zlfan

personally, i think that 5d3ml makes amateurs on the same ground as hollywood pro dps, even they use alexa ev, f35, varicam 35, etc. 10 years ago, this was the highest standard in videography in terms of cameras. nowadays, there is not much revolution in the camera world. maybe more convenience, cheaper and easier to operate, more portable, something like this. this is why tech savvy people are not interested in camera talk like they were 10 or 15 years ago. to me, now the bottle neck is how to generate content, how to fully utilize my video cams, just like 10 years ago, i had the same feeling when i saw my collections of still cameras and mf lenses. i kind of losing the interest to keep update with the latest video cams and still cams of course.

hollywood pros use large format as a differentiator. if they really care so much about the sensor size, in 2015, 5d3ml 1080p full frame was already mature, yet many video pros bashed 5d3ml as unstable, amateur. yet, once alexa showed its lf and alexa65, the american cinematographer journal started to publish a series articles on how wonderful large format is.

lens compatibility is a valid point here. but they are exceptions, like sigma 18-35 f1.8, canon efs 17-55 f2.8, etc. saying 135 full frame is not significant better than aps-c, whereas, a lot of still photog will be unhappy about this. even in video world, there is difference. i remember that i watched many 5d2 videos on vimeo in 2008-2010, and 7d videos. somehow, 5d2 just feels better than 7d. you have to watch many to get the feeling. in the still world, there are more choices on sensors in addition to sensor size, like ccd vs cmos, kodak vs canikon, etc. even canon 1 series vs lower tiers. in the video world, such differences are not there. to my opinion, video world has fewer options in terms of sensor. video world spends a lot of time on codec, whereas, still world cares about only uncompressed raw, uncompressed jpeg, tiff, etc. probably, the major difference that the video world cares that the still world does not pay any attention is the rolling shutter.

i understand your point here. alexa 65 and alexa large format are equal or larger than 135 full frame. what i was talking was that the alexa classic and its direct followers like alexa ev, alexa 35, amira. especially, the alexa ev was about the same era as 5d3ml. the former is s35, 5d3ml is vista vision. alexa ev/35/amira have not one side win over 5d3ml. the same as f35. alexa 65 has three alexa ev sensors and alexa lf has two ev sensors.

I think that the still photo cams reach plateau at around 2005-2010, the video cams at around 2010-2015. There are improvements later on, but not revolutionary. It is not so exciting to talk about cameras now. It is more about content.

in the still photo world, people care full frame much more. aps-c or aps-h are considered lower quality. i don't know why in the video world, people don't care about full frame that much. maybe the full frame has more rolling shutter in video mode, which is not important at all in still photography? personally, for still photography, i don't care about sensor size, i use nikon v1, pentax q, canon nikon pentax minolta olympus aps c, and 5d3 full frame, and kodak 645 pro 36x36. actually kodak 36x36 is the best, 5d3 is good, but not significantly better than others. nikon v1 1 inch sensor has better dr than many larger sensors. pentax q is good at iso100.

you are right. r5 has low priority in magic lantern community. on the other hand, if there is no magic lantern community, r5 would have no 8k raw in stock mode. even so, r5 raw is compressed. people tested it against the 5d3ml, the dark area of r5 raw was not that good.

I am not limited to 24p. If the camera has 60p, I will use it. If the cameras, like the magic lantern cameras, use 24p to maximize the resolution, I will use 24p. I don't limit myself. magic lantern is true lossless raw, so even at 24p, slow panning is usable. r5 canon raw is compressed, i think the compression ratio is 3 or 5. the dark area loses the details due to the compression.

there are very few cameras better than 5d3ml. Alexa ev or other Alexa members may have better dr, but only s35 sensor, and much larger body size. f35 has ccd, but s35, and cumbersome body too. they may be better than 5d3ml, but to me, it is more a give and take option instead of they are blowing 5d3ml out of water. r5 has 8k raw, but not uncompressed. so on for others. I think 5dml already reaches a plateau, even though other cams are better, but not so much. 7d2 gives 1080p 60p slow, which is the weakness of the 5d3. 7d2 1080p s35 may also have effective dual pixel af, which is very useful for tracking. anyways, I think ml cameras are the best deals in this world.

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.