Well to be fair, both Alexa and Red make FF sensor cameras for the last couple years, but Super 35 is STILL the far away most used format. A full frame Alexa Mini LF was used to shoot 1917 for example. But again, most films are still shot in Super35
You didn't miss anything. People are upset that a "Cupcake of the Month Club" membership wasn't included in the purchase price... even though Canon never said there would be cupcakes.
Couldn't they put a cupcake in the space vacated by the mirror? They probably could also include a little heater as well to keep the cupcake warm until you want to eat it? I mean nobody wants to eat cold cupcakes do they....You didn't miss anything. People are upset that a "Cupcake of the Month Club" membership wasn't included in the purchase price... even though Canon never said there would be cupcakes.
No record limit, C-Log 2/3, no overheating in 4k60, 4K raw ( I know it’s not possible but I’d like it).
Yep, this is the correct answer. The crop is basically a problem for two reasons
And yet again you didn't answer the second part of the question, what can you currently buy for well under $4,000 that does that?
You generalize a lot... It's not entirely about the sensor size ( Though some may want you to think different
). There are different camps of folk with different equipment and needs. Yes, some buyers absolutely want FF because that is what they've been told and then there are those that don't mind an S35 sensor because A) its an easy compromise when you're getting that clean DGO sensor & B) if you're already in the line of video work w/ cine cameras then there is a high chance you already have a set of S35 primes. I like FF for easier composition and because I believe the industry is moving in that direction but I also can't afford to personally own the FF cine cameras I want at ~$40K and I don't want to give up other features for the sake of FF. There is an array of different tools the GH5 & GH5s gave you that were reasons they're so beloved... Not all about crop.. So many factors.. So many use cases. You can't generalize.I need to understand the differences between the C300 III and this "R300" other than physical size, SDI, & RAW light ( Which may come later to R300?). Like what is the road map for an early adopter of such a camera?
Then why have all the naysayers generalized that Canon video specs in their hybrids are DOA because of a crop factor that is now seen as largely insignificant?You generalize a lot... It's not entirely about the sensor size ( Though some may want you to think different
I don't know who these "naysayers" are and it makes little difference to me... Just understand that sensor size is not the ultimate decider when other features are on the line. You were generalizing that all buyers were throwing fits about it. This is a post about cinema cameras, which historically have largely been S35 until recent. So when you see a new cinema camera that has people excited about specs, you need to understand the field before you complain and get grouped with the same people that generalize that you so loathe.
It also doesn’t help that the whole fly by wire thing is a real pain in the ass for focusing, RF lenses will not be great cinema lenses because of this. Now if they do a cinema series of RF lenses that’s a different story. And full frame is a pain in the ass to pull focus at those wide-open aperture‘s but if you have a really good focus puller you would never know any difference, the Netflix series Altered Carbon was shot using large format Arri’s mostly with canon cinema glass and The cinematography is epic
