has it's limits, it isn't IBIS or a gimbal.. if you're doing severe motion, you'll get some warping.
I'll be putting all these things to the test once I get my unit next week but you do have to be a little realistic over expectations/limitations of all these features.

There is a Korean auteur called Hong Sang-soo. His most recent cinematic releases were done on the F3. I had the pleasure of seeing them on the big screen and the images were very good. I personally don't think the two compare if you are talking about cinematic imagery. 

Yeah the beefier ALL-I codec surely helps.. a bit.. but i think the RF lenses with the optical in cam optimizations and overall tack-sharp performance are probably the bigger assets.. the 50 F1.2 is just really something else, even wide open. Kind of blown away by it tbh. In 4K the detail is insane. And in FHD it is daaamn good too. Does it equate the C100's downsampled from 4K FHD IQ? With EF lenses on both, probably not. But with the RF's.. imo it's a close call. I don't own the camera yet, but i will try and set-up some comparison shots with my C100 since some of you seem interested. I do have an atomos, so it will also be interesting to compare without codecs in the equation.. in any case i'm pretty sure already EOS R will be a great B-cam to a C100/200/300!