Canon users will also like the fact that the EOS R6 at $2500 / £2500 puts a lot right for video users compared to the disappointing first EOS R.
I am having problems with the jog wheel on my 1D X Mark III popping every full 360 degree rotation, so there is a mechanical problem there and my body will be returned for a refund and so this is only a short review.
This review also marks a milestone for EOSHD! After 10 years of blog posts, I am going to be doing YouTube now as well! Looking forward to doing MANY a video and growing the channel in a big way. If you’d like to be interviewed, or featured on the channel, do let me know.
So the 1D X Mark III then…
Ever since Canon began disappointing us in 2011, we’ve been waiting for that historic moment where they turn the corner. Long-time readers of EOSHD will remember with fondness the first time we shot RAW video on our Canon 5D Mark III DSLRs thanks to Magic Lantern and now finally there is an official solution. And what a solution it is.
I often look at the 4 or 5 cameras in my bag and think “this cost me far too much and they’re all the same”. Then I have a cup of tea and try to forget about it.
Yes it’s true, the full frame market is overcrowded and image quality differences between them are getting smaller. What about selling 3 or 4 of those cameras, I thought to myself… And consolidating them into one giant mad one.
A complete change in policy at Canon has transpired. The company has decided to compete in the mirrorless cinema market. With Cinema EOS established as a separate business, it seems the stills camera are off the leash. What a fantastic day it is for camera nerds and filmmakers alike who can rejoice in the specs and the creative possibilities of Canon’s new EOS R5 with 8K video and cutting edge new sensor technology.
Two of the most unique cameras on the market today are both L-mount with 10bit capabilities in 4K. The Sigma Fp of course shoots Cinema DNG 4K RAW at up to 12bit to SSD via USB C and 8bit RAW internally. The Leica SL2 shoots very high quality 10bit 4K LOG internally with more of a passing resemblance to Arri Alexa colour science and LOG profile.
I thought I’d get to know the two, if that’s the case!
With Canon debuting the C500 II today, demand for a full frame in a C-series body is clearly there but Fujifilm is looking further into to the future. Their X-Trans IV sensor technology has already debuted in the GFX 100 and X-T3 but there is a slideshow which shows how Fujifilm might be taking the technology much further than we believed…
A large format 44×33 camera optimised for open gate 4K3K RGB (perfect for an anamorphic mode).