Maybe they should have listened to EOSHD earlier!
Rumours out of Apple WWDC 19 talk about both Canon and Nikon 8K cameras being used to shoot ProRes RAW 8K footage for Mac Pro demos.
Footage from a documentary about Nikon ambassador Ami Vitale photographing Kenya was supposably shot in ProRes RAW 8K and the speculation was she shot with an as-yet unreleased Nikon Z9 with 8K output to an external recorder. Actually the documentary was shot on RED Monstro in 8K by Kiwi cinematographer Mark Toia of ZOOM Film and Television.
Meanwhile a Canon 8K camera resembling a C300 II is seen shooting props against a green screen for augmented reality demos on the new Mac Pro. This prototype has actually been shown by Canon before, most recently in 2018 at Inter BEE. The prototype has an 8K sensor and processor, but recording is external via SDI.
Indeed, Canon’s Super 35mm 8K prototype first dates back to 2015 and has been steadily developing since.
Hard to believe it, but EOSHD is nearly 10 years old!
2010 was a big year for digital cinema. The 5D Mark II was in full stride kickstarting DSLR filmmaking. Arri’s first proper digital film camera the Alexa was released and revolutionised filmmaking at the highest levels. Now all these years later I’m still looking – not for the sharpest, highest K, most featured packed modern camera but for a camera costing less than $1000 which has the most Alexa-like image.
Not on a technical level, of course, but in terms of the feel of the images and how cinematic the end-results are when viewed on the big screen.
Part of the parcel of doing a blog about cameras is that occasionally, my bag gets full! Now is time to part with some treasures, so that other people can get some enjoyment out of these ex-EOSHD review and filmmaking cameras.
Oh look! It’s time for Canon to roll out their old chips again! The EOS RP has an identical sensor to the 6D Mark II, with a micro-lens array design more suited to mirrorless lenses. Canon openly admit in interviews that the RP cannot even do cropped 4K/30p without overheating. Even the modest bump in frame rate would have necessitated “a larger body design”, they say. Not sure I believe them, but clearly the technology is behind the curve.
Most disappointingly of all, it turns out that the EOS RP lacks Dual Pixel AF in 4K video mode, like the M50, which means it’s a “no-buy” from me and better to stick with the EOS R until the pro body is released, which perhaps, is the intention.
Fuji on the other hand – an even smaller, lighter (380g) and cheaper camera has a full-width 6K sensor readout without overheating and most of the 4K video features of the superb X-T3 for under $900, with F-LOG, 120fps 1080p and bonus 10bit 4:2:2 external output.
There is a GULF between Canon and Fuji in their video technology.
BBC interview with Executive VP of Canon Europe. Go to 4 mins 08 seconds.
It’s been a rocky reception for the EOS R. Even the BBC have been giving Canon a hard time over the ‘too little, too late’ approach. Now it’s time for some of the most loyal Canon users to use the camera ‘in anger’… Literally.
They are finding out the hard way it has some major issues.