# So what has become of the rumored EOS R and C200 video feature updates?



## Canon Rumors Guy (Apr 5, 2019)

> Prior to the latest announcements from Canon,  it was also rumoured that Canon would be adding 4.2.2. internally to the Canon Cinema EOS C200 and RAW video output to the Canon EOS R when using an external recorder such as the Atomos Ninja V.
> The Canon EOS R raw recording may have originated with the following tweet from @CanonUSApro. Canon USA later backtracked and said they were talking about photography RAW, but that honestly made zero sense to us or anyone else.
> 
> 
> ...



Continue reading...


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## PureClassA (Apr 5, 2019)

Goofy as it is, this is about as itchy as I've been for a Canon reveal in a while. If true, it will put me over the top of making the decision to buy the EOS R. Not just for video, but to also replace the workload I use my 5D3 for a couple times a year nowadays (Use my DX2 regularly instead). My 5D3 is used almost exclusively for tethered shooting and the EOS R with that USB C output would be a boon for data transfer during that. But being able to add a great codec with ProRes RAW to my Ninja V would be so very welcomed. The codec the DX2 uses produces excellent 4k footage that is very pleasant to grade in post thanks to the huge data rates, but playback is choppy in an editor. ProRes RAW gets you all that data and more in a more compact and efficient package than CPUs have a much easier time unpacking and rendering in editors. 

On top of all that, I would see such a feature addition like this as a signal that Canon really is stepping up their game/mindset for DSLR/MILC video competitiveness going forward. Canon appears more attentive to market forces offered by Nikon than they do Sony, which is just fine. Nikon announces ProRes RAW partnership with Atomos, and now we see Canon reacting (as rumored) so as not to cede that desired advantage to their largest rival. Please may it all come true!


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## Graphic.Artifacts (Apr 5, 2019)

Thanks for the update! 

Honestly, I thought both of those were unlikely but I was hoping to be proved wrong.


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## padam (Apr 5, 2019)

It was a simple typo, the best is to move on.


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## PureClassA (Apr 5, 2019)

14 bit "real" RAW video output would certainly be a typo for such a camera. But 12 bit ProRes RAW is a different animal entirely and completely within the realm of probability as that codec was designed by Apple and Atomos precisely for such a DSLR/MILC camera as this using its HDMI 2.0 output for external recording. Again, Nikon came right out the gate with it on the new Z models which are the direct competitors to the R. And a 10 Bit 422 internal codec on the C200 should be a given. Both these features make total sense. Canon wants to drive small camera/ B camera video users to the EOS R, not the RP. Having ProRes RAW output on the R with all the gorgeous Canon color science would be bigtime


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## Plucas (Apr 6, 2019)

The explanation of "RAW photography" doesn't stack up because the Freudian slip mentions "EOS RAW *recording*." You don't typically speak of "recording" RAW photos.


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## PureClassA (Apr 6, 2019)

Plucas said:


> The explanation of "RAW photography" doesn't stack up because the Freudian slip mentions "EOS RAW *recording*." You don't typically speak of "recording" RAW photos.



And why would they post a poll about a feature (RAW output with stills...think tethering)? I’ve been tethering RAW into Lightroom for years. Yeah, I’m sure thats what they really meant... look ProRes Raw makes a ton of sense for this camera consodering the competition and Canon didnt jump into the FF MILC market to play Second fiddle


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## Graphic.Artifacts (Apr 6, 2019)

As far as video performance goes, Canon would love to be second fiddle. Right now, they are more like the guy who puts the fiddles in the van after the show.


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## Don Haines (Apr 6, 2019)

Graphic.Artifacts said:


> As far as video performance goes, Canon would love to be second fiddle. Right now, they are more like the guy who puts the fiddles in the van after the show.


As the Sherpa for a musician, and being the person who puts the fiddles in the van after the show, I feel your pain


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## Graphic.Artifacts (Apr 6, 2019)

Don Haines said:


> As the Sherpa for a musician, and being the person who puts the fiddles in the van after the show, I feel your pain


Nice one.  No fiddles but my back remembers moving a few stacks of Marshall amps in my youth.


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## Don Haines (Apr 6, 2019)

Graphic.Artifacts said:


> Nice one.  No fiddles but my back remembers moving a few stacks of Marshall amps in my youth.


She also has 3 accordions! And when we met (45 years ago!) she was into large format photography and had an 8X10 camera with glass plates and a tripod that I think weighed more than she did. Carry that combo around and you will become a true believer in the merits of iPhone photography


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## Graphic.Artifacts (Apr 6, 2019)

Don Haines said:


> She also has 3 accordions! And when we met (45 years ago!) she was into large format photography and had an 8X10 camera with glass plates and a tripod that I think weighed more than she did. Carry that combo around and you will become a true believer in the merits of iPhone photography


I love accordion music. You're a lucky man Don.


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## transpo1 (Apr 6, 2019)

PureClassA said:


> And why would they post a poll about a feature (RAW output with stills...think tethering)? I’ve been tethering RAW into Lightroom for years. Yeah, I’m sure thats what they really meant... look ProRes Raw makes a ton of sense for this camera consodering the competition and Canon didnt jump into the FF MILC market to play Second fiddle



Ever since they accidentally discovered “fire from the Gods” and established DSLR video with the 5D Mark II, Canon has been content to play second fiddle with video features on their prosumer stills camera lines to protect their higher end Cinema EOS cameras. I agree it would be a good move for them but was skeptical from the beginning. We’ve been faked out several times by these rumors in the past. 

From a business standpoint, one can understand the risks of cannibalization; from a “let’s make a great product” perspective, one cannot. I hope they end up implementing RAW, because it would signal a change in mindset. But skepticism reigns.


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## Kit. (Apr 6, 2019)

transpo1 said:


> From a business standpoint, one can understand the risks of cannibalization;


I don't see how one could mitigate such risks on a competitive market.

If only by a collusion between all the major market players (Canon, Fuji, Nikon, Sony, ...)?


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## RayValdez360 (Apr 6, 2019)

Everyone here is always praising the Canon sales in general but how are they doing on the video side. A lot of the things they lack are video related. So whats the word on the competition when it comes to cimena cameras or just videography in general. Most of the people that jump ship do it for video purposes.


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## peters (Apr 6, 2019)

transpo1 said:


> Canon has been content to play second fiddle with video features on their prosumer stills camera lines to protect their higher end Cinema EOS cameras.



I really cant here this tinfoil theory anymore :-D
What are the reasons that video production companies use cameras like the c300/700, reds, alexas, etc?
It is the professional and industry proven standards these cameras offer. Like XLR, proper Audio interfaces, buttons for all video settings, options for handles (build in, not attached with weird cages), big screens, SDI outputs, recording features to high end memory mediums like SSDs, reliability, raw, ports for everything, ..
If Canon would offer EXACTLY the same video quality from a c300 in a Canon EOS R II - than professional production companies would STILL not care about it. They would still not switch from the bigger and dedicated movie cameras. Nobody using a c300 and above would switch down to a mirrorless (unless the size is crucial and needed for a certain shot).

Canon does not need to "protect" the cinema line.
Thats like saying General Motors builds bad SUVs to "protect" their trucks....


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## BillB (Apr 6, 2019)

peters said:


> I really cant here this tinfoil theory anymore :-D
> What are the reasons that video production companies use cameras like the c300/700, reds, alexas, etc?
> It is the professional and industry proven standards these cameras offer. Like XLR, proper Audio interfaces, buttons for all video settings, options for handles (build in, not attached with weird cages), big screens, SDI outputs, recording features to high end memory mediums like SSDs, reliability, raw, ports for everything, ..
> If Canon would offer EXACTLY the same video quality from a c300 in a Canon EOS R II - than professional production companies would STILL not care about it. They would still not switch from the bigger and dedicated movie cameras. Nobody using a c300 and above would switch down to a mirrorless (unless the size is crucial and needed for a certain shot).
> ...


Whatever the reason, Canon has not yet seriously engaged in spec competition on the SLR video front. One notion is they don't want to "cannibalize" their high end video equipment (whatever that means). Another idea is they don't have strong enough processors to do it. Maybe they just think the market value of higher video specs isn't worth the effort (or maybe the design and development tradeoffs).


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## Don Haines (Apr 6, 2019)

BillB said:


> Whatever the reason, Canon has not yet seriously engaged in spec competition on the SLR video front. One notion is they don't want to "cannibalize" their high end video equipment (whatever that means). Another idea is they don't have strong enough processors to do it. Maybe they just think the market value of higher video specs isn't worth the effort (or maybe the design and development tradeoffs).


Ergonomics, ergonomics, and ergonomics....
Why do all high end video cameras look alike? Why do all stills cameras look alike?
Ergonomics! For video, you need a form factor that lens itself to shooting movies and access to the controls for shooting movies.... as a result, all decent video cameras tend to look alike.

Ergonomics! For stills cameras, you need a form factor to let you hold the camera steady and access to a different set of controls. That's why all still cameras look alike. Yes, I know a 1DX2 looks different than an M50, but when you look at the two of them, it is obvious that they are still cameras because they look like stills cameras!

You can't make a "pro movie" camera out of a "pro stills" camera because it is the wrong form factor and has the wrong controls.


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## transpo1 (Apr 7, 2019)

peters said:


> I really cant here this tinfoil theory anymore :-D
> What are the reasons that video production companies use cameras like the c300/700, reds, alexas, etc?
> It is the professional and industry proven standards these cameras offer. Like XLR, proper Audio interfaces, buttons for all video settings, options for handles (build in, not attached with weird cages), big screens, SDI outputs, recording features to high end memory mediums like SSDs, reliability, raw, ports for everything, ..
> If Canon would offer EXACTLY the same video quality from a c300 in a Canon EOS R II - than professional production companies would STILL not care about it. They would still not switch from the bigger and dedicated movie cameras. Nobody using a c300 and above would switch down to a mirrorless (unless the size is crucial and needed for a certain shot).
> ...



I totally agree with you- unleashing video features in stills cameras would just provide access to more people and further widen Canon’s audience.


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## transpo1 (Apr 7, 2019)

Kit. said:


> I don't see how one could mitigate such risks on a competitive market.
> 
> If only by a collusion between all the major market players (Canon, Fuji, Nikon, Sony, ...)?



It’s the old adage that Steve Jobs used— cannibalize yourself before someone else does. Sony is already cannibalizing Canon from a MILC video perspective.


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## bdbender4 (Apr 7, 2019)

So what has become of the much-rumored EOS M5 update?


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## SecureGSM (Apr 7, 2019)

WRT the decade long debate: stills vs video and get everything in one universal hybrid camera... even companies like SONY who are technology driven are being realistic about that:



Technology is the most important thing to Sony
Read more: http://sonyaddict.com/2019/04/04/dpr-cp-2019-sony-interview/#ixzz5kNFZaqiT

Stills and video have different needs so they should use different cameras
Sony doesn’t think you can make a perfect hybrid camera
Read more: http://sonyaddict.com/2019/04/04/dpr-cp-2019-sony-interview/#ixzz5kNEiRamL

so there we have it.


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## Don Haines (Apr 7, 2019)

SecureGSM said:


> WRT the decade long debate: stills vs video and get everything in one universal hybrid camera... even companies like SONY who are technology driven are being realistic about that:
> 
> 
> 
> ...


Yes, but the people who want the speed of a 1DX2, resolution of a 5Dsr, video of a C700, and cost of a T6 (used) will never agree with that...…..


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## SecureGSM (Apr 7, 2019)

_realistic_ is the key word. let them dream on


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## PureClassA (Apr 7, 2019)

Don Haines said:


> Yes, but the people who want the speed of a 1DX2, resolution of a 5Dsr, video of a C700, and cost of a T6 (used) will never agree with that...…..



Don I solved that problem. I bought a5DSR and a 1DX2. I dont need the flare of a C700 but a video competitive (for its price range) Eos R is welcomed


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## Go Wild (Apr 7, 2019)

Don Haines said:


> Yes, but the people who want the speed of a 1DX2, resolution of a 5Dsr, video of a C700, and cost of a T6 (used) will never agree with that...…..


Totally understand your point Don, of course, but if the market can give us that, by all means yes, we want that! 

Of course the perfect thing to have is a dedicated camera for video, and a dedicated camera for stills. Some of you also can say...."Chill out man! Just do only stills, or do only video! Don´t do both!"
But these are thoughts from the past....nowadays it´s possible to do both and with high quality. And with the same camera!! If you are making big productions in video, and they pay you more than 50.000€ by production, well then you might need to think in delivering a product different of what a DSLR or mirrorless video can give to you. With that incoming you can think in cameras like the c700, the FS7 or alexa or Blackmagic or Arri! 
But even in big productions we can shoot with high quality with mirrorless cameras, because they keep coming better and better and Atomos is doing a huge work providing external recorders than give you the hability of unleashing High quality features in video like prores raw.

I also solved the problem, I bought one 1dxmkII and at that time i wanted to buy the 5dsR, but then i looked to video specs....And they were not good. And this is ok, at the end of the day it is a Still camera. But then...i looked to the market...and wow!! A camera that have 42mp and great video features! Well...that´s what I want, that´s what i am going to buy!  And I bought my first non Canon camera in 20 years......

Thing is...Canon must look at this. Canon must understand that this are no longer the 90´s or 2010. In these days yes...there are cameras in the market that can make those people happy, I can have almost a 1dxmkII ( A7r3 makes 10fps), with great video specs (ok, not a c700, but with atomos ninja gives me what i need) and at a cost of a 5dmkIV!

In Canon at this time, I can´t use my 1DxmkII with Atomos, it doesn´t allow me to record 4k in a external recorder! Can you imagine my frustration by having a top camera of 5000$ that doesn´t allow me this simple thing?? Not to mention zebras, focus peaking, C-log etc. Can you imagine the frustration of having a camera that records 4k60FPS with excelent image (with huge files but excelent)but lacking some basic features.... If Canon is not serious about giving the tools of video in a still camera, then it makes no sense giving possibility of professional image resource (4k60fps for example), but then cutting in some basic stuff....

At this time in Canon don´t have any camera (hybrid) that can compete with the market. The EOS R is a great camera, I loved the Canon move to mirrorless. Then i got angry by the huge amount of time they are taking to send to the market the "pro" bodys (specially because mirrorless cameras are in the market for years now!!). The R and RP are great, but still no good for most of photographers/videographers. Give you this has an example. What sense it makes to send to the market a great camera (EOS R) and then blow everything away with a stupid 120fps at 720p??? Not even youtubers want this!! They killed the camera for videographers with one single spec!!

I didn´t believe when I saw the rumor of the 4k prores raw external recording, that would be too damn good and honestly i don´t think Canon have "the bowls" to do that! Ohh and by the way, this only makes sense if they release also at least 1080p 120fps in external recording.

If Canon do this, then yes...EOS R gain another life! Still no good in FPS for stills, still doesn´t have the same eyefocus of Sony, but it´s a good way to go.

Well...but then..if Canon unleashes this in the EOS R....well this makes me think that a pro body is still way far on the horizon....Have a nice sunday!

I put here a link to the first presentation trailer that i am recording in Antarctica. I am going back there in November to finish the documentary. Thisi was filmed with the Canon 1dx mkII and Sony a7r3. would love to go back to Antarctica with a pro mirrorless Canon!!!


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## Don Haines (Apr 7, 2019)

Don’t get me wrong, I like to shoot video. I have shot a fair bit of it on DSLRs. The quality of DSLRs for video is improving, but the controls are not. Once you have used a true video camera you gain appreciation for the relative ease of smooth zooming and focusing. Once you go off tripod, they are much easier to hold steady.

As to the codecs used, yes, they all seem to be far lower colour depth than is needed to do any significant post processing. Personally, I think we are at a knee in the curve. What is needed to significantly improve video on a DSLR is more computing power and faster storage. I think we are on the edge of its arrival.


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## Go Wild (Apr 7, 2019)

Don Haines said:


> Don’t get me wrong, I like to shoot video. I have shot a fair bit of it on DSLRs. The quality of DSLRs for video is improving, but the controls are not. Once you have used a true video camera you gain appreciation for the relative ease of smooth zooming and focusing. Once you go off tripod, they are much easier to hold steady.
> 
> As to the codecs used, yes, they all seem to be far lower colour depth than is needed to do any significant post processing. Personally, I think we are at a knee in the curve. What is needed to significantly improve video on a DSLR is more computing power and faster storage. I think we are on the edge of its arrival.


Yes, even with the Sony cameras and using the s-log or picture profiles you only have a small room to edit or post processing. If you do it too much everything starts falling apart...That´s the big difference to raw. It´s kinda like the stills world and editing jpg vs raw. You are right, a video camera is a video camera! You never get the true feeling of video and they do have a lot of advantages to a dslr or a mirrorless, but....but.... The prices and most of all the portability....Then is the most big value form these hybrids (at least for me...) I can carry 2 cameras and both can film and shoot stills. In the past, if you wanted to film you must carry a videocamera and if you wanted to photograph you need another body, a stills camera. Now you can do both in every body! And this is insane!  Atomos is playing a big role in here, not only being a great external recorder, but also in the controls and things we are able to control in the screen. It doesn´t transform completely a mirrorless or DSLR in a dedicated videocamera, but sure does help!  Dedicated video-cameras shooting RAW are too expensive for most of the markets and that´s why mirrorless cameras are playing now big role in the market! They are way more cheaper and they deliver really good quality. Video cameras that are not interchangeable lenses i don´t really consider, because they give you big limitations in lenses (of course) and other things like controling DOF. For me, they are not so creative and more like documental style...

Let´s see what Canon do, I can´t wait to see a pro body (without mistakes!!  ) Have nice Sunday Don!


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## Graphic.Artifacts (Apr 7, 2019)

My suggestion for a banner at Canon's NAB booth.

"Please refrain from attempting to shoot video with any Canon equipment outside of our Cinema line. We have taken measures to ensure that your experience will be unpleasant and ineffective.
If you insist on attempting to shoot video with a mirrorless stills/video hybrid; please visit the booths of our competitors. We are sure thay will be happt to assist you."

It could use a bit of word-smithing I suppose but I'll leave it up to the "geniuses' at Canon marketing to sort that out.


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## peters (Apr 8, 2019)

Go Wild said:


> I put here a link to the first presentation trailer that i am recording in Antarctica. I am going back there in November to finish the documentary. Thisi was filmed with the Canon 1dx mkII and Sony a7r3. would love to go back to Antarctica with a pro mirrorless Canon!!!


Wow, this looks incredible! Congratulation!
What kind of lenses/tripod/stabilization did you use to get that smooth shots?


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## transpo1 (Apr 8, 2019)

peters said:


> I really cant here this tinfoil theory anymore :-D
> What are the reasons that video production companies use cameras like the c300/700, reds, alexas, etc?
> It is the professional and industry proven standards these cameras offer. Like XLR, proper Audio interfaces, buttons for all video settings, options for handles (build in, not attached with weird cages), big screens, SDI outputs, recording features to high end memory mediums like SSDs, reliability, raw, ports for everything, ..
> If Canon would offer EXACTLY the same video quality from a c300 in a Canon EOS R II - than professional production companies would STILL not care about it. They would still not switch from the bigger and dedicated movie cameras. Nobody using a c300 and above would switch down to a mirrorless (unless the size is crucial and needed for a certain shot).
> ...



I should add an addendum to my “like” on this comment:

But they *do* protect their cinema line.


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## peters (Apr 8, 2019)

transpo1 said:


> I should add an addendum to my “like” on this comment:
> 
> But they *do* protect their cinema line.


I think canon is actualy having problems with the sensor readout and heat. They just cant process the full sensor in a decent speed and convert it to 4k. Thats why they stick to 1:1 pixel readout. 
The 1DX II and 5D IV are offering excellent 4k quality with 1:1 pixel readout. But The full-hd image that uses the whole sensor and processes it down to 2mpixel is realy realy bad. We actualy switched to 2 gh4 for some videoproduction where we only need full-hd (but want better quality than the 1dx and 5d "hd"). The filesize wouldnt be feasable for these shootings, since we collect a lot of footage in a studio.


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## RayValdez360 (Apr 8, 2019)

Don Haines said:


> Yes, but the people who want the speed of a 1DX2, resolution of a 5Dsr, video of a C700, and cost of a T6 (used) will never agree with that...…..


That's false. Professionals with knowledge of cameras know the feature or camera tiers, know that the more you want, the more you have to pay. They dont expect RED quality and features in a REBEL or 5D. In the case of Canon, they see that they pay the same price or more for a Canon camera with less features than all the competition. Which is the reason why people switch from Canon canon to another brand. The majority of them switch because of video related features.


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## Go Wild (Apr 8, 2019)

peters said:


> Wow, this looks incredible! Congratulation!
> What kind of lenses/tripod/stabilization did you use to get that smooth shots?


Thank´s Peters! Hopefully it will be a good documentary when it´s finished. I use for filming the Canon 16-35 F4, 500mm f4 IS L, Tamron 70-200 F2.8 VC G2, this ones from Canon mount. From Sony, use the 24-105 F4 (but will change to the new Tamron 28-75 for E-mount. I also use the 50mm F1.8 from Canon sometimes.
For stabilization, I use the Feyutech a2000 with double hand bar (but honestly don´t recomend so much, I will change maybe for the new DJI or the new Zhiyun crane 3). The gimbal is very handfull specially in the rubber boats (zodiac boats) when filming in the water. In shore I use sturdy tripod with video head (S8 from Benro).


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## rrcphoto (Apr 8, 2019)

peters said:


> I think canon is actualy having problems with the sensor readout and heat. They just cant process the full sensor in a decent speed and convert it to 4k. Thats why they stick to 1:1 pixel readout.
> The 1DX II and 5D IV are offering excellent 4k quality with 1:1 pixel readout. But The full-hd image that uses the whole sensor and processes it down to 2mpixel is realy realy bad. We actualy switched to 2 gh4 for some videoproduction where we only need full-hd (but want better quality than the 1dx and 5d "hd"). The filesize wouldnt be feasable for these shootings, since we collect a lot of footage in a studio.



you can't use logic with some people 

canon has alot of technical problems to overcome. but to some, they only do it to protect a cini line that has nothing to do with video in a DSLR/ILC.


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## Kit. (Apr 8, 2019)

transpo1 said:


> But they *do* protect their cinema line.


Such as by not equipping their photo cameras with cooling fans needed for reliable video work?


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## Graphic.Artifacts (Apr 8, 2019)

Kit. said:


> Such as by not equipping their photo cameras with cooling fans needed for reliable video work?


More of the same old deflection. Countless hours of high quality video are reliably produced every year on devices without internal cooling fans. 

Allowing the 1Dx Mark II and 5D Mark IV to export 4K over HDMI would have reduced the thermal load on those cameras not increased it. It would also have made those cameras very competitive with the Cinema cameras available at the time. The C200 has an internal fan but it can't stream 4K or write internally to a mid-level codec. If it could it would encroach on the C300 Mark II. 

Canon is a private company and if they feel it's necessary protect their higher end products by limiting the features of lower cost models that's their prerogative. It's my prerogative to invest in equipement which I feel offers the most value and right now that is not Canon. 

I don't expect Canon to be better than everybody else at every aspect of camera design. I understand there are challenges in developing the technology to produce a high end mirror-less line. 

However, there are numerous things that Canon could do right now to enhance the video effectiveness of their cameras using proven, currently available, technology. The updates in the OP for instance. 

Canon's competitors don't make perfect cameras but you often feel as though they are releasing the best products they are capable of delivering. In Canon's case it's usually closer to "what's the least we can get away with". If they don't feel absolutely compelled to release a feature they won't. As a result, they are falling behind. 

When Canon is failing to catch up to the video offerings in a Nikon it's time to worry. Companies with little history in digital video (FujiFilm) are blowing past Canon like they are standing still. Some folks in this forum need to get out of their bubble.


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## peters (Apr 8, 2019)

Go Wild said:


> Thank´s Peters! Hopefully it will be a good documentary when it´s finished. I use for filming the Canon 16-35 F4, 500mm f4 IS L, Tamron 70-200 F2.8 VC G2, this ones from Canon mount. From Sony, use the 24-105 F4 (but will change to the new Tamron 28-75 for E-mount. I also use the 50mm F1.8 from Canon sometimes.
> For stabilization, I use the Feyutech a2000 with double hand bar (but honestly don´t recomend so much, I will change maybe for the new DJI or the new Zhiyun crane 3). The gimbal is very handfull specially in the rubber boats (zodiac boats) when filming in the water. In shore I use sturdy tripod with video head (S8 from Benro).


Nice work from the rubber boat! I could even get that great stable shots from a parking car in south africa :-D


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## RayValdez360 (Apr 8, 2019)

Graphic.Artifacts said:


> More of the same old deflection. Countless hours of high quality video are reliably produced every year on devices without internal cooling fans.
> 
> Allowing the 1Dx Mark II and 5D Mark IV to export 4K over HDMI would have reduced the thermal load on those cameras not increased it. It would also have made those cameras very competitive with the Cinema cameras available at the time. The C200 has an internal fan but it can't stream 4K or write internally to a mid-level codec. If it could it would encroach on the C300 Mark II.
> 
> ...


Say it again. The people here are in a photography bubble. I dont think they respect people to do video for a living. DR, log profiles, focus assists. and framerates are more important for video than photography but half the people here proudly just say "I dont want video in my camera. i dont use it"


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## transpo1 (Apr 8, 2019)

Kit. said:


> Such as by not equipping their photo cameras with cooling fans needed for reliable video work?



I don't notice cooling fans on any other MILC still cameras that shoot 4K video, do you?


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## transpo1 (Apr 8, 2019)

peters said:


> I think canon is actualy having problems with the sensor readout and heat. They just cant process the full sensor in a decent speed and convert it to 4k. Thats why they stick to 1:1 pixel readout.
> The 1DX II and 5D IV are offering excellent 4k quality with 1:1 pixel readout. But The full-hd image that uses the whole sensor and processes it down to 2mpixel is realy realy bad. We actualy switched to 2 gh4 for some videoproduction where we only need full-hd (but want better quality than the 1dx and 5d "hd"). The filesize wouldnt be feasable for these shootings, since we collect a lot of footage in a studio.



This is possible since AFAIK, they still develop and use their own sensors for premier products. However, they have had plenty of lead time to develop this capability. The fact that others have gotten this to work and Canon, the most profitable camera company, has not, tells us something about their priorities. In other words, they may not emphasize the R&D to do it because they are satisfied with what in their view are "good enough" video capabilities.


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## Kit. (Apr 8, 2019)

Graphic.Artifacts said:


> More of the same old deflection. Countless hours of high quality video are reliably produced every year on devices without internal cooling fans.


And some of them are prone to overheating. Having experience with Canon, I would expect them to add a fan, which I personally don't need.



Graphic.Artifacts said:


> Allowing the 1Dx Mark II and 5D Mark IV to export 4K over HDMI would have reduced the thermal load on those cameras not increased it. It would also have made those cameras very competitive with the Cinema cameras available at the time.


Unfortunately, it might have delayed their introduction to the _photo_ market, or have delayed the release of another Canon product, because when the development of 1DX2 and 5D4 started, the HDMI 2.0 interface specification had not yet been finalized.

Messing with your release schedules for a feature of such a marginal importance on a _photo_ camera... nah, I wouldn't do it.


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## Graphic.Artifacts (Apr 8, 2019)

Kit. said:


> And some of them are prone to overheating. Having experience with Canon, I would expect them to add a fan, which I personally don't need.
> 
> 
> Unfortunately, it might have delayed their introduction to the _photo_ market, or have delayed the release of another Canon product, because when the development of 1DX2 and 5D4 started, the HDMI 2.0 interface specification had not yet been finalized.
> ...


How many glasses of Canon Koolaide do you have to drink on a typical day before statements like this start to make sense?


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## Kit. (Apr 8, 2019)

Graphic.Artifacts said:


> How many glasses of Canon Koolaide do you have to drink on a typical day before statements like this start to make sense?


None. Spending some work time around engineering of video hardware for mass production may help, though.


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## rrcphoto (Apr 9, 2019)

Graphic.Artifacts said:


> More of the same old deflection. Countless hours of high quality video are reliably produced every year on devices without internal cooling fans.



we're talking canon technology not anyone else. How about we call what you are saying "the same old tired comment that is meaningless"

and no, Canon hasn't. show me one top end canon cini camera that has a half decent codec and sensor that doesn't have cooling fans. they all do.

it wasn't until DIGIC 8 that they finally got h.264 running 4K without fans.

It's a problem with Canon's tech. They know it. everyone knows it .. but apparently the experts in forums do not.

what part of this don't you grasp, that's it is a critical comment about canon. they got themselves behind the curve with video / processor and sensor hardware and now the differences are glaring. however, it's not because of same idiotic lame excuse of "protecting the cini line" which doesn't even NEED protecting from ILC's. It's simply because right now Canon can't do any better.


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## peters (Apr 10, 2019)

transpo1 said:


> I don't notice cooling fans on any other MILC still cameras that shoot 4K video, do you?


And I dont see any full-frame MILC with 4k thats protected against overheating. And especialy none with 60fps...  There are physical limitations and canon isnt THAT bad at working with them.


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## transpo1 (Apr 10, 2019)

peters said:


> And I dont see any full-frame MILC with 4k thats protected against overheating. And especialy none with 60fps...  There are physical limitations and canon isnt THAT bad at working with them.



Correction: they *are* bad at working with them or don't have the sensor tech or don't care to invest in the capability: take your pick


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## peters (Apr 10, 2019)

transpo1 said:


> Correction: they *are* bad at working with them or don't have the sensor tech or don't care to invest in the capability: take your pick


They got the only dslr with 4k 60fps, so I dont think they are THAT bad. 
On MILC area its a bit disapointing. I just got the EOS R and I am very disapointed of the rolling shutter.
It feels like a gread photocamera for enthusiasts, but since I need it as well for video work, I may send it back... will decide in the next 30 days =) exciting days =)


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## transpo1 (Apr 11, 2019)

peters said:


> They got the only dslr with 4k 60fps, so I dont think they are THAT bad.
> On MILC area its a bit disapointing. I just got the EOS R and I am very disapointed of the rolling shutter.
> It feels like a gread photocamera for enthusiasts, but since I need it as well for video work, I may send it back... will decide in the next 30 days =) exciting days =)



So true about the 1DXII. And if only they were willing/able to improve on that tech and include it in their next mirrorless body...


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## Jane Cooper (Apr 11, 2019)

It’s not necessary a third EOS R camera, assuming only one EOS R (P) is coming on 14th. CR could be right, since Canon still need to deliver a high res model to match the Nikon’s offer. Hope it won’t be the last week of 2019 though... 

BTW where is the promised firmware update for the EOS R?
I often read http://fixthephoto.com/ to be aware of such interesting things.


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## NorskHest (Apr 19, 2019)

Sooooo this must not be happening


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