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Canon Announcement

Kalani Prince said:
I hope RED swoops in and releases at around $6k... This would kill 3 big birds with one small Scarlet.

Sony - FS100
Sony - F3
Pana - AF100

gone gone and gone if Scarlet comes in at $6k-ish..
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No way that was going to happen. Especially not now. Releasing anything in the same price-range is almost more effective. Shows just how little bang for the buck you're getting out of this new Canon.
 
Anyone else kinda feel like the lenses are the real announcement and the camera is just a half-baked accessory for them?
 
Forget the Sony F3 and this, the only non-DSLR 1080p S35 cinema camera under $10k is the Sony FS-100 and nobody has stepped up to compete??? If anything, this should have been Canon's response for that, but they decided to make it $16k. Do they not realize you can get a used RED One around that price range?
 
OK so are people still throwing around these spec's and prices that are still unsubstantiated. Or do we have a credible source that is not DVInfo or DVXuser????
 
Dabling Harward said:
But the reality is, it's been Tomorrow for the last 4 years. Somebody is throttling back technology just like they do internet speed.
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One could certainly say that, but the validity, such as it is, in Canon's product is that it fits neatly and perfectly into today's normality of 1080p. Obviously, it's not on the same playing field as RED, Sony, etc., but it fits the existing customer base of indie film DSLR users/Camcorder users and their resources. That is what makes it valid, regardless of it's glaring comparative technical faults or the fact that the digital cinema industry is rapidly hopping towards 4K. That doesn't mean anyone should buy it by any means, but it's like coffee from Starbucks. It gets the job done with what you have in your pocket. In two/three years, Canon will likely have a 4K solution that is somewhat comparable in their own conservative way to the RED ONE, using whatever RAW or digital negative solution they cook up or license. That much we know from what has been said about the development of the camera and Canon's efforts thus far.
 
L. Langer said:
One could certainly say that, but the validity, such as it is, in Canon's product is that it fits neatly and perfectly into today's normality of 1080p. Obviously, it's not on the same playing field as RED, Sony, etc., but it fits the existing customer base of indie film DSLR users/Camcorder users and their resources. That is what makes it valid, regardless of it's glaring comparative technical faults or the fact that the digital cinema industry is rapidly hopping towards 4K. That doesn't mean anyone should buy it by any means, but it's like coffee from Starbucks. It gets the job done with what you have in your pocket. In two/three years, Canon will likely have a 4K solution that is comparable in their own conservative way to the RED ONE, using whatever RAW or digital negative solution they cook up or license.
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The existing customer base can only use the tools that the manufactures offer. There's no validity now that there are better tools offered, Canon missed the boat by offering old technology in 2012. Might as well pull dial-up back out of the closet.
 
I think Masaya Madea-San said he had to stick a rocket up the arse of R&D to get video on a 5D, on that basis for their first camera its not so bad given its 1080. The 8bit thing is inexcusable though. If its used with an external recording device then it could cause a rucus in the TV world needing large sensor cameras. What it isnt is in the Epic playing field, not even in the same county.
 
16000 US Dollars ?! For the non-PL model ?

Gosh... Sticking with 1080P doesn't bother me as I think there's still plenty of room for that format (in France, it SEEMS that theaters won't go 4K anyway until 2015-2020 because "it is too expansive and we just switched to 2K digital stuff blablabla so lame talk blablabla") and their cameras have pretty good stuff like the Canon Log (yeah we know, flat curve we got it !) and all the pro inputs/outputs and their codec (anyone may thinks that MPEG2 HD sucks but 4:2:2 50 Mb/sec is the broadcast minimum standard.... at least here in Europe as told by the BBC) BUT.... WHY DOES THE USER HAVE TO SWITCH TO 720P TO DO QUICK OR SLOW MOTION ?!!!!!

Just THAT, for the announced price tag, is an epic fail. If Scarlet is till under 10K who cares it as 2/3" sensor or a fixed lense (I think that very fixed lense can beat a lot of Canon L series lenses !) ? It can shoot at 120 fucking frames per second ! And if you can't edit 3K RAW, you can always output any kind of 1080P formats including Log Gamma curves.

Sorry for all the... bad words but as a consummer (meaning "someone that can buy a product", not meaning a "non pro") I don't understand Canon's choice (as I don't understand Sony's about the F3 even if it is a nice camera).

That said... Can't wait Red's annoucement (which will be at 2AM here in France.... Worth the wait !)
 
It's all fine and dandy thats its 1080p my issue is with the pricing...
Scarlet is SURELY going to come under that, even at $12,000 for 3K and a 2/3 sensor? Even if you rise the price of all previous specs of RED it still out does the Canon, on spec sheets at least, form factor looks to be smaller to but then again we would need a side by side for that...

Seriously though, that price seems quite crazy for 1080p from Canon!

The lenses would be great but they resolve to 4K max by what I've read and I'd prefer future proofing...
 
Im not so hung up on this PL thing. What I want is a base mount that I can use an intermediate mount to get to PL when needed. Also Canon EF, Nikon F, Leica R, BNCR, M42 easily and preferably have an electronic control of lenses supporting a suitable interface. The A mount all be it non electronic and no EF was as much a revolution for us as Red One is as a camera.
 
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