For stills, sure. But if it's a video-only investment I'd pick otherwise. It's all personal opinion, of course, but even the GH2 has WAY better image quality (when hacked) than the t3i does.
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
The big thing against the GH3 for me is the choice of lenses. I know you can adapt, I guess I'm just a bit wary.
Both of them have better ISO options as well.
... unless of course you use Magic Lantern :-) ... but the swivel screen on the 60d definitely is a plus for video amongst other things as landscape/macro tripod work.
Nobody has used the 6D as well as the 7D/60D and can say whether or not the moire is the same, better, or worse?
I agree. It's not a cinema camera. I never said it was. The labelling of the C line is misleading. Only the C500 could be considered a cinema camera. The C300 in the UK is by far the number one broascast camera, the title that in SD days was the DigiBeta.
Most of my work is broadcast, but my last 3 features all went to theatres.
This camera won't be used by me in 4k mode for anything other than stock and personal stuff. The S35 will match my C300 nicely with log as a B cam so very useful...but i am very aware of the limitations of 8-bit having used it countless time and had the joy of 10, 12, and 16 bit too. I think the 8-bit does seem to be stretched to the limits in 4k. Fine in the rest of the modes.
I actually did end up buying it as it was a no-brainer trading in my 1DX and negotiating the hell out of it with the dealer! Just the normal HD for me makes way more sense than the 1DX HD.
False dichotimy, from the very first post, and along the way, have I not advocated learning how to fix affected footage without resorting to a new camera, techniques that will help whether you are on a t3i or a 1dc?
Please read back.
I'm not suggesting anybody buy an alexa, c'mon seriously.
If the attitude is 'a 5d3 will fix it' my response is 'not always'.
10 bit = grading, compositing.
Certainly not for delivery.
Half pixel is enough blur to kill worst jaggies.
Only go higher on very geometric subjects.
I have old crt and lcd tv for review before I deliver, for sd output half pixel gaussian blur makes massive difference, especially on crt where sharping can be horrific.
Sometimes XDCAM just hasn't the colour depth.
Sometimes a Digibeta or HDCAM is just too conspicuous.
Sometimes a Red runs too hot.
Sometimes a GoPro just isn't enough.
Every camera has concessions. And the major concessions the 6D has, are nowhere near solved by having a 5D3.
It used to be the 5D2 bores. Glad they've been more upwardly mobile this time. If you are a 5D3 user and you want to pith all over the 6D's parade then have fun. The guys shooting on C300's, Sony F's or Arri's haven't even noticed you are in the room.
It is all relative. If somebody is capable of getting good video out of a 5D3, then they will be capable of getting good video out of a 6D.
Both the 6D and 5D3 are good video cameras, but the superiority complex 5D3 users really are having a big old laugh to themselves when it comes to moire etc.