One of the more positive YouTubers out there Armando Ferreira has posted a video about his impressions of the Canon EOS R with the Atomos Ninja V as a second camera to the Canon Cinema EOS C200.
He touches on one of the biggest issues a lot of the internet world seems to have with the camera, and that's the nearly 1.7x crop when shooting 4K. However, when compared to the Super35 sensor of the Cinema EOS C200, the crop isn't all that different.
Using a 24mm lens, the FOV of the two cameras are pretty close to one another.
- Canon Cinema EOS C200 w/24mm lens: 36mm
- Canon EOS R w/24mm lens: 41mm
Armando does stress this is only his opinion, and obviously, other shooters may feel differently.
He's also quite impressed about how closely the footage between the Cinema EOS C200 and EOS R match up. He only seems to have to tweak saturation and contrast slightly to match the EOS R footage to the output from the C200.
If you want 29.97P you have to shoot in 4k! (Introducing the crop) :mad::mad:. Also they removed the af scene modes to adjust the speed of focus changes in movie servo af (face tracking mode). I have gotten nothing but twitchy rapid focus changes when trying to rely on autofocus during face tracking. Comparing to the mark IV when it misses it smoothly tracks in and out until it locks on again.
Armando & PotatoJet showed that the 4K on the Canon EOS R is similar to Sony A7III, with the 1080p being far better than Sony.
Also, Cinema RAW is another BIG difference
Jack
In the larger view, this transition to RF lenses is going to be a challenge in general for the cinema side of the business. It's unlikely that canon will be pushing out R series versions of its cinema camera's soon, which makes these new lenses moot for that side of the business, which is too bad. When they do, there may be issues fitting the current ND filter mechanism into the new shortened flange distance. It seems prescient on Canon to bring the RF mount to CinemaEos as soon as possible, as it could hamper the sales of the new system. However, we know that canon has always taken the long view, and their patience, while frustrating, has served them well.
The E-mount camcorders with an even shorter flange have ND built-in, so it should be even less of an issue to make an RF-mount camera with built-in ND as well.
As autofocus continues to make it's way into professional cinematography (pulling focus by touch screen, while not exactly the same as having a 1st AC on set, is nonetheless an art that is coming of age, and I have no doubt that as video crews continue to shrink, AF on large sensor video cameras will continue to win converts.) Certainly a lot of discussion over at CML about it. All current cinema EOS cameras offer DPAF, so suggesting that RF is at some disadvantage here is probably not relevant. EF cinema lenses can easily mount on an RF mount camera, so the need for a set of cinema lenses in RF mount is probably low on the roadmap. However, having canon's best new glass sidelined by lack of an RF mount cinema camera, ( or the inability to port those designs over to expensive cinema zooms -- MF or AF) is a big deal for Canon. They make their money in glass, always have, and their strategy going forward will continue that course.
As for ND fitting in the RF mount. My suggestion was that the current cinema EOS mechanism might not fit, and that it might be an obstacle in terms of development time, not that they couldn't do it.