If your a talking in Yen, why do you insist on putting a $ sign in front of the number? There is a symbol for yen ( ¥ ), and it normally goes in front of the number just like the dollar sign. Maybe you should learn how to use alt codes on your keyboard.No I don't I compared Yen to Yen $544BY to $643BY. Both financials are reported in Yen obviosly. Then when I converted to unit prices I used the Yen to USD coversion rate. Your conversion rate is off by a factor of 10 as the current conversion rate is .0067 not .067 My math is below.
Canon:
$544BY divided by 3.6M units = $151,000Y. $151,000Y X .0067 = $1,012 USD
Sony:
$643BY divided by 2M units = $319,000Y. $319,000Y x .0067 = $2,138 USD
Agreed and I noted that in my post above. Again that is part of my whole argument. Sony sells LESS cameras that are MORE expensive. Sony also has a cinema line that is way more expnsive than Canon. The C500mii is $11k and Sony is selling the Venice 2 for $60k and Burano 8K for $25k. And these camera's all relate. So their cinema line goes down to the FX9 and FX6 in the middle around $10k to $6k then all the way down to the FX30 at $1,800. They are heavy beleivers that video is the future.
I hate disillusion you , but Sony has been making Broadcast cameras for over 40 years and Canon has been making Broadcast lenses for a similar amount of time. Neither of those facts has anything to do with Sony suddenly "believing" video is the future for consumer cameras. Sony has more years of experience in pro video cameras than Canon, but they don't make the big lenses. That market belongs to Canon, Fujinon, and Angenieux.
Canon dramatically increased their cinema camera line after they hired Larry Thorpe, who had just retired from Sony and BTW designed the TK44 for RCA before he went to Sony.
I agree the unit mix is off. I'm making ball park assumptions. I mean if you think Sony is selling 100k cameras that cost $50k then good for them. But again this goes back to my point that Sony is focusing on moving the industry toward higher end cameras. The FX30 is an example of that. They effectively have people shooting YouTube content on their cinema line of cameras.
When you are making ballpark assumptions, it is best to not be quite so categorical in your statements.
There is very little chance that Canon will make an R3 that is more expensive than an R1, but an R1s has historical precedent (1 DS) and the most likely candidate for a high res sensor is an R5s or R5sr. Most folks who would like to shoot high res are very deliberate in their shooting (a necessary attribute to realize the benefit of a high res sensor) and have little need for a ruggedized sports body. Think landscape and architectural. An yes, there will be some birders who would like a high res FF body for better field of view that an R7, but from what I can see on this forum, there are a lot more birders shooting with R5 and R7 bodies than with R3 bodies, so again the R5s wins. Time will tell, but, as I have stated elsewhere, I think the most likely scenario will be an R5s introduced alongside the new RF tilt-shift lenses, since those will likely be among the very few lenses around that will be able to truly complement an 80-100 MP sensor.Sony has now made their entry level "vlogger" camera $1k for the body only. Meanwhile Canon is selling R100's with a kit lens for $400. What happens when the bottom of the market is gone?
Taking this back to the R3 this is why I think they need to make the R3 a flagship beast with high megapixes that cost $6500+. I thought they were going to do that with the R1. They didn't and that's why they are catching flack. There is ALREADY a rumor that they are going to make an R1X that will be the high megapixel beast. That would be fine too but a bit confusing. I think it would be best to differentiate the R1 and R3 line instead of an R1 and R1X line with R3 lost.
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