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Andrew Reid

Canon EOS R5 8K monster official topic

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1 minute ago, padam said:

What I meant that if you are happy to use those, maybe the R5 is not really needed right away, if we look at how much cheaper it is going to became after a year or so, while the Panasonic S1 will become even cheaper right now (it will cost less than half as much slightly used) as it will loose some of its appeal and from what I've seen, the IBIS works really well even with vintage lenses.
And of course there is also the R6, but that will probably not offer enough unfortunately, it it targeted even more at EF or RF users as the AF will be one of its big strengths.


Yes, it is in terms of how the 28-70/2 looks, although it is still different so use  in practice compared to prime lenses and since I am not selling most of those, it is probably the one that has to go in the end.
And the balanced handling, wider range, silent AF and stabilisation of the 24-105mm f4 IS makes it pretty compelling for video.
And there is the "happy medium" 24-70mm f2.8 IS, which is offers a bit of both. Sure, the lenses are expensive, but they are also well thought-out compared to the competition (especially the zooms).

Yeah, that's a very fair point. Like I said before, my current predicament is debating between one of two routes for my next camera purchase; something more cost affordable, but will likely be replaced within a year or two (i.e. a Fuji XT3/4)... or something notably more expensive and heavy duty, but will hold a longer shelf live for me before I need to upgrade from it. And while obviously camera bodies are far less of a long term investment than the actual lenses, I do think the R5 is one of those camera models that would ultimately have a long shelf life. 8K RAW alone is overkill, but between that and 4K120p (with DPAF), I'd be set for quite a long time.

As much as I love my Panasonic G85 and the footage I've seen from the S1 and S1H, I get the feeling that the DPAF would far more beneficial for my current hybrid photo-video work than Panasonic's Contrast autofocus. I don't mind the Contrast autofocus in my G85 or using manual focus, but I do have to admit it's gotten in the way of my footage and photos on more than one occasion. So with the R5 having DPAF across the board with a rich image, be it RAW or 10bit C-Log internal, that's a big factor that's made me consider it over the Panasonic alternatives. Like I said before, if I were living in Atlanta or LA and focusing on my narrative filmmaking career, I'd probably go with them- but as it stands now, the R5 seems to make more sense if we're talking "Long Term Investment" cameras.

And yeah, my plan if I were to get the R5 is to buy it with the 24-105mm f4 IS right away with the camera! It seems to be one of those perfect kit lenses and would have me covered for most practical scenarios. The point about having the vintage glass was that, aside from my fondness of the aesthetic and character, it'd be a good cost effective way to have other special cases covered for my work until I could afford to buy other RF glass aside from the 24-105mm f4.

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

It'll be good to know if the 1D X III stands up, because it'll inform the decision on the R5...

So I have a 1D X Mark III on the way to test. Also having a big clear out. I think the SL2 may have to go if they can't fix it. £5300 is a lot for something that doesn't work properly. I have way too many cameras and time to get rid of the older ones that have fallen out of relevance and see what the Canon has to offer.

My concern is that RAW file sizes in 8K are going to be a complete joke. I am concerned about rolling shutter. I am a bit hesitant over the low light performance too. The 4K/120p and IBIS are big attractions, but the 1D X III 4K/60p is a full pixel readout. The 120fps will be binned. And I have realised IBIS makes me a lazy shooter and I don't like the floaty look. I am going back to tripod work.

The big dilemma is whether the GFX 100 justifies itself with the 1D X III around.

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10 hours ago, Andrew Reid said:

And I have realised IBIS makes me a lazy shooter and I don't like the floaty look. I am going back to tripod work.

 

this is so true. 

I am avoiding using IBIS even on the GH5 jobs, BUT directors and producers look at me very weirdly when I ask a few seconds to open a tripod..

I know "big-ish" productions that do not include tripods anymore..

IBIS is a tool, and a cinematic "phrase", but it is not a panacea, it is not the "whole book".

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There is a lot of unmotivated 'convinience' camera work out there today.

I am making a 3 legged stand

Tarkovsky would not use IBIS for a static shot

Kubrick would not dump his Steadicam operator for a gimbal and drone.

Some of the gimbal stuff is even worse than IBIS. Movement for the sake of it. No purpose. Tacky. Lazy.

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42 minutes ago, rawshooter said:

Yeah, just rewatched Ozu's Tokyo Story this weekend - with the exception of one single travelling shot, it's all static tripod shots, using a single 50mm lens!

what a film..what a director..

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Ibis is great. I usually use it when I'm shooting handheld, with a shoulder rig. Works great for me. I never understood the mindset of having ibis and just using your camera handheld, with no support and wanting tripod style shots. Yes, I understand the value of a small footprint and being incospicuous but you can do that on a tripod and a long lens. But I tend to just "be visible" like a clueless tourist and let people relax over time with my presence. Otherwise I feel like a creep. Is it just me? 

In the end, I always choose the style of movement regardless of ibis. Shoulder rig, gimbal or good old tripod. I love the peace of filming with a tripod, without pressure.

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