Video Hummus

So why don't you have one and are shooting on one? Sounds like your perfect camera! You sure about that? It's all about the aesthetic and emotion. What if the client watches the corporate talking head video on their 30 seat private theater instead of on their laptop on YouTube? That dude wasn't describing a videographer. He was describing someone that doesn't know how to use a camera.

8K can be useful. Using a blanket statement of questioning "who needs 8K?" because you don't need it for cinema is a bit myopic in my opinion. It's not like 8K is the only format this camera can output. It's not like the only use for video is cinema or production story telling. Having 8K in my pocket seems pretty useful if I'm at a location and can capture some 8K RAW stock footage and make a few bucks on my vacation or on the side of a work project. The hate and abuse is unwarranted and regrettable. I am glad you and others investigated this issue and it informed my buying decision even though I eventually did buy an R5 after weighing the pros and cons of such a camera. Generally, people seem to have to be upset about something. Before there was outrage about the R5 overheating. Now its sucks because who needs 8K and I need an external battery source to shoot the 8K I don't want at 60p! Outrageous! If Canon had released both of these cameras at the same time that would have made more sense but it wouldn't have made business sense in a market that is struggling. Oh well. The monkeys in marketing always seem to win. I'm just glad there is now a camera with cinema tools in this size of a body that is more reliable. Having to wait 8 seconds to switch from full cinema OS to Photo OS is the least of my problems and worth it for what I get. If someone shoots like this then they aren't very good at what they are doing with any camera.

Exactly, jesus the amount of pedantic rehashing of bullshit that goes on in this forum. We all know Andrew will have nothing nice to say about any Canon camera or any camera from any company that has slighted him in the past. Thats fine. Opinions and morals and all. No one on this forum is shooting Oscar level cinema of any kind and if they are they aren't arguing over who needs 8K from a $4.5K entry level cinema camera from Canon debating over screen grabs of a YT video. Hardly anybody is using parfocal cinema zooms to shoot weddings and get the "pure" zoom or punch in. If you are, please stand up so we can applaud you for your dedication to purity.

Sorry to hear this. Seems like one of these: https://www.bhphotovideo.com/c/product/1348544-REG/ruggard_edc_50l_electronic_dry_cabinet_50l.html/overview Would be a good investment for collector lenses or equipment. I'm sure you could make something yourself for like $10.

I think this is the way to go. MFT will always kinda suck in lowlight. Would much rather have expanded dynamic range.

I would love to see a ZV1 Mark 2 with a wider lens 16mm or 18mm.

Thats strange. Can anybody else confirm this? With the R5 you can hand hold 500mm for video and its pretty damn good. Try that with a Sony and a 200-600 and you will be sorely disappointed.

You could rent an R5C and a lens and try it out. Look at the wobble.

I did software for a bit. It is interesting they took this route instead of developing a unified OS version that could feature gate individual features cohesively across models. Perhaps thats coming down the pipe, who knows. Probably just internal politics, bean counting, and product segmentation.

Fuji also seems to be making inroads amongst landscape photographers because of the combination of 100 MP and 16-bit RAWs, and I guess the Fuji colors.

I'm sure they will all change their toon when Fuji releases their next MF camera and lenses and they need to "review" it. I'm sure Chris will say. something like: "...and you get that unique medium format look...". Don't watch the marketing monkeys.

I guess I’m just looking at it as a sum of its parts. As I see it OIS is already achieving its maximum benefits with very tiny incremental improvements (you can only move the glass around in the barrel of the lens so much). Same with IBIS. The sensor can only shift so much. Digital IS is all done in software. It can use feedback from gyro, accelerometers, OIS, and IBIS to achieve better results, limit the crop, limit the wobble, etc… I love IBIS. I’m not particularly bothered with it missing in the R5C because canon already has excellent lens OIS and I use native RF glass handheld. Digital IS helps a bit and is one button click away to disable. You can’t truly disable IBIS the way it is implemented in current cameras. There are no mechanical locks in place and a magnetic lock will still wobble with the kinds of magnets and power draw limits in cameras. So each their own.

Cheers.

I think the EIS is linked to AF or a combination of things because you can have a the camera on a tripod and get it to jump suddenly. I think it is a bug with the current implementation. Also, in one of the interviews Canon Rep mentioned the EIS is using gyro in the camera. I wonder if we will be seeing future firmware updates to improve its effectiveness?

But there is only OIS + digital stabilization so IT's clearly a piece of shit camera! I'm not a brand fanboy but sometimes people just like to hate. I loved my Panasonic MFT cameras, but they sat on their asses for too long so I moved on. Canon is clearly upping their game. It's a good thing. Maybe Sony will finally put shutter angle in their FX3 camera.

In the ProAV video the stationary handheld OIS + Digital IS versus IBIS and the results for the digital was just as good if not better without weird warping corners which you would have to crop to get rid of anyway. I'm not saying Digital IS is going to completely replace IBIS. They each have their trade offs and IMHO optical IS + Digital IS seems to offer less artifacts at wider focal lengths than IBIS can in video. Until we have IBIS mechanisms that can be completely lock down then there will be a market for both. IBIS is clearly beneficial but its not going to suddenly make your camera into a gimbal stabilized beast, not yet anyway.

Then use one of the 30 other bitrates the camera offers including some in 8K HEVC! Not that hard. Use the 8K RAW when it benefits you. Use the more compressed formates when storage space is a concern. It's not like this cameras has 3 bitrates options to choose from. Yes trade offs for each system. I think you underestimate the sophistication of gyro and image processing but with regards to practical applications you are going to be using a stabilizer of some kind anyway.

I think the micro-HDMI is the worst cripple in my opinion. I honestly think realtime gyro enhanced digital stabilization will be the future. You sacrifice a slight crop and 1-axis of correction (the axis that causes the wobble anyway) for more stable footage without the need for a fast shutter. Well do we know if that is straight out of camera or has it been seasoned to this guys particular tastes? What recording mode + profile did he use and compression ratio? Hard to be conclusive when we don't know what was done. And even so, if the 8K RAW LT holds up and retains the detail then there is a fix at cost of higher (but not deal breaking) storage requirements. Anglebird has +4TB CFX cards coming. I do think Canon has slipped a little bit with their color. Other brands have made huge leaps in consistency and quality.

And this is why I keep flipping back and forth on these two cameras. I like the size of the R5C but mostly I’m after the 4K downsampled image, unlimited everything, and occasional 8K RAW but the DR is no better than my R5. I would also miss IBIS for photos. The C70 has better DR and internal ND but is S35. I have no interest in EF + focal reducer. I would rather go pure RF. I’m leaning C70 since I already have R5. I’m sure we will see FF C camera in the under $6K price range in the future. Would love a FF C70 with internal ND. But is there enough room in the body for all of that?

I think the 645Mbps is the RAW LT rate for the C70 4K. Which they obviously set for a safe maximum of V90 cards which the C70 is limited too.

And 1GBps for 8K 12-bit footage is reasonable compromise compared to even ProRes HQ data rates at 10-bit. There are a shit ton of codec options for everybody. 95% solutions to high +2GBps RAW options. Sounds good to me.

The R6 downsamples from 5K too and there is a clear difference between the image in clog3 from R6 and from R5. R5 has better noise control with the 8K -> 4K oversample. I see no downsides to oversampling if it doesn't impact RS. Well get on the phone to Canon, Sony, Fujifilm and the rest and let them know. There are some clear benefits in signal processing that have nothing to do with how the human eye works. I am in agreement that we don't need to be racing to 24K because we can. Dynamic range is a far more important factor but has things stand DR is very slow to improve.

What is the benefit of these over WideDR Rec.709?

This is probably why they removed IBIS in the first place. People complain about IBIS wobble all the time. I believe its the same quality as R5, ie line skipped or pixel binned of some sort. It still looks really good.

Clearly this camera is not for large productions and large productions know exactly what they want. So I've they buy this cameras as an A cam they are idiots. That's what the C500 Mark II is for or any other suitable A-cam cinema camera. With regards to IBIS: assuming Canon solicited feedback it was clearly not a high priority feature request. GH5S didn't have IBIS either. You could make that argument about 4K 5 years ago. 8K is beneficial for many things: better downsampled footage, VR, effects. Gordon Lang has very shaky hands. I've seen it in other videos as well when he is just holding up something to camera.