Jump to content


  • Posts

  • Joined

  • Last visited

Everything posted by herein2020

  1. I will preface this by saying I do not know all of the intricacies of digital stabilization or IBIS; I know the limitations, how they work, and what exceeds their capabilities but would definitely defer to a camera engineer on the specifics of why one system works better than others. With that said, I can see why it would be plausible for smaller sensors to handle digital stabilization better. Just because the data is raw doesn't mean the information coming from the smaller sensor has the same resolving power or quantity of information as the larger sensors. The raw data from a smaller sensor will have less color data than the larger sensors otherwise there'd be no reason to make larger sensors. With less color data, it would take less processing power to stabilize the footage digitally (similar to two pictures shot from the same camera...the one with lots of color will be substantially larger than the one with less color in the scene). I do think the fixed lens helps, and I think like you said; GoPro, DJI, etc. had more incentive to get it right vs the MILC camera makers, but I don't think incentive is the only reason it works so well in smaller cameras. Another challenge is always battery life as well; the more processing power used for Digital IS, the worse the battery life will be; for larger cameras that could become a real problem. As far as sensor size for IBIS, I am quite familiar with how it correlates to a car's suspension; but where the two diverge is that once again battery life is a concern with cameras whereas it is not a concern with cars. A larger sensor will require a more power hungry IBIS system to stabilize the larger sensor vs a smaller sensor. IMO larger sensors and smaller sensors have relatively the same amount of "sensor travel" ability because the body size has nothing to do with the image circle. MFT sensors like the GH5 have an MFT image circle which will limit the sensor's travel just like the larger sensors. Regardless of the specifics, Canon has clearly caught up and passed the competition in the IBIS department for their FF cameras. For Digital IS, I think at least for now the action cameras are still far ahead of gyro, IBIS, lens IS, and the digital IS from the other makers. I had this problem with my footage shooting runway shows where they put a digital backboard behind the models, the flicker was terrible.....I added deflicker in post using Davinci Resolve and it did a great job. The main downside that I saw was that rendering was far slower, and so was editing, so I would recommend if you want to try this then complete all of the edits to the project first, then add the deflicker effect. You might be able to add an adjustment clip and add the deflicker there to fix the whole project at once, but I did not try that. I have used deflicker in the past for timelapses but this was the first time I needed to use it to fix regular video footage. Seems like a lot of fine print that goes along with gyro stabilization. Now that is impressive, seeing the before really shows how much the gyro stabilization helps; it is definitely doing more than I thought it was. It would be really cool to see a camera with gyro, IBIS, lens IS, and digital IS all enabled at the same time. It would be nice if all cameras offered gyro stabilization, it would be one more tool in our belt for stability. I would still prefer IBIS over gyro, but it would be nice to have options like in DR where you get to pick from 3 different types of post stabilization and get to test each one to see what works best for that particular shot. I would imagine that Canon could implement gyro stability at least in their cameras that have the electronic level since clearly they already have a gyro on them. Not so sure about the C70 and others in the cinema line. It does seem to me that Canon is playing a lot of catch up these days.
  2. The R5 has hands down the best IBIS that I have ever used, I shot handheld a few shots with a 70-200 at 200mm and it was incredibly stable while filming closeups of people as a B-cam; so I do think modern IBIS systems can equal or be better than the BM gyro results. The difference for me is that when IBIS fixes instability there is no weird jitter or warping that I saw with the gyro results...at least not with the longer lenses (35mm and above). The other benefit of IBIS vs gyro is there is no cropping required...with IBIS what you frame is what you get, with post stabilization and gyro stabilization you have no idea ahead of time how much cropping will be needed. For my particular niche in the industry (fashion), it is very important to not have to crop because the crop could be in the worse possible place (middle of the model's head for example), rendering the shot unusable. Just because it shoots 6K doesn't mean you want to leave tons of room around every shot and frame differently to accommodate post cropping later; sometimes you need the exact composition that you shot. Based solely on the video above, I think gyro stabilization is a lot like post digital stabilization....very good for certain types of movements and very jittery for others; whereas IBIS is excellent regardless of the movement. DJI's Osmos and GoPros have the best In Body Digital Stabilization (IBDS?) out there. The working theory is that because the data rates are lower due to the smaller sensor, it takes less processing power to stabilize them (and other action cameras) than the larger cameras which is why their digital IS works so well. Another theory is that the sensor is simply larger for regular IBIS systems so the IBIS naturally will have to work harder to stabilize it. The GH5's IBIS for example blew away the FF competition for years in the IBIS department. Manufacturers typically rate their IBIS system based on stops of light. For example, the R5 according to Canon has an IBIS rated at 8 stops of light...the highest in the industry for MILCs. Most manufacturers are rating their IBIS systems around 3-5 stops of light. I think the S5 was rated at 5 stops. Not sure who invented light stops as a measure of IBIS performance, but it is the standard now. You can read more about how it is measured here: https://www.canon-europe.com/pro/stories/8-stops-image-stabilization/ I will say, after this past week, the R5 without a doubt has the best IBIS I've ever encountered in a FF body. I could hand hold at 200mm and make it look like I was on a tripod for an extended length of time; very impressive in my book.
  3. I have gone full circle, I used to shoot everything from a tripod, gimbal, or monopod; mainly because I started out shooting real estate photography and video. As soon as I started working with bigger projects and faster moving events stabilization equipment felt like a crutch that was holding me back; even the monopod started feeling clunky and too much fiddling; by the time it was the right height, pointed in the right direction, and the camera was ready, the moment had passed. These days I still have the monopod in the car but haven't used it in over 2yrs, I bring the gimbal to most shoots but usually either don't use it or use it only for a few min of walking shots, and the tripod I do use religiously for runway shows and long form static work. For everything else I shoot handheld. One thing I never do handheld though is try to walk; Other than GoPro, I have yet to see a single IBIS system that impressed me when walking. To me, if you are going to walk with the camera you need a gimbal, no exceptions. GoPro of course still has the best in body digital IS that I have ever seen, but they can get away with it due to the tiny sensor. This is why I still say no IBIS system (other than GoPro) truly works when walking, no matter how many stops of light the manufacturer claims. I had hopes that I would be impressed.....but I wasn't. The handheld static scenes were ok; about even with IBIS and about even with post stabilization; but the walking scenes were terrible as usual. Way too much warping, and jumpiness; it was obvious where the gyro stabilization was trying to fix the footage. I will be truly impressed when any IBIS or post stabilization can make a gimbal shot indiscernible from a handheld walking shot for the average videographer. There are exceptional videographers who can shoot handheld without IBIS and without post stabilization and make a walking shot look great (at least for a few seconds to a minute), but they are the exception. Personally, I am always trying to improve my handheld technique because handheld is by far the most freeing while also the most challenging. Shooting with the C70 handheld has greatly improved my technique, now when I shoot with a camera that has IBIS like the R5 I find myself shooting with much more stability and not needing any post stabilization.
  4. That is a very interesting phenomenon, and makes perfect sense when you think about it.....but I think in the real world it is nearly impossible to see in a typical scene. Your test scene had a lot of sharp edges and detail combined with a lot of shake and post stabilization; in a typical shooting scenario the camera is farther away from the subject, there's few if any sharp edges, and the camera is typically also moving in some visible direction; combine that with compression from online platforms and I don't think it would be discernable at all. The biggest problem I have with post stabilization is trying to balance the warping effect that post stabilization adds to certain scenes especially when shooting with wide angle lenses or the motion you are trying to fix. For me, I am more trying to smooth a too sudden motion more so than actual camera shake. When using it to smooth out a start or stop in motion it is quite effective but sometimes I have to try all 3 options in DR before finding one that looks natural. The one place where I think this phenomenon would be perceptible nearly always would be shooting detail shots for real estate. In real estate videos though you nearly always use sliders or gimbals for that very reason....too many sharp straight edges that would make any camera shake, post stabilization, or horizon tilt very apparent. I think at the end of the day nothing beats true stabilization equipment, IBIS, Digital IS, and Post stabilization are all just tools to get you "close enough" when "close enough" is acceptable.
  5. I guess I don't understand how the 180 degree shutter angle relates to post stab. I almost always shoot at 180 degrees with most of my cameras except with my drones and I frequently have to stabilize in post (especially since the C70 has no IBIS) but it looks fine to me.
  6. Well I am thoroughly pissed with my R5 right now....have had it a little over a month and have to send it in for repairs already....MAJOR EVF lag. Have been shooting runway shows for 2wks straight and my keeper rate was below 60% because of the lag. I also shot a few b-roll clips for the C70 with the R5; it was 95F, outdoors not direct sunlight mostly photography with a few clips up to 2min long at 4K60FPS not even using the 4K HQ option and I got the overheat warning. I suppose before I send it in I will update the firmware to 1.6 to at least "fix" the fake overheating problem. My C70 was filming 4K Raw LT almost continuously at the same time and I had no issues with it. I have also had weird issues with the R5 where the shutter button after being half pressed for too long while in eye tracking mode will not take the picture after going from half pressed to fully pressed on the shutter button. Had to fully let off of the shutter button, hope it re-aquired the eye tracking after pressing the shutter button again before taking the picture.....and typically finding out after the shot that the EVF display was so far behind that the moment was long gone. If I could take the R5 back today I would do so and stick with my 5DIV for another few years. As far as shortening the life of the camera with the new firmware, I really don't think that's a big deal at this point. I got the 4yr Canon CarePAK coverage so the motherboard could fry itself tomorrow and Canon would still have to repair or replace it. I am surprised that they did not remove the ridiculous 30min recording limit with this FW update. The R7 doesn't have it, and its long gone from Panasonic and I think Sony cameras as well, no idea what Canon is waiting on. I do think since Canon does have to honor their CarePAK coverage that at a minimum Canon doesn't expect the cameras to fail within 4yrs even with the new FW otherwise they wouldn't have released it due to the potential cost of replacing customer's R5s.
  7. https://inf.news/en/digital/2667b9715edd645a2c507362f5a6b3a3.html DOA
  8. I guess its my turn to vote on the video.....I am actually neutral; I feel like any modern mirrorless camera if properly exposed and with the same LUT applied could look the same; that's not saying anything bad about the R7, the footage does look nice to me, but for me personally it is average. I do like that he used a very affordable Canon EF 50mm lens vs something exotic like a MF cine lens, so to me that's a good thing as well but it does look pretty much identical to what I am getting out of the R5 even though I've only shot test footage with the R5; which again is not a bad thing at all considering the R5 is more than 2x as much and has a FF sensor. I would like to see skin tones more with the R7, but I'm sure they just used the same Canon color science that is in the rest of their cameras so the lens and color grade could skew those results either way. Overall, its a solid offering in my book.
  9. This looks like a pretty good lowlight test for the R7, IMO as I expected, it is more than sufficient for my needs, it was very interesting seeing it compared to the R5C as well. Also, I did not realize until watching this video that the R5C and I assume the R5 has dual native ISO.
  10. Wish I could help, I switched to Davinci Resolve years ago and never looked back. For something as specific as you are describing I would ask on the Adobe Premier forum. When I encounter DR weirdness I typically ask on the BlackMagic forum and sometimes it is helpful. One thing that I would do if I were you, was to save the current project with a different or maybe with the date in the name and proceed from there; that way if you get to a point where you lose your markers you can revert back to the previously named one and try again. Very frustrating I know, but at least you won't lose hours worth of work, just the amount of work since the last time you saved a copy of the project. I also keep File History enabled in Windows 10, not sure if you are using a PC or a MAC, but with File History I can revert back almost immediately to a previous version of something; for Adobe that would be the project XML file. None of this will fix your problem, but at least you won't lose hours of work if Premier does lose your markers.
  11. Yes but you are skipping budget, the types of work you are referencing had the budget for it, event work which I do has razor thin margins and the organizers question the ROI on my services probably every year....with a big enough budget anything is possible, for event work the budget simply isn't there so any assistant that I hire would come out of my own profits and because the hourly rate would be low for the assistant you get what you pay for. And yes, I do hire assistants for things like talent management, talent direction, etc for larger modeling shoots but I am still the only shooter. If I had the budget to pay assistants $50/hr+ I am sure I'd have a great team by now....but that's not going to happen in my particular niche of the industry. I don't think it would be much more than $2500USD, it is still a crop sensor, and still has plenty of competition from Sony and Panasonic, and it still has very few actual crop sensor lenses, it also remains to be seen how it performs in general against the competition.
  12. I actually like big heavy kit, it keeps everything more stable and I've been shooting on it so long it doesn't seem big or heavy to me, but yes, now that you mention it, the 24-105mm on a body smaller than the R5 especially with the adapter will be greatly imbalanced. I used the 24-105 on the S5 with an adapter all the time though and it felt fine to me, but that was with a cage and handles, something I am not sure if I would add to the R7. @Kisaha @kye nailed it. Everything seems like it has an easy answer until you have tried it. Bringing in a second shooter exponentially increases the complexity of everything; risk to the equipment, risk to the project if the second shooter doesn't show, or doesn't match your style, or has a setting wrong, increases the cost of the project which already has razor thin margins, greatly increases the tax paperwork at the end of the year, etc. etc. That's all assuming the person is even reliable and actually shows up. I have had to bring in second shooters in the past and most of the time it ended up being a lot more work for me. Once I hired a second shooter for an extremely simple drone job because I was not available that day. They just had to film a construction site, I barely made more than a referral fee and was going to edit the raw files. The person parked his car and the client's car right in the middle of the construction site and took all 100 images that were needed. To me it was very unprofessional to have him and the client in the footage....so I had to spend 2hrs on what should have been 20min of work Photoshopping out his car, the client's car, and him and the client from every photo. Once I had a client mandate two shooters, a dedicated videographer and a dedicated photographer. I hired a photographer, but due to my paranoia I took my own photos as well. Second shooter showed up with dual 1DXIII's and full kit. I thought this was going to be a good shoot. I got his footage home and every image had the horizon horribly tilted....once again took me hours to fix his footage and I had to throw away a lot of it because there was nothing left after cropping in enough to straighten the horizon. Fortunately I had taken my own images as well. Also, my particular area is very competitive; I work the biggest fashion shows and events in the area and next week I am shooting the biggest swimwear fashion show in the world (Miami Swim Week). Anyone I brought on I would have to risk them handing out their cards, trying to get my client lists, wearing my shirts and possibly giving my company a bad name, etc.....its happened to many people I know. There's always someone in line behind you waiting for you to trip or fall. So yes, I analyze my business all the time as well as my kit and look for every second of efficiencies that I can; like @kye said, its easy to imagine ways to improve and on paper they might seem great until you are in that person's shoes. Also, like Kye mentioned, backups are very important and not discussed very often. I still pack a fully rigged S5 with me as a just in case backup for the C70. That's where equivalent focal lengths are also important. The R7 could serve as a backup to both my C70 and R5 if it had a speedbooster attached. @MrSMW also hit the nail on the head and was the exact thing I was going to say; the most successful two person teams that I have seen are nearly always a couple. With a couple many of the challenges I mentioned earlier go away, even the tax problems, liability, reliability, etc. etc. It introduces other problems 🙂 but that's a different story for a different day. Yes that is my conundrum...but I am used to odd kit decisions; my S5 with no CAF due to the EF adapter was an odd setup as well but it worked perfectly for my needs at the time. For me economics is a big part of my decision making process; I have technically never left Canon since I still had the 5DIV and the EF lenses and the C200. I am still not a fan of Sony, but I do think if I was starting over with no lenses and no bodies Sony would be the better fit. I am trying to twist and turn Canon's solutions to force them to fit my workflow and needs; is it optimal...no, but is it the most economical approach...so far I think so. With dual crop bodies and dual speedboosters along with my existing EF glass I would have everything I need; full immediate toolless interchangeability between all bodies and all lenses, battery sharing between the R5 and R7, SD card sharing between all 3 bodies, lens sharing between all 3 bodies, IBIS in the R7 for video, RAW in the C70, a backup to both the R5 and the C70 (the R7) for both video and photography, a lighter gimbal camera with the R7, excellent AF in all 3 bodies, XLR audio in the C70 and R7...etc, etc. Just the other day I left one of my SD cards in the card reader at home and when I got onsite for the shoot I just pulled the SD card out of the C70 and threw it in the R5....it was fantastic. I am in no hurry to get the R7 though, so I am curious about the R7C rumors, the body is so small even if it needs a fan it might still be good on battery life, so I may keep my spare S5 until I get more details on the R7C. If it turns out to be a clunky battery hog like the R5C then I'll probably just get the R7 instead.
  13. I wouldn't mind slowly going all native RF lenses, but due to the crop, the cost of the speedbooster which I already purchased, the fact the speedbooster is bolted to the C70 (making switching lens mounts harder), and the additional stop of light gained with the speedbooster for a camera that is not that great in low light (C70), I will probably just permanently be stuck with EF glass. I like the 18-135 EF-S as well for when I am shooting for personal use, it is a very useful lens for simple shoots during daylight hours. The Canon ND adapter converter is so expensive it is easier to just stick with screw on ND filters to me, my current filters I use for photography already and with the Canon set you still have to buy a clear drop in for when you don't have an ND filter in the adapter. For me the crop sensor agony is that I like to keep my kit simple, the fewest lenses possible, a single system, etc. I shoot crazy chaotic events and do it all solo (photography, video, audio, drone, lighting, etc.) I don't want to have to fiddle with multiple lens mounts, crop sensor vs FF, etc. in addition to everything else that is out of my control. The problem with crop sensor cameras is you need to buy lenses for them that you won't use on a FF camera. My photography camera is FF and I don't want lenses in my bag that I can't use on every camera at the event completely interchangeably. With the C70 this was fixed by the speed booster. If I got the R7 it would need a speedbooster as well. I want to be able to grab a 50mm, or 24-105mm, or 70-200 and have the same FOV regardless of what camera I put it on vs buying 16mm or the 15-35mm just because I have a crop sensor camera. I've even had to swap lenses between my photography bodies and video bodies mid shoot to get a certain focal length....that would be harder with a mixture of crop sensor, S35, and FF all with different crop conversions. So individually yes....a crop sensor is no big deal, but when you have to use it with a mixture of other cameras and need complete interchangeability and simplicity it can become a thorn in your side at the worse possible moment. I have had to grab a body, rig it for an interview (audio, lighting, stabilizer) within minutes then after the interview is over grab a light stand, flash trigger, modifier, and studio strobe and head to the other side of the venue for a photo shoot. So for my particular needs, my kit just needs to work and everything needs to interchange with everything else as quickly and simply as possible. The R7 does look promising to me though, maybe I can put a single "hero" lens on it like the 24-105 F4 with a speedbooster opening that aperture up to an F2.8 and just never take off that lens and use it for everything like a walkaround lens for both photography and video. Currently the EF 24-105mm F4 is almost the only lens I use on the C70; that extra stop of light really turns that mediocre lens into something way more useable.
  14. You are definitely right, the S1H does have the perfect LCD rear screen tilt options I thought it only tilted up but it flips out as well. That would work for what I need. As usual....Panasonic is ahead of the game in every area except two (lenses, and AF). The C70 is definitely an odd one; I have gotten used to the shape and look; but the lens situation is infinitely confusing for me....I will always be stuck with EF glass for the FF look and extra stop of light, or lose all of that while paying twice as much for all new lenses. I feel like the R7 could end up in the same category.....it being a crop sensor makes everything complicated; go with a speedbooster and stick with EF glass for who knows how long, or go with RF glass and take the crop penalty while trying to mitigate it by shooting with wider fast lenses. Shooting with RF-S variable aperture lenses is not a viable option in my book unless I am doing the tourist traveling thing.
  15. Exactly my experience as well, even with the Ronin RS2 where the rear servo motor is not blocking the screen, I still need tilt flip screens for complex gimbal movements such as low shots where the rear arms and servo motors would block the rear of the camera and crane movements where the final camera angle is overhead. Also, I find holding the camera much more stable and you can get the camera closer to your body when holding handheld if the screen is off to the side instead of between you and the camera. Also, my V-Mount battery goes directly behind the camera body for all long form content, without a flip screen the battery would have to sit farther back throwing off the balance of the rig, and last but not least, sometimes you need to twist and turn the screen until you find an angle where the sun is not glaring off of it. But hey, to each their own. the good news is there's currently something for everyone. @MrSMW I will admit, there are times where I feel too many people are moving around too much or too close to the camera to feel comfortable with flipping it out, in those cases I just keep it flat against the rear of the camera. I would imagine at weddings with kids (and towards the end of the night drunks) it would be a little nerve wracking to have that screen flipped out. Below is an example of my long form setup; parts of the screen would be very difficult to access if it did not flip out to the side. I was having trouble with my adapter plate in the picture below but usually the camera is nearly flush against the V-Mount battery which is the proper balance for the rig. Outdoors the glare from the sun is usually a good reason to flip it out and twist it in different directions.
  16. @MrSMW BTW, in case you haven't seen a runway show's photographers pit, here is a pretty good picture of one. Words can't really describe it until you have experienced it. Every sq inch counts and I'm already on everyone's bad list when I show up with both a video camera, video tripod, and a photography camera with a Canon EF 70-200 on it. So yes, for video, the tilt/flip screen is essential for me.
  17. I am surprised you don't like tilt/flip screens, because they are so flimsy? I wasn't a fan either, especially for photography until I got the R5. I got in a few situations with my 5DIV where it was difficult to see the screen. When shooting real estate the camera needs to be placed in some really tight spaces sometimes and for those times I had to compromise the composition at times because I had no way to see the screen. I have also had to do very low product shots in the past and a flip screen would have been nice vs laying on the ground. I do agree, the tilt flip seems very flimsy when it is out and turned, but I shot for yrs with the GH5 and S5 and got used to it. The R5 will be my first workhorse photography body with a tilt/flip screen, so far it has not bothered me. Now for video I feel the tilt flip screen is essential. I shoot a lot of runway shows and the photographers pit is very crowded, so I'm usually inches away from my video camera while it is free running while I also shoot photos, in those cases I flip the screen to the side and can check the camera and stop and start recording without moving. There is no room for an external monitor because it would block someone's view. I don't think many vendors are going to meet your tilt only screen requirements. But I do think the R7 could meet the rest of them. Also, there's a rumor that an R7C could be released next year, personally I think the R7 as it is now is already good enough for the type of hybrid work that I do as long as it is paired with the C70. I would be surprised though if you switch systems anytime soon, you have a pretty substantial Panasonic investment right now even the lenses if I recall correctly. For me switching back was easy because I kept all of my EF glass, but if I had lenses for any other mount I probably would have stuck with that system. Even for me now, I'm playing the EF adapter and speedbooster game, native RF glass would be just as expensive as switching systems.
  18. I think it does take years to get truly proficient at getting in and out of difficult situations and learning the drone's obstacle avoidance limitations such as power lines, what to do with signal loss, setting the proper RTH altitude. etc. But these days drones practically fly themselves. I've been flying them since the days when you had to build your own FPV system, and you had to strap a GoPro to the bottom and press record before it ever left the ground. You also had to fully control the landing and there was no obstacle avoidance. These days they practically fly themselves, the newest drones literally won't even let you land on your own and force automated landing for the last few feet of descent (landing is where a lot of drone pilots were losing control), and the cameras are incredible (4K/6K/8K, 20MP, Micro Four Thirds, Quad Bayer, etc). I think with the modern drones anyone can get good footage and learn to fly one; it is the fine nuances that come over time (night flying, handling strong winds, handling signal loss, landing in tight spots, etc.). But anyone could enjoy one in a wide open park, or field. IMO the patchwork of laws and regulations is far worse than flying the drone itself.
  19. I have been flying commercially since 2014, here in the USA the countrywide laws are pretty reasonable, the drone has to be registered, below 55lbs, and if you are flying commercially you need to be Part 107 licensed. Also, the maximum altitude is 400' AGL unless you are within 400' of a structure taller than 400' at which point you can fly up to 400' above the highest point of the structure. There are some other restrictions such as flying over nonparticipants, restricted airspace, obtaining LAANC approval, etc. but much more reasonable IMO than many other countries I have seen. I have way more problems with the arbitrary local ordinances. Local governments make it very difficult to fly in parks, from city streets, etc. by restricting the ability of drones to take off or land on "their" property. Local governments cannot control the airways (this is the domain of the federal government which is regulated by the FAA), so instead they prevent you from taking off or landing. A fun loophole that doesn't work very often but is sometimes possible is when there is something you want to film but it is a restricted area but within flying distance from a non-restricted area. I once wanted to film a historic lighthouse on government property that banned drones so I simply crossed the street to a private parking lot and took off and landed in full view of the government employees and there was nothing they could do about it. Now if the drone had crashed or ran out of battery and landed on their side of the street I would have been in trouble. Recently the FAA even relaxed a lot of the night flying restrictions and so now I am able to fly commercially at night as well. What I don't understand is the people who blatantly flaunt the laws then post videos on YT showing every detail of how they are breaking the law, right down to distance, altitude, GPS location, etc. This guy is without a doubt the biggest shining example of such stupidity. He got the largest fine to date which was $185,000USD for over 123 drone law infractions AFTER the FAA sent him multiple warnings and even sent him to a class about drone safety. And this guy is just the tip of the iceburg, there are countless "range test" videos on YT where people show every detail as their drone flies over people, near buildings, way beyond VLOS, etc. I don't think there is a single person who owns a drone who hasn't broken one of the rules at some point but posting full details and video of it borders on lunacy in my book. As far as interesting stories, I used to shoot a lot of real estate photos and videos and I had a few situations where angry homeowners would approach me or threaten to call the cops because the drone was "hovering" over their property. I would tell them to go ahead feel free to call anyone they wanted because I am commercially licensed, insured, have the proper air clearance, and have no interest whatsoever in any property except the one that is about to be for sale. That approach has always diffused the situation (so far) and I even gave a few of them my business card and told them to call me when they need to sell their property. I was also filming an event once and had the local police come running over to me to tell me to bring my drone down immediately because I was flying directly over the concert attendees and way too close to people. I calmly opened my drone case and showed them that my drone wasn't even in the air and showed them my flight path which was to simply hover over the water and parking lot nowhere near people; they let me keep flying my drone. Another fun time was when I was filming a car race event at night and someone else was flying a drone there as well. My drone has the ability to turn off all of the lights which I did before taking off. The other drone pilot had a DJI drone which does not have this ability and his drone was hovering right over the cars and people with lights flashing all over the place. I hear the announcer state over the loudspeaker that whoever was flying the drone needs to land immediately and come see him. So he landed and got kicked out of the event while no one knew mine was silently hovering 100' higher up but was impossible to see at night. I have drone stories for days, but those are two of the most memorable for me.
  20. That's why I don't understand the people that are disappointed in a camera not having ALL-I. ALL-I has higher data rates than Canon Raw Lite but without the RAW benefits so I have never used it; there is no image quality improvements and the one time I tested it, it still was harder to edit than RAW footage so I've always found ALL-I to be pointless. This is why I say I think Canon accidentally created the perfect hybrid camera. The R6C would only be 20MP so trying to crop in or change the orientation of the image would greatly degrade it. Also, the "C" versions have a fan which is annoying for photography, makes the camera too bulky, shortens the battery life, and affects the weather sealing. If the R7 doesn't overheat, and the line skipped 4K60FPS is "good enough" then the R7 is very interesting for hybrid work. I always think of what would be the perfect run and gun travel camera and until now that for me was the S5, but if I had a trip tomorrow and could only bring one camera and needed photos and video it would be the R7. The lowlight tests I've see for the R7 are plenty good enough for me, the only real question remaining is overheating. Even if it does overheat after say 40min or so of continuous recording, that would still work for me because for the long form work I would use the C70, for photography the R5, and for short clips or candid photos the R7. For events I would probably lock down the C70 for the main event and use the R7 for quick b-roll, detail shots, etc and candid crowd shots or when someone wanted a quick couples shot while I am filming video (that happens all the time). That's impressive results with the M1, I can't believe that NVIDIA's top GPU still cannot accelerate H.265 10bit 4:2:2 footage. I will not buy another GPU until one is released that can do this.
  21. I forgot about that 4K60FPS and additional crop. You would almost need a fisheye to work with that crop. Maybe the line skipping looks so bad because its side by side with the cropped version. Maybe in the real world the line skipping is fine for weddings and social media content work.
  22. Now that is impressive, I had a sneaking suspicion that the R7 would be good in lowlight, it looks about on par with the C70 in low light. The Pro list might be longer than you think: Pro: - 32 MP sensor and good low light for an APS-C - Dual SD (backup recording also for video), R3 level autofocus - Multi-function Hotshoe (Tascam CA-XLR2d, etc) - Canon/Viltrox speedbooster (0,71x) & VND adapter works Cheap Media - SD Cards vs CFExpress Batteries - Same as the R5, R6, 5DIV, etc....if you have Canon DSLR batteries laying around they will work for the R7 Lens - Massive lens ecosystem from day one (RF, RF-S, EF, EF-S) with full AF capabilities Price - IMO very good price for what you get Overheating - So far overheating seems to be well controlled AF - Looks like R3's AF capabilities and even includes auto leveling which I don't think even the R3 has Battery Life - No battery grip but 2.5hrs recording video with 50% battery remaining is quite impressive to me I have a few more cons as well Cons: - No ALL-I, but only IPB / IPB-light - No battery grip possible (as body is smaller then 2 batteries) - Only 2 control wheels, not 3 like R5/R6, no top LCD - Build quality / weather sealing not like 7D-series, more like XXD-series USB-PD - Requires a USB-PD power source, not just a USB-C power source Crop - Like with any crop sensor you will always have to work around the crop Speedbooster - The Canon C70 speedbooster is $700USD, almost as expensive as the camera and it is unknown at this time if it is fully compatible with the R7. Codecs - No XF-AVC so unless you have an M1 Mac, that footage will be hard to edit without proxies For me no ALL-I is not a big deal, I never use ALL-I due to the data rates and storage requirements. All ALL-I does is makes it easier to edit, no real increase in image quality. I can only imagine how poor the body quality will be, for this reason alone I would almost rather wait and test it out in a store before buying it. My built like a tank DSLRs really got me used to that level of body quality.
  23. That's great news, would love to see your thoughts on body, build quality, and low light.
  24. Its funny you mention that lens, I actually have that lens and completely forgot about it. I got it for my C200 and have barely used it since. That would actually be a great lens for the R7 with the EF adapter.
  25. I agree, the lens situation with the R7 could be considered a weakness. But since Canon does provide adapters vs having to go with a 3rd party I don't think its as bad as it could be. You also have the option of using native RF glass, but that would get expensive fast and there would be the crop to have to deal with. If I were to get the R7 I would probably shoot with my 24mm F2.8 to compensate for the crop or maybe my Canon EF 16-35 F4.0 would suddenly become useful for more than real estate. If somehow the Canon C70's speedbooster works on the R7 that would be a bit of a game changer, albeit an expensive game changer but still, to have all of the R7's capabilities in a FF FOV and gain a stop of light would make it almost the perfect camera with the sole drawback being you are now stuck in the past with EF glass. Now for people without tons of EF glass laying around...the R7 could definitely be a harder sell. That sounds like a pretty expensive proposition as well....switching to Fuji. Three different systems (menus, lenses, possibly even flashes), does not sound like something I would want to deal with.
  • Create New...