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Making sense of the Canon Cinema 1D 4K DSLR from a film industry perspective

Andrew Reid

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I think the reason why Canon users are so upset is because they wanted a video oriented camera that is comparable to the FS-100 (somewhere between $5K to $8k). Even if they just released a better video 5D3 (without 4k), but with basic video features such clean HDMI, a crop mode, flip screen and most importantly, true 1080p, then people would have been happy.

If the D800 would have been the 5D3, people would have been much happier. The problem is, selling all my Canon L lenses  and starting from scratch sucks.

Our only hope is Alex at Magic Lantern. I will be the first to donate to the 5D3 hacks. I believe a firmware update is going to be available soon, so maybe there is hope.
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Hi , I just have a question about all this line skipping etc
ok SO the 5D3 video in my opinion (and mk2) was never very good, it was just cool that you could use the lenses like a movie camera. the best canon camera I've seen with outstanding quality and detail resolved until the C300 came out was xf 300/305.

If the 5d3 doesn't line skip anymore yet apart from reduced moire still looks shit and resolves very little detail and nothing like an fs100 or c300, would I be correct to assume (until video's come out) that the new 1DC video is going to look like the typical DSLR footage or actually like or equal to e.g. a c300 or fs100 even at "4k"res??

Why is it that the DSLR footage even with "no" line skipping looks crap?
can anyone shed some light on how the "super 35 crop mode" vs 1080p mode might work?
I don't know all the in's and out's of the inner conversions

All we really want is  c300 footage on a camera that costs less than $10k and I don't think anyone would even be fussed on 4k etc other than Cinema/High budget for projection on such a large screen.
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[quote author=TC link=topic=574.msg3886#msg3886 date=1334312473].  And these are often people who were brought into video by the 5D mark II.  ie. Canon customers.  In the stills world many product, food, architectural and landscape photographers (who don't care about shooting at ISO 102,000) are switching to the D800.


Totally correct switching to Sony fom MkII
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When comparing the prices of Canon's new lenses and cameras that are updates to old ones, it is worthwhile finding out what the price change is Japanese Yen. If the price change is small in Japan but large in the USA, then that should tell you that the reason for the price change is not Canon...

There are lots of questions about what/what is different about the C1D vs 1DX and I think this comment on dpreview is rather telling:

[i]"Canon won't be pinned down on the precise details of hardware differences but also says the 1D X might be subject to greater import duty into North America and the EU if an aftermarket firmware change would allow the recording of more than 29 minutes, 59 seconds of video, so this isn't a 1D X with extended video and 4K enabled in firmware."[/i]
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When the 5D MK II came out it was the obvious [i]hybrid[/i] camera choice for high end stills and quality video, ideal for photographers who were beginning to be asked to do video work for their clients.
Four years later, I don't believe the MK III fills the same niche and it certainly doesn't address many of the shortcomings of the previous model. Yes, there is improved autofocus and high ISO performance, both of which may be reasons for me getting one for stills work with my existing lenses. But I still can't really hand hold it or easily get a shot of someone doing something as simple as walking from A to B.
On paid jobs, with two Canon DSLRs and a GH2 or NEX7 in my bag, I invariably find myself opting for the latter two (built-in EVFs, image stabilization...)  and I can't see anything in the [i]operability[/i] of the MK III that would change that choice.
What I have trouble understanding is why we still have to stick to the DSLR form factor? It's really not well suited to video work and all I want is something with a large sensor, camcorder ergonomics, a versatile lens mount and the possibility to shoot raw stills.
To that extent, the Sony NEX VG-20 was nearly the right tool for my needs. Maybe the next version will be the one for me...
When I look at the ROI for my GH2 or NEX7 and the budgets of my clients, it's very hard to see how I fit into the logic of Canon's latest offerings.
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the RED Scarlet is cheaper, i actually think the new canon will be a great camera, but people like to go with what works outs cheaper. you can get the scarlet pkg that included a monitor, batteries, drives, for about the same price.
they have to make the new canon cinema body cheaper then the scarlet body, then i would buy one in a second.
for this type of market its all about making your money back as fast as you can.
on more shoot on my 5DMKIII and ill make my body price back!
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users praised and worship 5d mark II and make canon household name in video production ...                               

that  was panasonic , sony world ....
before u didnt hear canon funboy term in video world ....
and how canon repay ...
they use that free marketing (better than any money could give them ) to overpriced their products... 
this is insulting for all loyal canon customers ...
but  there good news ...
sony and panasonic are now forced to push their cameras with better spec for less money...
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