KnightsFan

This is my big question as well. It seems strange that in some cases, H.265 bitrate is twice that of H.264 (4k Long GOP, for example). I wonder if these are the only bitrates available, or just the maximum? Either way, I am glad to see H.265 filtering into the specs of a handful of cameras, even if not fully fledged.

No, surprisingly not. The other day I did some digging to see if it was still a thing, downloaded some test footage (ungraded, sooc) and really loved it. Tbh, from what I know so far, the Z Cam looks like the clear winner for me. However, the Fuji can take photos as well, so it would be MUCH cheaper since I could sell my old camera instead of add on a dedicated video cam. I'm looking forward to playing with footage from the Fuji! I can sort of edit 4k H.265 without transcoding in Resolve (I have a decent computer), but I usually create small, 2Mbps HD proxies in H.264. If I edit in Premiere, I export the XML into Resolve otherwise just edit the proxies in Resolve itself. When I'm ready to color, I use the Conform from Bins feature to switch out the proxies for the originals, do my color work, and export. If I need to go back and make changes, I can always Conform from Bins back to the proxies, edit some more, and then Conform my way back to the OG files. It's really very easy, all things considered, and saves terabytes of space over the course of a few projects, compared to Prores.

Wow! I've known for a while that I'll have to upgrade my camera perhaps in 2019. Since its announcement, the z can e2 has been the only new camera that's seriously interested me. But Fuji is really looking great! This is going to be a hard decision after all.

Yeah, the problem I have with the crop is switching back and forth, not that it's there. It's easy enough to take an apsc photo and then take an apsc (or slightly smaller) video. It's a lot harder to take a full frame photo, and then immediately take an apsc video on the same lens at the same event. Of course, i could take cropped photos so that they match the video but then why get ff at all?

I can't speak to other critics. I was optimistic earlier in this thread, before the specs came out, since I've liked every canon I've shot with. the 4K crop is a deal breaker. The only reason I'd upgrade from my apsc is to get full frame. I shoot photos an video, sometimes in quick succession. I can't have my current lens behave differently depending on the mode I'm in. I'd rather just stick with apsc. If I didn't shoot any video then it wouldn't matter to me, of course, but most members on eoshd care about video. 120 fps being in 720 is also a downgrade for me, and that's a feature I've used on almost every project in the past year an a half. so on the other hand I see the Nikon z6, which has much more of what I need, for less money. I'm not mad at canon or anythin stupid like that, but for me it is very clear that the eos r is not worth the money. yeah, unfortunately they don't. If I see a Sony or Panasonic (or canon) that looks like a worthwhile upgrade, I will! I'm pretty happy with what I've got at the moment, I just like keeping up with the news.

True, except that other manufacturers are putting better specs in their similar sized cameras. No one is expecting Alexa quality from a consumer mirror less. People aren't annoyed because it doesn't stack up against a cinema camera, people are annoyed because canon lacks features that others in the same class have have for some time now.

@Andrew Reid Exactly. And I think most of us count noise level as part of low light performance.

Yeah, exposure is the same. However, snip out a "crop" of the pic, and then blow that crop up to the size that the original was. Noise will be more apparent on the crop than on the original. If you wanted the noise level to be equal on the crop as the original, you lower the ISO, and open the aperture to compensate.

I looked at the E1 again recently, too, but I have no interest in it. I don't like the footage, and I don't need an extremely small camera. But if you do need something TINY for the occasional shot, the E1 seems like a great choice for the price, especially with a minuscule MFT pancake lens.

The cameras aren't out yet, but I downloaded test clips from the Z cam website and the facebook group. The 4k 120 fps is absolutely stunning, honestly looks like better quality than the 4k out of the NX1: perhaps less sharpening, and significantly less noise reduction. Z-Log is actually really easy to grade. And the best part is it was only 170 Mbps! As much as the P4K footage looks phenomenal, for 1/10 the data rate and very similar output, the E2 looks like the only camera I'd consider as an upgrade to the NX1 so far.

Ah, interesting, I didn't see this when I posted before. Good to know! Also, incidentally, I was just playing with the H.265 clips from the Z Cam E2 and they worked flawlessly in Resolve Free on Windows 10. So it seems that the color cast issue is specifically from NX1 footage.

It means a lot to some of us. Almost every project, I end up using an ultra wide (10mm on APS-C) on a few shots. Yes, I can put that 10mm on a cropped full frame for video, but then as soon as I want to take a picture I'm cropping half those 30 megapixels out, or changing lenses. I'd rather just buy an APS-C camera in the first place.

No problem! Glad we found out a bit more. I guess the question now is whether we can get rid of the color cast, seeing as it doesn't appear on Windows 8.1. I don't know if anyone else is still checking this thread, but those of you with issues on Windows 10 using Resolve Studio: do you have that "HEVC Video Extensions from Device Manufacturer" installed? I wonder if uninstalling it would help? My crazy thought is that maybe Resolve defaults to using builtin codecs, but if you don't have any, then it uses its own codecs? That could explain why my Windows 8.1 desktop has no issues whatsoever.

@mnewxcv Ah, I see, I misunderstood. So on this Windows 10 laptop there is a program called "HEVC Video Extensions from Device Manufacturer" in the Apps & features list, published by Microsoft. Seems like the one we're looking for, perhaps?

@mnewxcv Unfortunately I'll be away from my desktop for a few more weeks so I can't check until then. How would one go about checking which codecs are installed? I've never gone and installed a codec pack or anything, so I assume I've just got whatever generic ones Windows comes with. Although, I'm fairly certain Resolve Studio has native H.265 support, which makes me believe it should come with its own codecs.

I don't know, if they have really killer video specs for a lower price than Canon, Fuji could do really well. None of us really believe Canon will have 4k60p or 10 bit. Which makes me think, 4k60 at 10 bit seems like H.265 territory to me--could it be that Fuji is the one to implement an efficient codec? I think you're right on the first part. Soon, every camera will shoot very high spec video. However, the quality of each camera will be so good, the advantages of larger sensors won't matter and we'll be back to decisions based on ergonomics, lens investments, and brand loyalty.

True! But at some point, even the low end specs are good enough, a point which we hit a year or two ago for me (and probably many others). Some people really need/want 4k60p, but I'm happy with good quality HD, so ergonomics and usability are a real deciding factor these days. I'm really looking forward to seeing what Canon does, and let's be honest, I'm just as excited to see what the A7S3 is like.

I guess the popular dispute about whether Canon "couldn't" or "wouldn't" make something competitive might be finally put to rest. Yeah, I'm really curious about that part myself. It's striking that the 35mm prime lens has two control rings, almost like an EF zoom lens... hmm would it be too wild for them to have a digital zoom mapped to that control ring? With 30 Megapixels you could turn a prime into a decent zoom especially for video. I'm probably just dreaming haha.

Ah well, it was a cool idea anyway. Though, this caught my eye: It would be ridiculously cool if they added an electronic declicked aperture ring for EF lenses, though I suspect they simply mean a control ring for some sort of variable ND filter.

That's a really cool idea! I wonder how hard it would be to sell to the general public, though? I think people would balk at the idea of carefully inserting a ~20mm long lens rear element into their camera every time you change lenses. But it would certainly be innovative and make Canon's mirrorless much more appealing for the vast swaths of people who own EF or EF-S glass. EF mount is so common I adapted all of my Nikon lenses to Canon just to put them on a NX-EF adapter! Makes it so much easier to quickly use them on borrowed or rented cameras. On a more general note, while I'm excited to see what Canon has in store, I bet it will be another disappointment for me as my main hope is for H.265. The NX1's codec quality is all I need, and I don't want to double or triple my hard drive consumption for marginal returns on that front. Once the GH5 implemented it, I hoped the floodgates would open to H.265 in mainstream cameras, but we may have to wait a little while longer. Canon would have to pull off something truly spectacular for me to buy into it without H.265.

It was Studio and I was running Windows 8.1. (Afaik there was no native support for H.265 in Resolve 14 Free.)

Nah, I'm fairly sure the thread is about an Advertising Case Study. /spam

I think it looks fantastic! @mercer I see what you mean but I think that's mainly due to the lighting and compression--though YT's compression was certainly much friendlier to this clip than the one with lots of moving foliage!

I got the color shift in 15, but I did NOT get the color shift in 14 (though, as detailed before, this was on two separate computers, etc.) Perhaps the color shift only occurs on Windows 10? Can anyone offer any insight?

Wait, hang on--are we seriously comparing footage uploaded to YouTube? Doesn't comparing compressed sRGB files sort of defeat the purpose of having higher data rates and dynamic range? I think we should wait for files straight out of the camera before making any real judgments.