eatstoomuchjam

I'm so happy that I (hopefully) will never need to use Raw Converter again! (Not that it's a bad app, I just want my disk space back)

I don't know about electronically, but the new handle definitely wouldn't be physically compatible with the R5C, given that the top isn't flat and doesn't have 1/4x20 holes to screw it in.

Not really. Blackmagic does not seem to have any interest in supporting BM Raw outside of their own cameras and recorders. ProRes RAW, on the other hand, is now used at least in cameras from Panasonic and DJI, and apparently, their own camera app on iPhone. By that logic, they also shouldn't support Canon raw or Nikon raw since they are also ostensibly competitors. The historical reason was that they didn't support it because they hate Atomos, which I get, and the format was primarily recorded by Atomos recorders. Nowadays, that use case is fading as more vendors record it directly in camera without forcing users to deal with a shitty third party.

I didn't catch it while streaming the Apple keynote earlier, but apparently they mentioned that its ProRes RAW capture (I did hear that and I approve, but I just bought a 16 Pro last year so it'll be at least a couple more years before I get a newer iPhone) would also work in Blackmagic Camera. So at least on the capture side, it seems like their allergy to PRR is fading. IBC starts this week. Dare we hope for an announcement for new input codec support in Resolve? At this point, it seems silly that they would capture it and then refuse to edit it.

I guess I'll be curious to compare it with the OG Komodo. Its dynamic range is really nothing to write home about. It's some of the best DR I've seen from a global sensor, and definitely better than the E2-S6G - but compared with other cameras that I have which do 12-bit raw like the Ronin 4D, it is definitely not better and grading doesn't seem that much smoother either. (Komodo-X is a lot better) Also, a noisy image in raw partly just tells me that the manufacturer isn't baking it in - and I'm pretty OK with that.

Looks like the video got pulled, but NikonRumors summarized some stuff: At $2,100, it's a much, much more interesting option than it was at $2,600.

BTW, @Andrew Reid - which Epic are you selling? There were several (Epic M-X 5K and Epic Dragon 6K in DSMC1 and Epic-W Gemini 5K and Epic Helium 8K in DSMC2 - with monochrome variants of all of the above). If it's a monochrome or maybe a Gemini, let's talk. 😃

Sort of a new Raptor. It's just a reduced/cheaper version of the existing V-Raptor. It's basically the same as Komodo vs Komodo-X. At $15,000, it's still awfully expensive, but at least it helps them stay competitive with the UC 12K pricing-wise. I suspect that with some of the other recent releases, the number of people willing to go spend $30k on a V-Raptor X isn't huge, a very small number of Hollywood productions notwithstanding. Why shouldn't they? They own both codecs and now they can tell people that it's a camera you can use as a B camera to your Z9 or it's a camera that you can use as a B Cam to your Komodo-X or V-Raptor (or crash cam) and have it fit neatly into both workflows. This is where I am, but $2,600 isn't "cheap" for me. Sub-$2k, though, and I'm starting to pay attention. Since that won't happen, I'm probably in the "wait 6 months and pick it up used" camp.

So it would be a camera with the Z6 III sensor, but a smaller body that includes Redcode for... the same price as the Z6 III? Cool story, Nikon. Cool story. I'll be interested to see test results for it and would consider it once it's available used.

If somehow the "Red tech" is Redcode and the rumors are wrong and that it has a CF Express, this could be a big seller (and interesting to me). But yeah, those things look increasingly unlikely. Still, Nikon Raw to SD card could be compelling, depending on other features/specs/price. The big question, really, is how much Nikon want to preserve Red as a "premium" brand vs trying to make Nikon a name that people associate with cinema/video.

The official announcement happened. The most recent rumors seem to have been correct. It's probably not a camera for me, but it looks like a solid option for people who want a compact Canon which can do 3:2. Along with the announcement, there were firmware updates announced for C80, C70, R5C, and C400. They seem not very interesting in general, but the C400 will get open gate which will be nice for people who want that.

Other than "open gate" and "extra CF Express slot," that list sounds like a less good R5C. You can go spend $800 less (new) or more than $1,000 less (used) and get all the same, but with 8Kp60 raw video and 45 megapixel still images. Oh, and burst photo rate. R5C matches R5, IIRC, and maxes out at 20? Doubt that's a big selling point on a cinema line camera, though. (Broken record: But make that 7K DGO and...)

I'm definitely no electronic engineer, but the 10-15x estimate seems high to me. A sensor that is 2-4x the size and with 2x the photosites of the C70 would presumably cost more than the C70 sensor (oversized S35), but 15x seems awfully extreme. At its core, it's primarily just a second output channel from each photosite that gets amplified differently and then the two are merged with an extremely simple algorithm. The extra processing requirements for that are not all that high - and, again, a fairly small camera from 2020 was able to do it at 4K with no problem.

Indeed! If it isn't a DGO sensor, I'm not too certain that I have a reason to care about this camera much. It's not to say it'd be bad, just that it wouldn't do much that's better/different from cameras I already own - and 3:2 recording isn't a big selling point for me. I'm not sure that DGO needs that much more bandwidth, though. The C70 could do it from 4K all the way back in 2020. Surely, we've come far enough in 5 years that it could now be done on a smaller body with 3-4x the data rate! 😉 Anyway, I'm hopeful.

I'm on the other side - if they put a 6K DGO sensor in that body, it's almost definitely for me. I'd be so pumped to have DGO in such a small body - not to mention dedicated timecode so I don't kill my ears before I remember to mute the audio track that has the scratchy timecode sound. The biggest questions would be what existing gear I'd be selling in order to finance the purchase and whether I'd be waiting for used models to become available. 😅

Ergonomics look good. CF Express is nice and a welcome surprise, given that the rumors are for 6K resolution and the C80 which is also 6K only has dual SD card slots. That was my first thought, but the C80 also has them so there must be more Canon adapters that can be screwed in? Or maybe this one is high-end APS-C? I'd be very OK with that.

The only "Red tech" that anybody is likely to really care about is Redcode and/or the Red's sensors. If Nikon release some sort of entry-level camera where the only Red tech is a color profile to have SOOC colors look like Red's image, I hope their people doing the presentation are going to be wearing fireproof suits because they will get flamed.

Other than the sensors and Redcode, it's hard to think of what interesting tech there is to add. Redcode to SD card? 🤣 Maybe in MQ, LQ, and ELQ modes (in modern Red terminology) and maybe in LQ at 3:2. "HQ - High data rate - Up to ~ 280 MB/s (~30 minutes recording time)* MQ - Medium data rate (default) - ~175 MB/s (~48 minutes recording time)* LQ - Lowest data rate - ~110 MB/s (~1 hour and 17 minutes recording time)* * Data rate assumes camera settings at 6K 17:9, 23.98 FPS. Recording time assumes a 512 GB CFast card. Your actual data rate will depend on complexity of the shooting scene and capture settings. Data rates subject to change with future updates." (https://docs.red.com/955-0196_v1.6/Content/4_Menus/ProjSet/R3D_Quality.htm) SD card benchmarks: https://alikgriffin.com/ultimate-guide-memory-cards/ The very fastest one tested managed 268MB/s write speed and I'd be willing to bet that the person writing the article didn't write continuously for 10+ minutes. MicroSD, on the other hand, just seems insane. Proxies, maybe? But why? Who is asking for MicroSD in a full-sized camera? A second SD card which can plug directly into most laptops would make a lot more sense.

Anything is possible, of course, and I have absolutely no insight beyond rumors, but it still seems a little weird to me. It should be a lot less computationally expensive to handle QB readout (I think this might even be done by circuitry in the sensor itself) than to take a 7K image and downsample it to 6K at high quality. Seems like it'd be a pretty big hit on battery life and heat. Good thing it's rumored to have a fan! Although wasn't there recently a camera that came out and still overheated, even though it had a fan? Maybe Canon's management saw that and got upset that somebody invented a hammer that they never even imagined and they instantly put their best people on it. 😉

I'm glad - I do my best every day to forget them. 😉 (I also forgot Kai and Lok, but less intentionally)

Sure, but if it's not at all hybrid, it's kind of a weird decision to put in a 7K sensor and downsample from it vs just using a native 6K sensor. It's not to say that they wouldn't, just that it'd be a little weird. Similarly, the A7SIII/FX3 are both 12 megapixel stills cameras. While you can find some stills photographers who don't mind 24, a lot more who are OK with 33, and the vast majority are OK with 45. You're really not going to find many who will accept 12.

The new camera is coming out at a similar price point to the R5 II and I know several people who bought R5 series cameras primarily for video work. I'd be glad to be wrong about this one, of course. And as Django pointed out, they might go e-shutter only which would be likely to turn off a lot of photographers. Of course, if RS is <10ms, that might un-turn off some of them. Speaking for myself, the biggest question is whether it would have DGO. I would take 33 megapixels with 2 extra stops thanks to DGO over 45 megapixels. OLPF might also be a thing that would push it more to the strictly video side of things, but if it had one and between DGO and OLPF, it had an image like the C70, but in a smaller body with better low-light performance and more reliable AF, it might be in the rare category of cameras that I'd be excited enough to buy new as opposed to waiting 6-12 months for them to get a 10% price drop on the used market...

The C80 has internal ND and there's almost no way this one does, based on the size. C80 also has XLR, SDI, and about a bazillion buttons that this one doesn't. On paper, the R5C had a number of advantages over the C70, including better AF and 8K shooting. But it also lacked internal ND, XLR, etc. If I were Canon, I'd honestly be a lot more concerned about sales of the R5 II than the C80/C400 if this camera has most of the rumored specs. Especially if it has a DGO sensor, I'd gladly take that over 8K recording and 10-15 more megapixels for still photos.

The rumor that was highlighted said it was "optional" which would absolutely imply detachable. 6K vs 4K, internal raw, and rumored DGO sensor would all be better on a spec sheet. But it's also true that we're in a time of decreasing returns. The FX3 is a great camera. It makes a good image, can work with very little light, has fantastic autofocus, and it's small/portable. Everything about it is absolutely enough for the vast majority of current productions. You could just as easily respond that you don't care about 6K, raw, or an extra stop or two of dynamic range and you'd be absolutely correct. On the other hand, Canon has lost a lot of their video production market share and they need something that they can point to when current users say they want something like an FX3, and ideally a little better than the FX3 so that their users still feel good buying Canon stuff.

So now we know there aren't XLR on the body itself, but we also know that Canon are releasing a first-party XLR hotshoe adapter (maybe it'll be backward-compatible with R5C/R5 II, etc).