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The C300 was a success because despite the underwhelming specs, the image was great and had a broadcast codec. This new model seems great as it still continues as documentary camera, with better Dr, a few more frame rates, a variety of codecs and a new modular system. It's an improvement of an already solid model. Documentary cameras don't need the high resolution of the c500. Just a good codec with decent resolution and solid audio quality.

Maybe they never thought Canon would give them what they actually wanted and not what they settled for in the R? It definitely upsets the current state of the camera industry. Sony is the only real competitor as far as AF performance goes so it seems like the industry is going to converge around these two brands with Fuji filling in the rest. Not really sure what Panasonic is going to do as they no longer have the resolution and FPS advantage anymore that they’ve had with the GH5 and S1H with 4K60 in MFT and now FF. In addition, 8K is, at the moment, a hard wall. Going higher becomes exponentially more impractical. Resolutions 8K and higher become increasingly more specialized (360, volumetric imaging, sports broadcasting) and make less and less sense for consumer consumption and capture. Thats leaves Panasonic Lumix brand in a tough position. They need to deliver trustworthy AF as good as DPAF with the best Varicam color science and high dynamic range to survive in the coming market.

A bit off topic but : this remind me of "our planet" that I finished to watch some days ago. In the BTS episode, especially the Siberian Tiger sequence, I was intrigued by something concerning the camera traps that filmed the sequences that ended in the episode "forests". Yes, they used GH4's : https://www.tshed.co.uk/2019/04/netflix-our-planet-siberian-tigers-filmed-with-the-tshed-4k-trail-camera-system/ Seeing that among cinema cameras (saw some Red), and given how this sequence captured by the Gh4's render well, it made me thinking a lot 😄

Why are you getting so worked up bro? I gave a sensible explanation. all you seem capable of is personal insults. Who's the one not only acting insecure but immature? Nobody here care what your work buddies use/don't use. Topic isn't "Show & Tell School Day". I never had an interest in Panasonic cameras. You don't see me in Panasonic threads talking shit. Ease up or GTFOH.

This represents the type of comments I will come back to when the misty eyed corona pandemic induced haze of wishful thinking goes away. Thinking the R5 is going to outperform the C500ii for a fraction of the price is so delusional it’s heartbreaking. Do you really think the Canon engineers have somehow come up with a way to defy physics? That the R5 sensor and body will magically not be affected by or generate heat? Or that they have conjured up a 45MP sensor that has such an incredible readout speed that rolling shutter won’t be an issue? Or that they mystically now have leap frogged the Sony sensors with regards to dynamic range? Get a fucking grip.

What is your issue? Are you clapping twice at the start of each take & using the NLE's built in features to sync by audio waveform? In general, I would not recommend anybody buy new a mixer only in 2020, not when dedicated field recorders are so affordable. The DR60Dmk2 is only roughly an inch bigger in each direction than the Beachtek DXA-MICRO-PRO PLUS you referenced before. (plus the DR60Dmk2 isn't as long as the H6, and also the Tascam has much better ergonomics to be mounted with the camera than the Zoom H6. The Tascam DR60Dmk2 is better ergonomics too if you wish to work independently from camera as a boom op with a field mixing bag) There is also the Tascam DR70D (only twenty bucks more than the Beachtek DXA-MICRO-PRO PLUS), which is a smaller height than the DR60D. Audio field recorders have a slower refresh rate than the constant update cycle of new mirrorless cameras. They're more similar to the refresh rate of cinema cameras. None the less, we've seen some impressive new innovations in recent years! Here is what we've got just in the last three years: On the high end: Sound Devices Scorpio (the first really high end premium recorder from Sound Devices? At least, this is priced even higher than the 788T or 970 was!), Aaton Cantar Mini (the goodness of the X3 but in a smaller/cheaper package!), and Zaxcom Deva 24 (has the usual futuristic Zaxcom technologies such as MixAhead™) In the low/mid range: Sound Devices 833 (a "mini Scorpio" at a cheaper price! But with some I/O stripped out, such as no DANTE) + 888 (the recorder that finally made the 788T diehard holdouts upgrade!), and the Zaxcom Nova (their most futuristic product ever?? "The Future: Now!") In the "no budget" arena: Zoom F8n (an update to their revolutionary F8!) + F6 (their smallest F series ever, and the first with 32bit), and the Sound Devices MixPre Gen2 series (finally the MixPre series has the firmware and hardware updates to make them worthy contenders to the mighty Zoom F series). MIA: Tascam and Roland. For yourself, like the Sound Devices MixPre3 is the right pick for you I'd guess.

Now a more capable Shinobi for $499! With an addition like this it’s difficult for me to upgrade my cameras. I am still interested with the GFX 100 and would love to see a more cinema style camera with that sensor size. And by the way the film I shot with the JVC GYLS300 is finally published! https://www.Vimeo.com/ondemand/marcymade

But the EOS R5 misses heaps of what the C300mk3 has, they're aimed at very different markets. The C300mk1 sold in era when 10bit internal was a rarity in the low/mid tier professional productions. Who else did??? RED didn't, they did raw internal (and for this market niche, many didn't want to touch 4K raw back then). ARRI did, but they were priced for an entirely different end of the market. There was BMD, but it was a baby company still having teething issues. The C300mk1 sold like hotcakes because it had a great 1080 8bit image, with a 50Mb/s industry standard broadcast codec (that was the downful of the otherwise superior Sony PMW-F3, only 35Mb/s internal). Together with all the other expected features (NDs/SDI/TC/etc) at a great price. They do care care about image quality, but also put a just as high priority on workflows, both on set and for post. For many types of shoots they do the R5 fails there to be the primary camera. The C300mk3 just might maybe capture a bigger share of the low/mid end cinema market (defined as: priced over $6K but under $25K) than the EOS R5 will capture of the high end FF stills market. (defined as: FF cameras primarily for stills which are priced over $2.5K)

R6 will have my attention... I'll stick with my beloved S1H for now... The ProRes Raw firmware will help me wait on more infos to make any decision... Beautiful times to be a filmmaker (but strange times overall with this health crisis and lock down)...

$4K+ maybe... I’m still not convinced there’s any value in an 8K sensor. For most practical purposes it’s useless and doesn’t bode well for low light performance or the 4K sampling - unless Canon has a new magic sauce that they’re not using in their cinema cameras which they’re willing to use on a mirrorless camera. It’s possible of course, but, more likely, this specs-first approach feels like crowd-pleasing, hoisted over and above what really matters: offering a pleasing image (with no binning/skipping) in files we can actually use. The 4K Canon image is great from the R, as it is from its S35 big brothers, C200, C300 etc. At least with the R you get a 1:1 readout that fits the Sigma 18-35 (which I still use over the excellent full frame RF glass, along with, I might add, the drop in ND filter - which you have to swap out for the RF lenses). The pursuit of the perfect full frame image goes right to the top of the C series line - Canon aren’t going to offer a toll-free shortcut. And remember, the R5 won’t be broadcast approved without monitoring and xlr audio etc so we must dampen those Netflix dreamers - really, they’ve started. This is not a cinema camera replacement. It’s a companion, maybe. Let’s not kid ourselves. The R5 is a specs package, not the perfect camera. It’s purpose is to destroy Canon’s competition by sucking consumers in to the brand. It’s aimed at total fantasists with more credit cards than sense, at misinformed wannabes, and the slack-jawed fanboys who consume the junk food dished out by tech YouTubers. We forced this change of tack on Canon with our whinging and now they’re ready to grab our money. Do you really want to spend an extra grand or two for 8K? Unless you’re a spec glory hunter, or require 8K raw for some very case-specific VFX production work, you’re just better off waiting to compare the image of the R5 with the R6, which could have a more practical pixel count and, we can hope, an excellent 4K Raw image - with the same IBIS, and client-pleasing specs; great for a range of commercial video work and indie filmmaking. Really, what more do most of us need? Friends be careful not to blow your load on something you won’t use just because Canon entered the specs race. It’s good news, and nice to know Canon are at least listening, but it’s still a waiting game, hopefully only until the R6 is on sale. So hold on to your money - at the very least you’ll need it for those RF lenses.

I think it's well past time that we all recognize the world is full of stupid people and they affect things much more than many of us are comfortable with.

There are business that produce content that are in the market for $13K cinema cameras with All the onset bells and whistle that make sense in that environment. Then there are a whole bunch (way more in my opinion) of aspiring photo/video content creators and small one-man-band companies doing work for smaller clients that demand a mix of deliverables. These are the people that are doing work for travel agencies and local business that prefer the form factor of a R5 over a C300 or even a C100 and don’t have the weight of “industry standards practice” of this is how it’s done. The later want the R5. The former don’t. They are separate markets for the most part. The problem lies, and I’m completely speculating here, in the separate imaging departments at the cameras companies. The cinema division was the old world and should get the better specs and image and that the consumer electronics segment should be get hand-me-downs. That the segments overlapped when they really don’t and there is just a tiny grey area. People know if they need a C300 or not. They know the difference. A C300 isn’t anything like a R5. They are separate flagship products in two different markets.

1DX iii can subsample 5.5k 60 fps to 4k 60fps for 30 min, so it looks plausible to do 8k 30fps to 4k 30fps that is around the same data..... now higher than 30fps not so sure... Seeing the c500 ii doing 5.9k RAW 60fps with a fan I was doubtful that the 1Dx in a fully weather sealed body could do the same at 5.5k and here I’m using it daily with no issue.... Bottomline up to 30fps absolutely doable, rolling shutter will be an issue but so is on the SH1

I think this might come. Yesterday on a Lumix live stream they seemed to make it a point to say that Panasonic had enabled raw output over HDMI, but that it didn’t necessarily have to be ProRes RAW. So if we look at the EVA-1 getting BRAW recently then it stands to reason this could come next. Just a guess. I believe it’s supported in the current beta version of Premeire (at least for Windows). And I think Avid had announced support. So really that only leaves Vegas and Davinci which I imagine will be the very last to get it. I feel like eventually they might have to give in and support it if enough cameras are using it.

I dont care about the ProRes RAW since I use Davinci Resolve. But I'm looking forward to finally being able to use the monitor when recording 6K :-)

Could at least do it for all future models developed. Plus, what legal problem is there for them to now release firmware to unlock record limits for European customers of their discontinued older models?

The camera will be released soon so you guys won’t have to argue anymore.

Yes, just remove the two screws at the base of the hinge next to the battery and the whole door mechanism comes off. And goes back on again.

@Django wow, here goes the Sony fanboy crying again - I shoot with Nikon and Fuji by the way, I hate Sony to a fault. See what you assume when you're getting all excited about how the R5 outperforms the Canon cinema line is just that, an assumption. Numbers on paper. No real world testing, no initiated information about codecs and bitrates, reliability and on and on. Who knows, the IBIS might even be botched or just plain useless, like the Sony or the X-T4. Get a fucking grip and save the panegyric for canonrumors.

Now that I have an DCC8 dummy battery clone, working just fine with the Sigma fp, a question to other camera owners: Is there a way of safely and reversibly removing the battery compartment door of the camera?

Looks like my comment has got some Sony fanboys triggered. Canon actually had their Cinema division work hand in hand with Imaging to produce R5. That’s how they leapfrogged the competition. I stand by my words, only Sony can compete in this FF hybrid battle due to their AF & sensor advancements. But they will have a hell of a hard time matching let alone trump Canon on this one. The specs are out did you not get the memo? 8K / 4K120fps + IBIS > 5.9K / 4K60p + EIS Obviously the C500ii has a slew of other advantages that are proper to Cine cams of that price range but on resolution, HFR, stabilisation.. YES the R5 outperforms the C500ii. And on the codec front they are similar which is also unprecedented considering the C200 doesn't even have 10-bit internal. Log options, recording times, media, I/O, NDs etc.. obviously all goes to the C500ii. What you can't seem to get a grasp on is that it's a first for to have a consumer line hybrid stills cam outperform a dedicated cine cam on both resolution and HFR.. as well as equate it on codecs and sensor size. That alone is huge and a total game changer. DR & RS? Of course it will probably still tilt towards the cine cams. C300iii even announced a breakthrough in the DR department. Canon aren't crazy, they will not stop developing & innovating their cine line, I never ever stated that. Their strategy however is to stop pulling the cripple hammer on consumer division. They've realised the +$10K cine market isn't the same as their consumer hybrids and that there is little to no risk of cannibalising these two markets. If anything, pros will buy BOTH cams for A/B purposes. Again this is a giant game changer as far as imaging/cinema strategies within a Japanese company. I know its hard to believe this is all coming from Canon, a brand many had lost all hopes, but it's true. These are all FACTS, not some dreamed up unicorn A7S3 R5-Killer Sony fanboy wishful thinking. If you don't realise that, then you're the one who should take your own advice and get a grip on reality.

Here are the right GIFs

The dragged out marketing hype campaign sure points to specs being overhyped. Seems like Canon is creating this awareness of a technologically advanced body for people to form their opinion on it before any real testing is done and then just brush away the caveats with rose colored glasses.

Only we do not have the full picture yet. I am waiting for independent reviews and personal experience to say it as it is. Right now all we do is speculate, which is fine, but a football game finishes only when the referee whistles one last time, and right now we are in the pre game stage. We do not even have the rosters yet! Until now there isn't a nornal priced Canon hybrid doing half of what is advertised here..

The 14 stops that C5D measured on the Alexa was at 2k resolution, and presumably the C300 III number of 12.8 would be closer to ~13.5 if downscaled to 2k. So it seems very close in terms of SNR.

Consider when R came out most of the critique is on the lackluster video feature.. And now photographers are criticizing Canon for not releasing still spec. Either way people just gonna critique no matter what.

48Megapixels, 12fps mechanical and 20fps electronic, IBIS, and tracking DPAF isn’t exciting for them? Seems to be the perfect camera for landscape photographers, wedding and event photographers, and corporate shoots. It definitely isn’t a family cam or anything.

I think Fuji really has a big opportunity here. Here's how I think they can capitalize on this - 4k dci, bonus if it can do 6k - dual native ISO - S1H articulating screen to satisfy all users - pro video assist tools - 422 10 bit (not 420) - FULL SIDE HDMI - native anamorphic support. Full size of the sensor so 4:3

$4999, $4500 minimum. They know it'll do well with their current customer base while bringing back some of the customers they've lost. They have no reason to go lower.

The C300 III specs look positively tame for $10k compared to the EOS R5 for less than half the price. Just like the original C300 where people criticised it for crappy 8bit and weak specs compared to Sony! It sold like hot cakes. Conclusion, pros really don't care about image quality and just want to look impressive on set

It's even more than that - RED's patents cover any form of compressed RAW video, including externally recorded RAW. Atomos pays major $$ to RED for being able to put (compressed) ProRes RAW into its recorders: https://www.atomos.com/press-releases/atomos-and-red-are-pleased-to-announce-a-royalty-based-licence-agreement

Yeah need to see some good dynamic range tests in RAW

The sensor is basically on par with the A7R4: https://www.photonstophotos.net/Charts/PDR.htm#Canon EOS 1D X Mark III,Sony ILCE-7RM4 This does not mean that in RAW video it will have the same DR.... but for photo the sensor definitely has a really good DR

Terrible promos. Who asks for this?

I recall previous conversations where people talked about the legacy architecture that Canon had in place being a bottleneck, do you think that perhaps it took them a while to wake up and smell the 8K, but then took a long time after that to work out alternatives to their architecture issues? I don't know how long their product development cycles would be, but I've heard in other industries that although the product cycle might be new models annually, that the complete end-to-end can be 4 or 5 years, so they essentially have 4 or 5 models in development simultaneously, so it might have been a few years between them deciding to bite the bullet and go for a new architecture and that new product seeing the light of day. Not sure if you've gleaned anything in your conversations with reps and vendors?

@deezid Here is some good news for you here: The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1]. It suppresses afterimages previously occurred in some situations. There were cases where color banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimized. There were rare cases where the camera froze during [Segmented File Recording] or during recording at 400 Mbps under a particular set of conditions including the type of SD Card used. This phenomenon has been improved.

Sleeper typically means under the radar, or a good thing that not enough people talk about.

Yes, the organizing features, keywords, show used media, favorites, rejected etc... are a sleeper features.

Little short I shot on the XT3. Was bored and also suffering heart break so I came up with this. Was just filming myself and edited it that same day. Nice to get some creativity out in this odd time.

The ND adapter is a god send, and better quality than most screw on ND too in terms of reflection and loss of contrast when shooting backlight situation.