zlfan

5d3ml if operates in full sensor mode is a vista vision cam, eos m is at most a s35 cam. 5d3ml certainly is better in terms of resolution and dr.

why is this one better than go pro?

to correct this. if only operates in 1080p full sensor s35 modes, actually lcd is high res high fps realtime. the preview issues are in the high res modes.

even the latest fx9/fx6/fx3 will have issues in slow panning if they are not operated in raw modes, how can other lesser cams survive the 24p yet the thin codecs? I have tested with nano flash 280 mbps iframe, on f3 at 24p, still the slow panning looks jumpy, although much better than the stock codec. at 30 p / 59.94 i sdi output on c300 og, the nanoflash 280 mbps iframe really is smooth. so that 6 frames really matter, even when using 280 mbps iframe, a codec is similar to or higher bit rate than the prores raw. how can thin codecs of 24p provide "filmic panning"? oh, does filmic really mean fuzzy or dizzy? lol.

f900 with a hj 22x. your shoulder and back will enjoy the combo. lol.

if 7d2 magic lantern matures, probably it. can do 1080p 60p s35 no alias no moire. the major issue is just like 5d3ml, no realtime high res preview on its own lcd. crop mood is so good for this. I like eos m, 100d too, although ml is not as stable as 650d/700d, but smaller, especially m, with a pancake lens, not much larger than the GoPro 12.

c300 og with nano flash 280 mbps I frame 59.94i 1080p is good enough for slow panning. c300 og's stock 50 mbps 23.97p and 29.97p 1080p are not usable for slow panning. I use 59.94p timeline in davinci resolve, and get 60p footage, seems fine.

there is a cost effect ratio here too. other than magic lantern cameras, uncompressed raw cameras are extremely expensive, like the Alexa family. on the other hand, a 60p camera with a low end codec can be very cheap. doing action packed shots, the latter one will be more suitable. try a 24p thin codec camera, you can hardly see clearly anything once the camera is panning, tilting, or doing other complexing movements.

I just watched the gold rush 1925. where is the 24p magic? why am I still enjoying the story and composition and action such much? lol.

Black Magic just announced a new full frame 12 k cinema camera, can do 12k 60p. The higher resolution, the more severe dizziness if there is camera movement. For example, sd 480 shaking and panning does not give much dizzy feeling, but 1080p is much worse, 4k is even worse. 12k with 60p is much smoother than 12k 24p in moving scenes, due to the high resolution.

initially, 24 fps and cameras were motorized due to the need to synchronize with sound. when I watch Chaplin's soundless movies, I really enjoy them, and I think they are cinematic. like city lights, modern times, and earlier ones. sometimes he even used rack focusing. Chaplin was during the transition period of 16p soundless to 24p sound. I think 24p effects are exaggerated and glorified and even sacrified afterwards.

7d2 can write 200 MB/s for both cf and sd cards, much better than 5d3. not sure about eos r.

agree. pro io is useful, especially for Multicam shootout. iq wise, they are not that outstanding.

I set my epic-x mysterium-x to 5k 60p 2.40 5:1. I used 5k 24p 2.0 3:1. I don't see significant improvement over r1mx 4.5k 24p 2.40 7.5:1.

I really like ml raw. it bests all of my so called pro video/cinema cameras. if you don't care about xls, nd, double recording, sci out, etc. if you don't care rolling shutter.

nikon always does surprising game changing moves. d90 earlier than 5d2, buying red, z mount shortest flange distance, etc.

exciting. game changing.

but strong codecs are better than weak codecs.

according to my experience, this is true.

one of my go pro 12 videos with a lot of moving shots got multiple up votes and highest viewing rate on my channel. good stabilization with 60 p beats 24p no stabilization day by day.

One of my crop mood videos got voted on YouTube. I think the key factors are the color and the good enough resolution. It was about landscape. I used shutter speeds from 1/48 to 1/2000, because I want to have a small package and don't want to have a nd filter in a matt box or some vari nd. I don't see significant effects of the shutter speed on the landscape shots. Here is my take: The so called magic 24p motion blur actually has negative effects on fast actions, no matter if the codec is weak, or strong, or uncompressed raw; it has negative effects on slow motions, if the codec is weak; it does not have significant effects on landscape. Even if the magic 24p motion blur exists, it has very limited application scenarios, maybe in drama, or soap opera, etc, for talking heads or dialogues, etc.

i figure out the best way to do 60p. for 60p, do shutter speed of 1/60sec. there are two advantages: 1. lighting requirement is easier to meet. 2. motion blur is closer to 24p, if 24p is what you want, because it is actually the shutter speed that determines the motion blur, not the fps. 3. at the same time, 60p helps tremendously on motion for weak codecs. no quarrel no politics all are happy. cheers,

funny 24p believers. they even attack you that you are an egyptian scammer because you challenge their 24p belief. they never accept and will never provide scientific evidence why 24p is sacred. but they will attack you because you dare ask them to provide evidence why 24p is sacred. lol.

i knew andrew's website well before this forum. i checked his updates on new cams long time ago, maybe 15 years passed by already. just have not registered on the forum until recently. sometimes it is fun to talk online. people throw all kinds of suspicions on you when they don't like your arguments. i think the other guy who supports 60p has burned out because he may never expect that he will be attacked due to his rich financial status. funny world. lol.

60p afficiando can be a medical doctor, these two are not exclusive. lol.