A_Urquhart

So much time being waisted on this camera. Yep, it overheats! Yep, it's not fit for purpose! Yep, you knew this and still gave Canon your money. Be disappointed in yourself, rather than Canon. Canon made a huge cock up, but you decided to buy into it rather than avoiding it.

All they need to do is adopt the protocol and maybe add an extra Ethernet port so you have a dedicated ATEM control port and a network port, although one should be able to do both. Then, to add extra NDI inputs or outputs, just add a router. ANY NDI source connected via Ethernet or Wifi can then be seen. As NDI supports Alpha Channel, it's a very easy way to add graphics as well as many other sources. No special hardware required but the software must support it.

This looks great but BMD really need to start implementing NDI and SRT. Especially in times like we are in now, more and more productions need remote contributors. NDI and SRT would really open up a world of possibilities.

What's more, people bang on and on about colour science, but then want a camera that can see in the dark at ISO10,000+ and expect great colour. Don't get me wrong, colour science is a thing (I use Fuji for stills and love the SOOC Jpegs) but a slight colour cast can easily be rectified in post, or even in camera if you know what you're doing....which, if you are going to spend this much money on a mirrorless camera, I would assume you do. I'll reserve judgment on any cameras colour until I see the Camera originals myself.

That 'Japan Mode' is a shocker! To be honest, Sony have NEVER done themselves any justice in the videos they produce to promote their Alpha line. I don't know who or where they get made, but we will see so much better examples once the camera is out. But then yeah, I see your point for people who just want files SOOC, the Sony may not be the fastest or easiest to deal with.

Aaaaand that's what it all comes down to! How can anyone here judge the colour performance of a camera based on some YouTube videos? The only way to judge is to take the camera original files and put them into Resolve yourself! And even then, as we are not dealing with RAW files, the lighting will play a big part. Sure, in the hands of someone who doesn't know what they're doing, a certain cameras charachteristic may be too dominant ( and I see this a lot in Sony videos) but now that we have a decent, robust 10bit codec, these issues are much easier to deal with.

Nothing wrong with the colour. If you can't make great images with it, blame yourself not the camera's colour.

This! Why are people so desperate to turn their gear over so quickly when the tool they have is perfectly fine? I was seriously considering the A7SIII as a B-Cam for the many shoots I do on the FX9 which until now, I have used a Pocket4K for. I haven't read anything other than what's on this thread until know but this camera overheats as well? Really? So, Sony spend three years on this camera making it a video powerhouse and they confine it to a mirrorless body that overheats? Crazy! I don't know about anyone else here, but I almost never shoot in the rain and when I do, it's easy for me to fashion up a little plastic rain cover over my Pocket4k, FX9, or whatever other camera I'm using.... I do however, shoot in sun and warm temperatures especially when shooting sports stories. I'll take a few ventilation ports and even a small fan over a tiny weather sealed mirrorless body any day of the week, any season of the year!! I can see when it's going to rain and prepare for it, I can't constantly try to keep a camera from overheating when I'm shooting outside. Also, I'f you are using a small external monitor, they are not weather sealed anyway so what's the point for us video shooters? So, I guess I'll stick to the Pocket4K for now. None of the producers I work for seem to have any issues with the colour difference between the FX9 and P4k........no reason to change.

Why do you need ProRes? Don't get me wrong, ProRes is a great format, but so is Sony's XAVC.

Yeah, I highly doubt you would need the extension unit for the A7SIII. That would make no sense at all.

Such a terrible 'solution' to record the 16bit RAW. You need the extension unit AND the Atomos recorder. Remember when you could record the 12bit RAW output of the FS700 just by using an Odyssey7Q. That camera with the 7Q was so far ahead of its time. You could record CinemaDNG or do a RAW to ProRes conversion (which looked fantastic!) at 4K60p or 2k 240p. You could even do 4K120p in burst mode using an end trigger. Had internal ND filter wheel........I still have mine and it holds it's own against most cameras today!

Otherwise you can still render out to 10bit codecs despite the GFX card.

Not all 10bit is created equal......even among the 4:2:2 flavours. I have no issues working with 10bit ProRes files or XAVC files from the FX9 and FS7 but the crap that comes out of the GH5 has given me grief in the past. That's purely for display purposes. You can still edit 4:2:2 on a machine with an RTX card just fine. GTX cards don't support it either and I edit 4:2:2 material often on a laptop with a GTX1660 card. If you need 10bit 4:2:2 output to a monitor, use a cheap Blackmagic Ultrastudio Mini monitor to get 10bit to your supported monitor.

80% of my work is commercials and 10% music videos. On a normal shoot day, the camera is only ever powered down for battery changes, lunch break and location changes that require loading back into a van for travel. All other times, cameras are kept on. "For professional use......" Surely if what we are seeing now ends up being the case for the final release, no professional would risk their career on a camera like this?

There is surely no way that any self respecting camera manufacturer would get people excited about 8K AND purposely cripple the camera by allowing it to overheat. This would just give people the idea that you don't know how to engineer a product. Cripple it by leaving out the high end features, don't cripple it by making yourself look incompetent! I think a cock up of epic proportions has happened somewhere along the way at Canon, this surely can't be deliberate.

What I mean is that for people who want to use this as a serious video tool, which I think is C5D's target audience, he's basically saying "don't bother". The run times indoors, outdoors etc that you wanted listed, while yes, they would have been interesting info to have, are not things anyone interested in video production should have to worry about in 2020. I'm eager to see what the Sony A7SIII is like but no matter how great the features are, if it overheats at all, it's a non starter. What good is the best AF and IBIS (Not the reasons I'll be buying the camera) if the camera is shut down for 20mins and you can't shoot?

You really think he would be that disappointed after 3 hours of straight use? I think not. Agree that the 'review' is not perfect, but it told me everything I needed to know.

All those things you mentioned above.......they shouldn't matter in a video camera! It's really as simple as that. And while the r5 and R6 aren't primarily 'video cameras' they are promoted as video tools. He was not able to create the piece he wanted to and the camera dictated how the shoot unfolded. To anyone who want's to use this camera more than just filming a few clips of the kids.....that is all you need to know. I look forward to seeing your review sometime soon.

We had one that contributed to the forum, he shared a ton of great information and got zero respect from users here so left. Just watched Behrini's video and I think he did a good job of confirming what I already knew. Out in the real world, this camera is useless for video. At least he produced a real world video...Peter Mckinnon zoomed around on quad bikes........as a motorcyclist myself, when you are moving out in the open at 40+kph , the wind chill factor really helps keep things cool!!No wonder his camera didn't overheat, it had constant airflow! While Gerald may have given some run times, did he say if these run times where on a tripod or in the hand? Judging by most users here, people who want a camera with IBIS and AF are wanting a camera that they can use in the hand, nun n gun and to be inconspicuous. I think the camera in the hand will overheat faster than on a tripod. No-one has given the perfect review yet but at least Johnny did a good job of providing real world information and a finished product that gave the viewer a rough idea of how he used the camera. One thing I do find interesting is that people are more willing to make do with overheating vs poor battery life. As an example, The Pocket4K on release had (and still has!) poor battery life. But, after 45mins I can put in a fresh battery and keep shooting. The uproar from many forum members was way over the top and suggested that the camera was useless. Now, imagine if your cameras battery died after 30mins but........you couldn't put a new battery in for at least 20mins and even then, the new battery was only going to last 3-4mins of shooting. THIS is what we are pretty much seeing in the R5/6. This is reason to get angry! Who want's a camera that could decide to shut down at ANY given moment and then can't be revived for 20+mins? Basically, for video, it's not fit for purpose.

If what we are seeing is true, this camera looks fantastic! Let's hope it doesn't have ANY overheating issues. I do a lot of shoots with the FX9 and until now, have been using the P4K as a B Cam on a gimbal for smaller shoots. Having a small full frame camera like this, with hopefully the same colour science to the FX9 would be a great match. FX9 image is so nice, I don't really need RAW for the most part as long as I have a good 10bit codec.

I've had to deal with BMD a few times over the last 5 years. All my dealings in Australia have been great. You speak to a local who generally knows their stuff and seem genuinely happy to help. In the USA however, a completely different story!

I know plenty of DP's and camera operators that own the UMP, FX9, F5, F55 etc and they all shoot solo every now and again. I have shot plenty of times with the G2 (despite not owning it) and it's is such an easy camera to work with as a solo shooter. There are also plenty of DP's that do not own expensive cameras because each job is different so investing in one camera doesn't make a lot of sense for them. That doesn't mean a camera is not relevant or popular. jahfdkjblabla, why are you now all over THREE threads about the UMP12K despite having zero interest in it? It obviously upsets you greatly.

He/She is angry that the 'RUMOURS' said that BMD would be releasing a camera with AF and IBIS, and this cinema camera doesn't have those features. Despite this, he/she keeps coming back to a thread about something he/she has zero interest to keep he/she's anger boiling. Makes a lot of sense right? To add to the confusion, many users of EOSHD and the owner of the site himself says they have every right to be angry because this is a forum for users of small DSLR like cameras and Solo shooters so AF and IBIS should be mandatory .......but then the forum owner continues to post news articles of cameras that don't appeal to his user base and the circe of anger just continues to go round and round.... I love it, it's hilarious!

Spot on. Yes this camera does 12K, and if it made many sacrifices to get that 12K then it would be silly but I'm really not seeing any sacrifices made here by Blackmagic. You can still shoot 4K and 8K RAW with no crop. You still get frame rates over 30p. You can still record to inexpensive, off the shelf media. It (most likely) won't overheat every 20 minutes. The files are seemingly very easy to work with. The only sacrifice, if you want to call it that, is the price.....but given who this camera is aimed at, $10,000 is not expensive at all. What I'm taking from this is how exciting the future from Blackmagic looks now that they are creating their own sensors, codecs and post hardware and software. I'm excited to see a Full Frame camera in a smaller form factor like a Kinefinity, Z-Cam or even C300 style body etc but with a sensor that might let me shoot 8K, 6K and 4K RAW with no crop in a fantastically flexible codec that I can work with on a laptop. What's not to like!

There is a big space between super high budget productions using Alexa and Solo shooters you are completely overlooking. Again, Canon made you the perfect camera, you said it yourself....why are you so angry right now?