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Everything posted by herein2020

  1. I will admit that I am one of the ones that cross shopped the EVA1 with the C200. I ended up with the C200 mainly because of the lenses, AF, and build quality. On paper the EVA1 seemed to beat the C200 in nearly every way (10bit, higher resolution options, etc.) but the C200 build quality, CLOG3, and even the cost made me end up with the C200. At the time the EVA1 was $6500 and the C200 was $5500. I disagree that the EVA1 would have done better as a MFT mount. Sure they would tap into a huge selection of existing lenses, but they would also have limited their cinema camera to the same problems MFT always has...crop factor, low light capabilities, DOF, etc. MFT is great, I loved my GH5, but there would have been no reason to me to buy a cinema camera with the same size sensor as my GH5. Now what would have been really cool is if they could have made the EVA1 have an adaptable mount and an in camera crop that allowed it to accept APS-C, EF, and MFT lenses. That would have let them tap into both Canon EF lenses and MFT lenses; that one feature may have made me get the EVA1 instead. Just like the fact that the one feature that was the deciding factor when I got the S5 was the availability of an EF mount adapter.
  2. You may have a conflict of settings; there's a setting that states do not show focus peaking during AF. If you have the AF switch turned on then try to set focus peaking but you also have the setting configured to not show focus peaking during AF then I think the focus peaking settings will be unavailable. The way to fix it is to either switch the lens or the focus selector to MF or turn off the setting that disables focus peaking when AF is enabled. It is definitely not the picture profile because I only shoot in VLOG and use focus peaking religiously.
  3. Yes I'm just stuck in this odd middle ground where nothing is perfect or terrible. I would love CAF but having my entire collection of EF glass available to all of my cameras (5DIV, C200, S5) is worth more to me than CAF. The EF adapter is such a pain to remove due to my S5 cage setup that it has never come off after putting it on. Hybrid AF works pretty good most of the time with the adapter (half press to achieve focus then flip the MF button on the lens to lock focus). I will probably hang on like this until I see what disappointments the R5c manages to bring next year. If they somehow get it right, I'll finally move to a more native EF system (even though the R5c is RF mount). If Canon manages to colosally disappoint yet again then I'll just stick with what I have for a couple more years. If the R5c is even 80% what the S1H is, then Canon will have a winner but I don't see that happening since they already have the C70. In my perfect world I would have two identical bodies that can use all of my existing EF glass; both as good at photography as the R5 and as good at video as the S5 but with the R5's AF and the S5's XLR module, dual slot video recording, and dual ISO. One rigged for video (cage, XLR module), and one rigged for photography (no cage, dual battery grip, hotshoe free for flash triggers). Then on a shoot I can mix and match where the areas overlap when I need a quick video clip during a photo shoot, or a few images throughout a video shoot and where in a pinch I can use both bodies for the same purpose such as multi-angle interviews or both cameras rigged for photography for a wedding. So far its an unachievable dream but who knows what the future holds. My bank account thanks Canon every day for not making this dream possible.
  4. I have problems with DFD even without CAF.....it simply will not focus in certain situations that I am certain would be effortless for other focusing systems. In those situations I have to manually focus or just keep trying until it locks on; sitting there watching it struggle and the whole scene pulsing is just painful. I am using a EF adapter and EF lenses so I still give Panny the benefit of the doubt.
  5. There..fixed that for you Am I selfish to wish they had just dropped MFT and released an S5II instead?
  6. Great video, and yes I do try to pick ideal locations when I am able to, but with events you have no control over things like that. It also makes sense that they are able to get that level of audio with dedicated sound guys big budget, etc. I have resigned myself to always having to struggle with audio. In other news I did get the XLR adapter to be more reliable on the S5. I now set the XLR module to line or mic level first and turn on the camera with nothing attached. Once the XLR module turns on and is detected properly, I then turn off the camera and connect the XLR cables. I then turn on the camera one more time and switch the switch from line or mic to phantom power +48v after the cable and mic are connected. With this process in this order it has worked flawlessly so far.
  7. @Mark Romero 2 @MrSMW For me it literally almost never appears and when it does its hard to see. The GH5 was far better in this regard and of course Canon with their triangles is second to none. It is probably made worse by the EF adapter and EF lenses. I can definitely say its the worse of any camera I have used; but I have never used the Olympus; even my Canon Rebel's focus peaking is better.
  8. I have been saying this for a long time, the focus peaking on the S5 is horrible to the point of unusable; I have to punch in to focus and it seems that then sometimes focus peaking is decent but its still better to just look at the screen and try to gauge sharpness that way. The focus peaking is definitely nowhere near as good as the GH5.
  9. I watched a few of the videos on color grading and a few on the new features in DR 17. Very comprehensive for things like color grading and general use. I do wish they provided more in depth training for Fusion. Most of the really good Fusion tutorials you have to get from YouTube and the SFX artists who work in Hollywood. I'll admit, I was really into learning Fusion when I first switched to DR from PP, but the constant performance issues and crashing was a big turnoff and I haven't really touched Fusion since. The rest of DR though is rock solid.
  10. That depends on if you are as big of a conspiracy theorist as I am . I still think the overheating timer is either complete BS or Canon deliberately designed the camera in a way that would not prevent it from overheating with extended use. My S5 can shoot 4K60FPS 10bit 4:2:0 H.265 footage for 30min on a 90 degree day while recording to both card slots with no problem and unlimited 8 bit footage. With a body the size of the R3 and so far they are only advertising 4K (not 6 or 8K) I would definitely think no fan is needed.
  11. A few members have reported that the RTX3080 can edit the files from Canon. Your 10bit question was a bit vague though, there's a big difference in editing 10bit 4:2:0 footage which is what everyone but Canon offers vs. Canon who only outputs 10bit 4:2:2. For 4:2:0 footage nearly any modern card will do, I'm using an RTX2080Ti to edit my S5 10 bit 4:2:0 footage. This same setup couldn't even playback 4:2:2 10 bit footage from the Canon R6. IMO PP has been hot garbage for many years....the day they started charging a monthly subscription fee was the day they went into the dumpster for me. I switched to Davinci Resolve and it was the best thing I have done in a long time. DR 17 is definitely the best version yet and it just keeps getting better. Once they improve the performance of Fusion it will truly have no equal in my book.
  12. The PetaPixel article is pretty funny actually and the comments are even better. So anyone who calls Canon out for their BS is now a Canon hater? I would think it is safe to say most of the forum members here are the least fanboyish of any forum I've been a member of. Members here just use whatever works and if that is Canon then they use Canon, or Sony, or Fuji, or Panasonic, or....etc. I know that I personally love the idea of Canon but just keep getting disappointed which is why I have stuck with my 5DIV and which is why I had to go to Panasonic to get what I needed for video. The PP article was quite inaccurate as well, the EOSHD article was nothing more than conjecture with the words "RUMOR", "If this rumor WERE TRUE" etc. written all over it. I think this is good news though, at least we know now that PP editors read EOSHD forums and maybe just maybe Canon does too. So Canon..if you are listening, add an XLR module, dual slot video recording, and a 4:2:0 codec to your R3 and I would possibly replace my whole current kit with Canon gear.
  13. I would be concerned as well if Sony really was the only high volume high end sensor maker around. Look at Panasonic...strictly conjecture but I love a good conspiracy theory and I truly think Sony has told Panasonic they can only use their sensors if they stick with DFD.....no other explanation makes sense. So imagine Sony waiting a few yrs until all of Canon's sensor production capabilities are gone then they slap some onerous restriction on Canon's sensors. Of course every bit of this is wildly speculative and as outsiders we truly have no clue what is really going on but its still fun to speculate.
  14. There is a gap in NVIDIA's GPU acceleration specifically when it comes to H.265 and H.264 and 4:2:2 encoding. If you look closely at their supported GPU acceleration matrix, 4:2:2 is not listed anywhere; which is strange because 4:4:4 is supported. I believe the AMD story is the same. https://developer.nvidia.com/video-encode-and-decode-gpu-support-matrix-new What is weird is that even the RTX3080 is not listed as supporting GPU acceleration for 4:2:2 yet @ntblowz is able to edit the footage. I have to guess that the RTX3080 is somehow decoding/encoding the footage although the official support chart shows it does not support this. I am tired of upgrading video cards every few years so I'm holding out until the RTX3080TI comes out or a card from NVIDIA is released that shows 4:2:2 support before I upgrade from my RTX2080TI. All evidence states the M1 Mac can edit the footage flawlessly; personally I am in the Intel and Davinci Resolve camp so I'm still waiting on official video card support. Also, I am curious to see what Intel's or NVIDIA's response to the M1 will be. I don't doubt they are both scrambling behind the scenes to figure out how Apple did it and how to come out with their own versions.
  15. For me the biggest problem with proxies is time. I am already competing in a race to the bottom to get customers as it is, they are not going to pay me extra to spend extra time creating proxies or editing impossible to edit footage. I know you can just start the process and walk away then return when the proxies are completed, but that is still taking up your workstation's time, affecting your power bill, etc...all for what? 4:2:2 vs 4:2:0 the difference which is imperceptible to the customer? Now if you work in the space where customers have budgets that include the additional costs associated with 4:2:2 footage and can recoup that time financially then that's great; but its not the reality of my typical customer. If I had that type of customer on a regular basis I'd probably be shooting with C70's as well or C300's.
  16. I think everything comes down to cost and time. If it would have cost them more to make their own or take so long that they could not meet their production timelines then it would make sense to outsource. We still don't even know if it is true and to what extent Sony is even involved. Maybe Sony can more efficiently mass produce the sensor that Canon designed or maybe there was a patent problem that could be overcome by partnering with Sony...who knows. Now if Panasonic would just partner with Canon to implement DPAF...... At the end of the day it's all about money; stranger partnerships have been formed between supposedly arch enemy companies in the past when it made financial sense.
  17. The Panasonics use Sony sensors so even if this is true its not the end of the world. I would still take the S5 over any Sony camera any day so if the R3 has a Sony sensor it would make for interesting table talk but the image quality should still be able to stand on its own.
  18. The question though is if you can record to the internal card and output a clean HDMI signal to an external recorder at the same time. The R6 does not let you do this.
  19. I am not sure...the R6 deliberately disables this capability. If you try to record clean HDMI out it disables internal recording. But if the R5 does allow this and you did configure it that way...it would defeat the purpose of using the recorder to reduce overheating and the internal card would not be ProRes not to mention your recording time would also now be limited to the internal storage card's size vs the larger SSD in the recorder. To me true dual video recording is no loss in functionality and the exact same codec used in both copies. But yes, if you are as paranoid as I am about having a copy of the footage, and if the R5 allowed this, then that would be a way to get video storage redundancy. Maybe an R5 owner can chime in and say if you are even allowed to do this with the R5.
  20. The S5 really shines here.....at 4000ISO with a 50mm F1.4 I've been able to shoot clean footage using nothing but practicals. Throw in a hotshoe mounted Falcon Eyes F7 and I can even shoot F4.5 with clean blacks.
  21. Oh I agree 100%, use whatever works for you; but being forced to buy/use a recorder to overcome a camera's shortcomings is a pretty poor excuse of a camera if you ask me. Now using a recorder just because that's the way you rig is one thing @Andrew Reid listed all of the same reasons that I have for not using a recorder. One additional downside that Andrew did not mention is you still only get a single storage device for your footage. If that SSD gets corrupted or fails then you lose all of your footage. With my cameras, they all provide dual slot video recording so I also get redundancy.
  22. Actually that is the only thing that makes sense to me with the R6....they used the 1DX3 sensor. Which sounds fantastic...get the sensor from a $6KUSD camera and only pay $2500USD for it....20MP even makes sense if the R6 turned out to be a lowlight beast. But of course we all know how that actually turned out. This is my second biggest pet peeve, with my first being no XLR adapter options. But yes....you are correct, the last thing Canon wants users to do is use their mirrorless camera line for professional video work. They want you to buy the R6 as a B photography camera, the R5 as an A photography camera, a C70 as a B video camera, and a C300III as an A video camera. If you do not buy this exact setup Canon wants to be certain that you will be missing out on some many desirable features during your shoot. Why is this your answer to everything? If you are running and gunning as a OMB and you want the lightest simplest most efficient kit possible a recorder is a horrible idea and it is completely ridiculous to have to buy one to overcome deliberate shortcomings in a camera. And how many times have you tried to rig a recorder and a camera on a one handed gimbal?
  23. It does sound pretty interesting, they even mentioned the hotshoe would now support additional accessories which may mean an XLR module somewhere in its future. My 5DIV has never had it's battery grip removed so I can see the R3 possibly finally replacing my 5DIV for photography since with the battery grip I would imagine they are about the same size; they are clearly not trying to oversell its video capabilities (unlike what they did with the R5) and I am clearly not trying to get too excited about them either now that Canon's strategy makes it obvious that they will do everything in their cripple hammer power to prevent it from stepping on the C70's toes.
  24. No way! I remember when Apple made the news over filing a lawsuit against RED but it was vague and didn't have many details at the time. Had no idea they already lost the case and it was over RAW....talk about stifling innovation....its such a BS patent, but anyways, I digress. It's pretty clear Canon has some kind of secret deal with RED but their CRAW Light data rates are still too high for me, maybe the R3 will offer something more compressed for 4K.
  25. According to CR, the R3 will get internal RAW and CLOG3 as well. I still don't understand why no one has taken RED to court and sued them out of business for that patent. I've read a few legal opinions that say it is unenforceable but no one feels like paying for the legal battle.
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