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plucas

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  1. Lossless means what it says but just because something is called "lossless" doesn't in fact make it so. Mercer and Seek have used ML cameras as daily drivers or, if not, extensively, so there's probably something to the difference. A test would be good, nonetheless. I have a 5Diii and wouldn't mind testing out the difference and sharing the results here.
  2. Apparently you can record RAW to one CFExpress card and 4K 10 bit simultaneously to the other.
  3. https://www.canonrumors.com/canon-eos-1d-x-mark-iii-specifications/ No DPAF in 50/60p.
  4. Never had Danne's build freeze while shooting but I did think that my 5Diii RAW (14 bit lossless) looked slightly less detailed than my EOS M footage - albeit the 5Diii eliminates aliasing. I've never used the Nightly Build. What record setting did you use for it? (Full 14 bit RAW?)
  5. Hopefully something minor like 8-bit-only 1080p. The 1DXiii is already at a disadvantage over the "C" series without internal NDs, 3.5mm audio input only, no exposure tools, and no angle-adjusted screen. It'll probably have no more than 13 stops of DR.
  6. Latest 1DX Mark iii rumours: DPAF in 4K No crop in 4K External 5.9K RAW recording "still on the table"
  7. The 7-year old 1DC can shoot 4K with only a 1.3X crop. With a new sensor and dual DIGIC 9s, I'd back the 1DXiii to pull off full frame 4K at least in 24p.
  8. https://www.canonwatch.com/canon-to-deliver-24p-video-mode-to-select-cameras-via-firmware-update/amp/
  9. Is that the 1080p in crop mode only? I've heard that the crop mode is much sharper than the full frame mode, which some say is "mediocre by 2012 standards." I'd like to see a 1080p comparison sometime between the c100 and the EOS R. On another matter, Why is there no option to record 1080p in 10 bit on the EOS R? Product line preservation? Sure. But they included 10 bit 4:2:2 output which not even the c200 can do.
  10. When I think about a future camera to purchase, I like to look at what creators and filmmakers use more than what they recommend or exalt. I have heard every high praise for the XT-3; camera of the year 2018 from multiple folk. And yet I hear that sales are slow, camera stores struggle to move them, and while plenty of creators use it I'm sure, none that I follow on YouTube appear to - not regularly, if they own one - even though they've reviewed it positively. One guy even said he was looking to switch from his Sonys because the color and image takes a lot of work to get right and tried the XT-3 but wasn't thrilled with the image and settled on an EOS R. So what's the story? Is it that good?
  11. Another report regarding the sales slump at Canon: https://www.canonwatch.com/canon-releases-interim-financial-report-sales-plummeted-by-10/ Does anyone seriously think Canon can or will regain ground? It looks like they're sunk: the consumer camera market is contracting, and their tech literally cannot compete. Case in point: their latest sensor inside the M6ii and 90D still cannot achieve 4K recording with a full-sensor readout. (And no 4K 60p, either.) Don't tell me either that Canon crippled the EOS R with the 4K crop. Here's the deal: their DIGIC 8 is a inept technological piece; so much so that in the two years since the 5DIV and its DIGIC 6+, they couldn't improve the crop factor. In other words, beyond the slight noise improvement, the DIGIC 8 is a fifth wheel. Now, their market success is likely to remain with pro-sports shooters thanks to the 1DXii and their 1DXiii could keep them ahead here in the short-term. But what else? Their company profits have fallen, their tech is years behind on everything but lenses, and they handicap their products. This isn't just a market dip; it's terminal decline.
  12. It has the flip up screen from the mark 1 but not the swivel "flip screen."
  13. Magic Lantern has perhaps already reached a terminus of sorts. It's a wonderful utility that has allowed us to shoot RAW video on a budget, but we haven't seen a RAW module come to any Canon camera that was released after 2013. (Correct me if I'm wrong.) In essence, the modern DIGIC processors or sensors are much more complex and the brilliant team of developers at ML are only able to develop the software in their spare time. No doubt Canon has already taken steps to make ML builds more difficult to port to their newer cameras. Filmmakers like Rubidium (Crimson Engine) still often use the 5Diii ML as their C200 B-cam and that's of course bad business for Canon, who'd rather that professionals settle for an EOS R or buy a second Cinema camera.
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