Video Hummus

this is pretty close:

Only because in most implementations 4K/1080p 16:9 aren't using the full horizontal width of the sensor. So your 24mm lens in DCI is actually closer to true 24mm FOV than when shooting 16:9 modes...unless your Sony.

I think a lot of companies are getting better and better at making the lens elements out of plastic composite materials without sacrificing optical quality. I do like the build quality of the Canon RF lenses. They are made out of "engineering plastic" but they feel super solid and survivable if tossed around. Plus the tear downs of some RF lenses by Lens Rentals shows they are pretty solidly constructed. I don't think I miss metal all that much. Although I sold it, the MFT Panasonic Leica 50-200mm f/2.8-4 was sexy and built well...even better than the PL 10-25mm f/1.7. I was a bit disappointed when I got that lens in my hand and compared it to the 50-200.

I really wish it was 24-70 f/2 or if focal length needs to be sacrificed for size/weight than a 24-60 or something. I really like 24mm. R5 with CLOG3 might be a good investment here. When the R5C comes out you can grab one of those as your main cam and the R5 will be a pretty sweet 2nd or 3rd cam. The 4KLQ is still much better than anything out of the EOS R. Long 4K60p shoots might become a problem on R5 has it does overheat in both FF and crop mode. It's too bad canon doesn't make wide, fast EF-S glass. BM wouldn't be a bad option here, especially the P6K Pro. The build quality is worrisome though.

Let's just rejoice its not using Sony CFExpress Type A. The tears of people dropping $2.4/GB versus $0.83/GB of future proof Type B.

The RAW out of the R5 gives you about 12 with a few more stops buried in the shadows that can be recovered. So I suspect CLOG3 will be under 12 stops, coming in around 11 for real world use. Which will match it with XT-4, P4K, and older Sony cameras and within spitting distance of S1/S5. If the rumored R5c doesn't improve DR, I might as well just stick with R5 until a better sensor comes out of Canon. Perhaps a FF DGO or newer tech. Will be interesting to see what the R1 will have. Will be a good indicator of where Canon's sensor tech is and is going.

Good news. Perhaps 1 extra stop. Any improvement would be welcome, honestly. DR is a major weak point with this camera in video especially for being a FF camera. I would at least like it to have better DR than my previous camera the GH5S! Looking back on some footage from that camera...I always felt like the DR wasn't good but the GH5s is no slouch for its sensor size. Well damn! Classic Canon. Kinda makes the C70 a bit crap. I wonder what the catch will be? I bet this is in response to Sony's FX6 and FX3 which are both full frame cinema cameras...well at least in the FX6 case.

Major QC problems with blackmagic cameras continue.

Yeah, I think we can generally put the image quality question of ALL-I vs IPB to bed with most modern cameras with decent bitrates above 150Mbps. Really comes down to editing performance but even that is less and less these days.

Does Canon still lock the white balance at time of recording in AWB mode? The one thing I really hate is changing the kelvin manually on R5. Too many button presses. On Panasonic cameras there was a dedicated WB button it was as simple as 1 button press and a wheel scroll. Same with setting custom white balance...holy mother of god. Everybody complained about the EOS R touch bar on the back but I wish they would have put a hybrid of that and the new controls on 1DXM3 instead of scraping it. I find myself rarely using the joystick anymore with such good tracking.

A FF organic sensor S2H could really shake things up but my guess is we will see a S35 Organic Varicam model first after the specialized prototype cameras are possibly used in the olympics. If Panasonic isn't going to move beyond DfD for their AF they need something else, because buying sensors from Sony that are already in new Sony cameras bodies 4-6 months before anyone else, with awesome AF, decent color, and 3,000 Youtube videos at launch, doesn't leave room for much of a completive edge... Camera manufactures need something to propel them away from the gaping maw of smartphones photography/video.

My iPhone is awesomely convenient, but the god awful flaring of light sources, especially at night, ruins it for me...and the plastic skin tones, and the flickering HDR auto modes, and the clunky controls when I want to manually control anything, and the ergonomics in my hand. I'm not that convinced smartphones are going to eat everything or that traditional cameras will be regulated to a niche of a niche geek obscurity. Video is exploding. Production values are going up. Technology is advancing on all fronts.

Clinical in the video sense is basically any lenses that does a fair amount of lens aberration correction either by optics (Leica APO being on the extreme end) to purely software based corrections...many times both. The new ARRI master primes are a good example of a move to more "corrective" lens design in cinema lenses.

Here you go. 20 seconds straight from camera in clog. The only thing I did was strip out the audio and exported as ProRes HQ. Oh, it's also in a 2:1 aspect ratio but it was shot in 4K DCI. https://www.dropbox.com/s/y9m9mg6g10ddkfq/R5_4KHQ_4KLQ.mov?dl=0

Blasphemer!

I could probably hook you up this weekend.

I can imagine this would be bad for some Sony cams that already have a green tint in the color. Maybe not so bad for Canon which almost always leans into magenta.

Almost all variable NDs suck when it comes to color shifts and polarization artifacts. They will all tint your footage, especially at higher strengths. But in general I would go with one that: Has hard stops Has smaller range; 1-5 and a 6-9 I use an aurora-aperture 1-6 stop ND. It’s pretty solid. The 7-11 stop version is not very good. I’ve been looking at the polar pro mist+nd combo going forward. Still haven’t made up my mind.

This was the conclusion I came to when weighing A7SIII (rumored but pretty solid specs at the time) and the Canon R5/R6 and Panasonic. Panasonic S5 AF still kinda crappy so it’s out immediately. Panasonic fix your shit. A7SIII amazing specs but 12MP is just crap. I don’t care if it was fine in 2007. My baseline is 20MP. So it came down to the R5 and R6 and I sprung for the R5 for the MP, the video crop mode, the internal RAW, the typical canon pro body build, and RF & EF ecosystem with canon adapters and focal reducers. Sony then released the Sony A1 and its superior in many ways but $6500 bucks, so Im happy as a clam after using the R5. The camera needs clog3 or even clog2 though, so I can’t wait for the new firmware update.

I like my FHD downsampled from 8K to 4K and then downsampled again to FHD. 😂

I agree. I would say Sony has already met and in some cases exceeded Canon's DPAF. Sony now has 10-bit codecs with more refined colors and S-Cinetone for easy workflow and an army of YouTube influence peddlers. Canon still the only one offering internal RAW in mirrorless or DSLR form factor. It's not very compressed and hard to work with but its there and more accessible than anything from Sony. I think Canon R1 will set the tone for them going forward, or at least it should if they are smart. Sony is really killing it as far as technical specs are concerned...and its showing.

I think it will be Panasonics only saving grace, that, and continuing to bring more cinema level features to smaller and more affordable cameras. S2H: "yeah we don't have good AF... but we got a new organic sensor with 18 stops dynamic range, built in eND, false color, and Varicam color science for $4K with a flip screen and tilt screen!

Any camera manufacture beholden to buying Sony Semi. Conductors sensors are always fighting an up hill battle. You bet your ass Sony's contract around buying sensors from Sony Semi. Conductor is a good one. They always get the latest technology first. The last generation of cameras were all using the same sensors. A7III, S5, Z6, SL2, Z7, S1R, SL2. I'm sure I'm forgetting some too. It's all about how they are wrapped now and I'm afraid all these other camera manufactures are doomed If they can't come up with better wrapping (AF, ergos, colors, codecs, processing, internal RAW). Perhaps Nikon has an edge here with ProRes and BRAW. I just don't have much faith they can execute it well given their history. And Canon, is well Canon. But at least they have DSLRs and mirrorless with internal RAW, albeit not very compressed RAW.

I think for what the Wireless Go II is and considering its form factor it's a great product. I could totally see them releasing a Pro version with two channels, internal recording, and 32-bit float and ability to monitor at RX. The 2.4Ghz frequency transmission still would make it a no-go for most weddings venues, however, unless they added safety of recording the captured audio on transmitter as well as at the receiver. I almost bought Wireless Go 2 weeks ago. It was backordered so I didn't. In the back of my mind I thought...maybe an update is coming soon. Especially since other Rode products were backordered too, like the Rode NT-USB I ordered 4 weeks ago.

I feel for you man. What a disaster.