Patrick B.

I think this might come.  Yesterday on a Lumix live stream they seemed to make it a point to say that Panasonic had enabled raw output over HDMI, but that it didn’t necessarily have to be ProRes RAW.  So if we look at the EVA-1 getting BRAW recently then it stands to reason this could come next.  Just a guess.
I believe it’s supported in the current beta version of Premeire (at least for Windows).  And I think Avid had announced support.  So really that only leaves Vegas and Davinci which I imagine will be the very last to get it.  I feel like eventually they might have to give in and support it if enough cameras are using it.

The 14 stops that C5D measured on the Alexa was at 2k resolution, and presumably the C300 III number of 12.8 would be closer to ~13.5 if downscaled to 2k. So it seems very close in terms of SNR.

Yeah, just read that!  I’d be lying if I said I wasn’t disappointed.  Not that I’m gonna pick up a C300 MK III.. but I’d just like to think after 10 years someone else can match an ARRI for DR ha ha.  I guess at this point everybody is pretty close though.
So I guess ARRI’s implementation in the ALEV III is very special.. not to say they are the same approach since they don’t have the split, dual-pixel design.  But I thought surely that using two separate exposures would yield even greater DR.  Puzzling...
good to know.  yeah I can see where it would be a special use feature that I might not even want all the time.

The result from newshooter said otherwise, but they shoot in raw not compressed like C5D do.
C500 ii is very noisy in the shadow area vs c300 iii with DSG.
 

Also would be good that is done with RAW at iso 100, RAW with D+ at iso 200 and RAW with DLog at iso 400 to see witch settings is giving better result and then compare to 10big Log too

If they're positioning the R6 as a a7III competitor, then it seems like a Raw/10-bit, 4k60p or even 120p camera is the minimum since Fuji and Panasonic have been in 60p territory for awhile now, and that would easily top anything Sony has. 
Based on the R5, my expectations for the R6 have been raised. And we still don't have the full R5 spec - just lots of headline grabbing specs. Don't see why 4k raw in some form can't happen, even if its a cropped mode that consumes less processing power compared whatever downscaling will happen to FF 4k. Also what about HFR or raw in 1080p? Will we see 240+ fps? Lots more to fuel the hype machine.
Cheers
Chris

RED is probably the worst when it comes to dynamic range claims. They say things like 21 stops of dynamic range lol. The latest RED offerings come pretty close to ARRI though, the Monstro has very clean shadows. 

They did - patent exchange/cross-licensing. This is why the RED Komodo will have an RF mount and phase-detection autofocus.

The place where I got my EOS R from already have pre-production R5!

If 180shutter isn't needed (or you don't have fast moving camera of subject then you can actually use 180shutter), it's a really good tool, the extra DR is noticable, but too be honest most of the time I just shoot in regular Prores 48fps Zlog2 which still has great DR if you ETTR properly. I've also gone back to using my EOSm for MLraw, which mixes great with the Zcam colour science. I have a GH5 as well which is still a very good camera, but I find it much harder to match it to the other two.

Yeah good point. I believe that’s true for their Fairchild sensor cameras. Makes me wonder why those didn’t quite reach Alexa level DR (although the UMP is pretty high). I always thought the dual gain approach was the sole reason Arri had some of the best DR.
 
I picked up a used E2 so I need to compare WDR mode. I saw someone post a dark interior shot in the Z Cam FB group using that mode where the window was able to be kept from blowing out. It seemed impressive. 

https://www.newsshooter.com/2020/04/21/canon-c300-mark-iii-hands-on-footage/
 
with DGO it outperform the C500 II on DR

I’m really curious to see if Canon’s new DGO (Dual Gain Output) technology in the C300 mark III will finally crack the DR monopoly that Arri’s ALEV III dual gain architecture has had.

4K120p Full Frame 10 bits 422 with C-LOG and DPAF and IBIS, all in a Canon ergonomical package? 
 
For the past 3 years I have asked this repeatedly here on EOSHD, people laughing at me like it couldn’t happen as late as 2019. In fact, I asked those exact specs, but with 60p. Canon comes and does it with 120p. 
There always was an issue. We had no IBIS in Fuji, mini sensor on Panasonic, or bad ergonomics, or bad autofocus (S1). 
Now it comes in the most perfect possible way. Absolutely insane. Its crushing the competition so much that I don’t see Why anyone on earth wanting a mirror less for video and has the money for it would choose anything else
Thanks Canon. It was about time.
Now let’s get rid of those Sonys. 

@Eric Calabros Regardless. If they are measuring all cameras at the same SN Ratio, it provides an easy way to compare them. 

oh yeah, I saw your video with Gerald ha ha!  shame they haven’t fixed it.  Ironic that the camera targeted at the most video professionals who would be most sensitive to and affected by this is the last to get fixed.

oh yeah, I saw your video with Gerald ha ha!  shame they haven’t fixed it.  Ironic that the camera targeted at the most video professionals who would be most sensitive to and affected by this is the last to get fixed.

They did at IBC 2019 before the ghosting fix on the S1 was available. Was talking to some engineers over there, they even knew who I was and knew the samples I sent. 
Sadly nothing really happened.
Did a collab video with Gerald Undone on this issue and did some promotion for my HLG Lut as well, since HLG is the only way to capture the same amount of dynamic range and color volume using the S1H without having an image which breaks apart quite easily but isn't easy to work with on the other hand without a proper Rec709 conversion to begin with.

55M Advanced Lut for S1H
 

I've seen a few sony f55 going for 10k with EVF and accessories. Always wondered about this camera and it's global shutter.

Yeah those bad boys eat through batteries, also heavy AF. 

Tempting though. I am considering the Arri Amira though. Saw one for 10k recently. Its a bit lighter, 4k (sorta), internal ND's and um thats it. 

I would wager that the original Mini will hold on to its value slightly longer due to its form factor.
I think the reason that people are offloading Alexa Classics for cheap is because of the size/weight and the fact they don't fit into the new paradigm of flexible rigging, gimbal use etc. Whereas with the Mini, the image will be good enough and the camera small enough.
So I'd say 5+ years. The market would first have to saturate with the new S35 Mini first and that might take some time especially with the global slowdown we're heading towards.
 
 

That's happened. But it is rare. 
If you had to buy an Alexa Classic today you'd be paying closer to $10K
But I expect by the end of the year $5K USD Arri Alexa Classics would be 
When will a Mini cost sub $10K? 
Look at how long it took for an Alexa Classic to drop to that price!

And I think the Arri Mini with its industry standard S35 sensor and (upscaled) 4K will stay at least semi relevant for a fair few more years. People are not going to just suddenly start hating and ditching the Mini within the next two or three years. Nope, won't happen! Which is what you basically need for a Mini to drop well below $10K. Thus I voted for 5+ years (although I wouldn't be surprised if before then a few rare bargains pop up slightly under $10K, but they'd be the exception and very rare)
Didn't the Classic start at a bit higher price than the Mini? 

I think also the desire to use cameras that can be more compact, is a factor which lead to the Classic dropping in price, while the Mini is very popular. 

Personally I'm curious as well about what will happen to AMIRA prices, they're already really close to dropping into sub $10K prices, only a few thousand off!

I saw a used Amira at 10k the other day, they usually go for 20k, probably because of this pandemic though. 

The classic is 10 years old now, the mini is 5 years old. So if it devalues at the same rate as the Alexa classic you are looking at 5 more years. Hard to say if it will devalue quicker. 

So with a used Alexa Classic now going for $5k USD and the Mini LF out, I’m wondering how many years it will take before the mini gets down in the sub $10k range.  Right now I see the mini still in the $30-40k USD range on the used market (i.e. eBay).  Five more years?  Maybe by then someone will finally catch up to the nearly 10 year old ALEV III sensor 😂

Can't speak for androidlad but 1Dx III the 10 bit 4:2:2 is h265 only and only this codec has Log. I doubt they develop this for a single "small" volume camera it is also not used in their Cinema camera so it is a fair guess that it would be in the R5.
Just be ready that at the moment editing this format is really pain at least in resolve at 4k, I really cannot imagine how slow it will be at 8k. 5.5k RAW are faster to edit.