June 20, 2018, 10:08:34 AM

Author Topic: A Cinema Series DSLR Isn't Happening, But a New Cinema Line Likely is [CR1]  (Read 3356 times)

privatebydesign

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After the release of the Sony A7 III  Canon is irrelevant.

Yep, the A7 III.  The GH5 and the GH5s are doing heavy damage too. A lot of indy filmmakers are using it.  Very high frame rates are supported. 

 The other thing is the ProRes Raw codec.  Atomos is supporting it.  It will be the new standard and supported by all the NLEs. 

The bottom line is that Canon is not competing in this price/feature space.

Good assessment. Even the Fujis have added 120fps Full HD and log now.

Not really. Canon don't make M4/3 cameras and Panasonic don't have video AF worth a darn, so they are different cameras for different users. If you look at the video crops from Canon DSLR's they are generally still bigger than the M4/3 cameras.

ProRes RAW is this weeks cool catch phrase, it doesn't meet the HDMI standard so there are no cameras that can record it over HDMI, none, not Panasonic and not Sony, and there might well never be. You can only record ProRes RAW on 8 cameras at the moment* and they are all via SDI to an Atomos SDI enabled recorder with firmware upgrade (the Shogun Inferno and Sumo), Canon make 2 of the 8 cameras. *One of the 8 can do it internally, the Zenmuse X7 for drones. It is very early days for ProRes RAW yet.

People read spec sheets and don't look into the background of actual usability. To shoot ProRes RAW you need one of 8 cameras, you need at least an Atomos Shogun Inferno with the new firmware and an approved SSD (around $1,300 minimum), it then helps if you are using Apple computers and FCPX in particular because that is the one program that runs ProRes RAW easily on a computer that doesn't cost more then $3,000.

So Canon added Log to the 5D MkIV and it had 60fps already on a much bigger sensor with class leading AF, I don't get your point, let alone believe it was a good assessment.
Too often we lose sight of the fact that photography is about capturing light, if we have the ability to take control of that light then we grow exponentially as photographers. More often than not the image is not about lens speed, sensor size, DR, MP's or AF, it is about the light.

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syder

  • EOS M5
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After the release of the Sony A7 III  Canon is irrelevant.

Yep, the A7 III.  The GH5 and the GH5s are doing heavy damage too. A lot of indy filmmakers are using it.  Very high frame rates are supported. 

 The other thing is the ProRes Raw codec.  Atomos is supporting it.  It will be the new standard and supported by all the NLEs. 

The bottom line is that Canon is not competing in this price/feature space.

Good assessment. Even the Fujis have added 120fps Full HD and log now.

Not really. Canon don't make M4/3 cameras and Panasonic don't have video AF worth a darn, so they are different cameras for different users. If you look at the video crops from Canon DSLR's they are generally still bigger than the M4/3 cameras.

ProRes RAW is this weeks cool catch phrase, it doesn't meet the HDMI standard so there are no cameras that can record it over HDMI, none, not Panasonic and not Sony, and there might well never be. You can only record ProRes RAW on 8 cameras at the moment* and they are all via SDI to an Atomos SDI enabled recorder with firmware upgrade (the Shogun Inferno and Sumo), Canon make 2 of the 8 cameras. *One of the 8 can do it internally, the Zenmuse X7 for drones. It is very early days for ProRes RAW yet.

People read spec sheets and don't look into the background of actual usability. To shoot ProRes RAW you need one of 8 cameras, you need at least an Atomos Shogun Inferno with the new firmware and an approved SSD (around $1,300 minimum), it then helps if you are using Apple computers and FCPX in particular because that is the one program that runs ProRes RAW easily on a computer that doesn't cost more then $3,000.

So Canon added Log to the 5D MkIV and it had 60fps already on a much bigger sensor with class leading AF, I don't get your point, let alone believe it was a good assessment.

Not to mention that if you want to shoot RAW you can just buy a C200 and shoot it internally using a codec that is already supported by AMC, Premiere, Resolve and FCPX.

The C200 competes with the GH5 in the same way that an Alexa or Weapon competes with the C200. And no, Arri and Red are not doomed because you can shoot internal 4k60p RAW in CLOG on a C200.

Etienne

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This does not bode well for the one-man-band who wants decent cinema-like quality footage. We are often dealing with low light and need to reduce as much weight as possible. It seems like forever that I have been waiting for the C100 mark III, but it is not to be.

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