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People who think the image out of the A7SIII, a $3500 mirrorless camera, isn’t very good or the skin tones are off are nitpicking the shit out of it. I feel sorry for you people. You will never be happy. Put everything in context. This is a fantastic release from Sony. They improved almost everything from the A7SII and kept the spirit of the A7S camera intact.

Can we ask for a recall for the as7iii as well now? Or is the hysteria only reserved for canon because Gerald said so?

Quite bold of BM to be releasing a new version of the ATEM Mini Pro when they have barely delivered any of the current one but here we are. As the name suggests, this new one lets you do ISO recordings of each individual camera, audio track as well as the master tracks to a single USB drive. It then saves your live cuts and all of those recordings (and other media such as overlays and titles etc) to a project that you import straight into DaVinci Resolve onto a timeline for further tweaking. If you are using BM Pocket cameras then they can be recording BRAW internally at the same time and Resolve has a new function to swap these as the source tracks in that edit with a single click. With the addition of the ISO tracks this is now some serious capability not just for straight live to air/net productions but also for anyone doing any multi-camera production that you would want to have post edit control of like a live performance recording, sports game, YouTube tutorial etc or even a low budget soap opera ! The developments that BM have been up to with the ATEM Mini series is probably not, on the surface, of that much interest to a lot of people on here but it is very innovative and is a real showcase of their end to end pipeline. Using an ATEM Mini, the Pocket 4K/6K cameras are turned into fully fledged studio cameras with remote control of on board colour correction and automatic tally functions but without losing their ability to simultaneously still be recording BRAW cine formats internally. So you can simultaneously do a live production in HD, use its built in encoder to stream live to the internet, hand off a USB stick with a video of the ready cut version to a client, record each individual track for easy post refinement of the mix and still retain the option to use 4K or 6K RAW master versions of those tracks to create a higher resolution finessed version with a single click. A four camera system that can do all of that for a total of under £6K or £9K depending on whether you go with 4K or 6K is arguably as revolutionary as any of their camera releases. I can also see it having a lot more applications in the "new normal" and offering some potential new opportunities to anyone who is already invested in Pocket4K/6K cameras. The bonus is it is a new product launch that can be discussed without reference to thermometers and stop watches 😉

Why does every comment of yours has a massive elephant in the room? Nobody is criticising Canon for being conservative on the EOS R5 specs. You have to deliver the specs AND reliability, so that customers don't get a defective product. Not hard to understand is it?

Sony didn't care fixing the temporal noise reduction issues and oversharpening since the A7s2. So, no break for Sony. This is not a camera made for narrative work. The Sony Videolook and missing DCI4K and missing shutter angles and true 24p made it quite clear. I honestly expected much more.

What's your name? Resume? I really do think @Andrew Reid should require people that talk like this to use their real names so we can judge how much credibility we should give what they say. It's way too easy (and common on here) to hide behind "working in the industry" when people disagree with you when you're anonymous

I'm confused as to why people think this. If you're shooting VariCam I imagine you would have an S1H on set for many reasons.

Super8 meet Nezza - this should be fun

Yup. Z6 has an insanely high and accurate level of detail if you turn off sharpening. Like you said, it's people that don't know how to use the camera doing the tests.

We can have both, no? Something something about eating cake....😎

I mean it's not a V-logger camera, more like a cinema workhorse which could be used as an A-camera image wise even.

One thing is for sure, it’s a FUCKING SHITSHOW. What do Canon do? Are they actually even doing anything or is there more hype over this controversy on this particular forum bubble than there is in the rest of the inter-world? I would respect Canon enormously if they put up their hand and said, “yup, we fucked up here. Stick with us and it may not be until 2021, but both the R5 and R6 are going to get some heat management updates”. OK, the Sonyloverboys will be all over that as will a lot of others, but so what, sometimes you just have to hold your hand up, take the flak and come out the other side stronger because really it’s ‘just’ the heat issue here that is the only problem with these cameras otherwise you’d have at least one of them would’ve you?

I just watched this video by Of Two Lands, where he talks about why he bought an OG BMPCC / P2K in 2020. Some of his reasons were sentimental, as he owned one early in his career and it worked well for him, but he also mentioned that a lot of people are going back to shooting S16, or are getting sick of a super-clear image, or don't want to have the 'crutches' of AF or slow-motion or the challenges and limitations of an older fully-manual camera. We also had the P4K firmware update that added a S16 crop mode, the Ursa 12K camera has a S16 crop mode, and @JimJones argued that the new Ursa might attract purchasers purely for its S16 mode: @crevice Argued that the BMMCC still matters, and received much agreement. When the P4K first came out there was a lot of anticipation of getting a 4K BMPCC but then disappointment that the image wasn't the same, and that it looked too modern and too clean and too high resolution. After all this I wondered what it was about the image from these cameras that attracted so much praise. I even heard that the BMMCC was a "baby Alexa" due partially to its colour science, but also in other ways too, such as motion cadence, resolution and codec support. I bought one and tried emulating its image with my GH5 (a project which is still ongoing): I had a theory that this interest in lower-sharpness (and to some extent low resolution) cinema was a nostalgic thing amongst those who grew up with cinema being celluloid rather than digital acquisition and distribution, but the " cinematic / film / organic / LUT / hipster " crowd is getting younger and more interested rather than less, so I wonder - is this a thing? Are people feeling a pull to go back? ....to go back to S16? ....to go back to MF? ....to shooting slower and more deliberately?

This seems the best photo camera ever made from canon 45mpix, 12/20fps, great ibis, low noise, af tracking seems great too with both RF and EF lenses, great photodr, cfexpress from nfs test the overheating are on pair with what canon says. imo chance of a recall almost 0 Unfortunately as video workhorse is a bit too compromised..... I wish it could do for every high end mode minute it would recover with a minute cool down....

I should have posted the link : https://www.photonstophotos.net/Charts/PDR.htm#Canon EOS R5,Sony ILCE-7RM4

No one claimed this, so stop being an ass. You asked for evidence. He gave you some. No one is claiming they should shoot their next Netflix documentary special on an S1H. They shouldn’t if they have access to something better. But it is a fact, based on what NETFLIX has said, that sure...you can and we will accept it because X, Y, Z. So what is your whole point of this argument? Almost everything you have posted is to incite some kind of argument. No wonder people don’t stick around on this forum.

I really don't think Panasonic is behind except for AF. They offer 6k,better ergonomics, ProRes RAW as well, better exposure tools, better weather sealing, better heat management, better reliability, the best screen implementation, better photography camera than the Sony a7sIII (at least a better resolution that's helpful for stills), really good color science, timecode, better IBIS, 4K DCI, anamorphic modes, etc. I think it's on par with the Sony offering. What makes one stronger is a weakness for the other and vice versa. People really tend to make Panasonic look worst than they actually are.

The NFS tests are very interesting, especially Test #2 where 1500 photos were taken before switching the R5 to video mode & they still got over 17 minutes of 10-bit 8K recording. That particular test seems to kinda contradict Gerald’s tweet about not having a single second of HQ video after shooting stills for an hour. Speaking of Gerald, he did a 3 hour live stream about R5/R6. I haven’t had time to watch it but just happened to skim through it and he addressed Dan Watson’s A7S3 vs R5 overheat results. He kinda cops out by saying their pre production Sony units may be different and then suggests to Dan to redo the test with the Sony camera -in the shade- as he admits direct sunlight may not dissipate heat correctly on the Sony. Perhaps he should be the one to take the A7S3 out in the sunlight to corroborate or not Dans results.

The amount of SHILLING from these influencers is disgusting

In cases like this, there is always the conspiracy theory and then there is the cock up theory..... And 9 times out of 10, its mostly the cock up.

@thebrothersthre3 yup, a lot of people seem to be confusing ‘disappointment’ with this very strong word, ‘hate’...

That last comment sounds like sour grapes. What a shame Netflix didn't seek your opinion before approving the S1H. 😂😂 You seem to have a personal gripe over Panasonic; you're clearly not a fan, but many are. I feel you are though biased to Canon, which is fine, but not everyone shares it. It would seem your main issue with the S1H is with the codec. Canon do give higher bitrates in their R5. Though the S1H does have an ALL-I codec, which may offer a better image over what you've seen.

Q2 financial results down 93% in camera division https://www.eoshd.com/opinion/severe-canon-financial-results-see-profits-drop-93-covid-19-recalling-the-eos-r5-would-be-the-ethical-thing-to-do/

Yes, these EOS R5 footage looks incredible. I only use the ACES CLog conversion, no grading at all, and already looks fantastic. Really wish someone upload some nice footage from the A7s 3 like that one, so we can play with it. And hope that Canon come up with something that doesn't take 5 years to do. At least sony throw their best codecs into a mirrorless. But for now I will keep my pocket 4k. Its not full frame but colors and codecs are really nice to work with.

Yes, but at this point, if it had competent AF it would be the affordable cinema level camera for the those you tubers as well. Go back and look at the comments on PM’s videos when he used the 1DX..people lusting over having one so they could be “like him”. Not saying its right, just saying perceived image is part of the equation in selling products. It’s moments like these with flagship FF cameras from Panasonics direct competitors self-combusting on the interwebs, is exactly why they need someone out there trumpeting their reliable, workhorse, cameras. It’s marketing 101.

To be brand agnostic can be the right medicine... : ) Just sayin' ; ) Let's focus on topics and not throwing stones to whoever has a different opinion from ours, please? :- ) We won't nor need changing the planet or opinions of the rest of the world.

It would be simply unbeatable. The crazy thing is, that you could grab three used S1H cams last week, as everyone was cashing out to race to Sony and Canon's offerings. Kinda wish I dodn't book that all inclusive vacation to Puerto Rico next week, cause I would certainly love to grab a few more! 😀

Call me paranoid if you want, but I think the overheating of the r5 and r6 is quite a marketing trap. I have already seen several videos where it is mentioned that heating occurs at very different times and several times they have said that the camera is cold to the touch (or at room temperature). In my view, I believe that overheating is a limit set by Canon through software, I do not think it is a real hardware problem. Canon blocked the camera with a false heat alarm to generate all this debate and controversy on the matter. Then in a few months they will fix it with a simple firmware, because the problem is that, only software. In this way Cannon earns a couple more months of free advertising for his latest product. If the camera can only be fixed by firmware, I would be very inclined to this theory (in my opinion) and would stop believing Canon. It is all very strange. But hey, it's just my theory.

https://www.newsshooter.com/2020/07/31/canon-eos-r5-r6-recall-rumors-are-not-true/ Rumors are not true apparently. I remember last time company had to deny something like this - Olympus anyone? te he he.

Why is Canon being given a harder time about over heating compared to Sony overheating and color issues? This does not seem fair and not sure why the mob mentality has taken over? Nikon got crushed for 1 card slot, Panasonic for bad AF, Canon for the cripple hammer but Sony gets a pass for overheating in the sun and bad color science that needs profiles and Resolve to fix? I need to buy a camera for an up coming Neflix pitch. I would love to get the S1H and be done with it. My only concern with the S1H is color depth.

At 1:21:30 onwards, without explicitly saying it, Sean Baker implies that things are in the offing. Meaning the GH5 successor, and that users should just be a little more patient. I have to agree with you. M43 could easily get a new video sensor (or 2), that have atleast another 0.5 to 1 stop more dynamic range than what is already on the GH5 and GH5s, along with much higher frame rates. Panasonic should just hurry up with that. They could release the camera at the end of the year, but they should atleast start giving us hints and posting rumors on M43rumors.com. Sometimes curiously does kill the cat 😉

You can turn down the sharpening on the Z6. It depends on what mode you shoot with but you can turn it all the way down. Yeah the "Z6 DR is lacking" comments are coming out of no where over the last 3 days.

@Dustin start a new thread... no one around here is short of an opinion and we do love to spend other people's money!! 🙂

Sony is king when it comes to noise reduction (and sharpening). If that's a good thing or not is highly subjective. I'd rather have a an organic looking image than the digital madness the a7s3, a73, a6600, a7s2 etc. offer.

I watched this and was super impressed. It's not a product I'd buy, its not for the type of work I do, but it's clearly very powerful and opens multi-cam shoots up to basically anybody. Having all of the source media in a pre-made project is incredible. The fact you can open and use that product on any computer using free software is even more amazing.

A combination of observations and insider info.

Somewhere in an Indiana Jones end scene type warehouse are thousands and thousands of R5 / R6 cameras that will never ever see the light of day.

4K 24-60P and 4K 120P have almost the same level of sharpness and detail. And 1080P is not supersampled, but pixel-binned from 24-60P and line-skipped from 100-240P.

So, with all this talk about 8k RAW, it's got me thinking, and I'm contemplating going back to 1080p. I've been thinking about all these cameras with high resolutions and ferocious data rates, and why they don't implement higher bitrates and bit-depths on the lower resolution modes. Noam Kroll just shot a low budget feature in 2K Prores HQ on his Alexa Classic. In 4:3 no less! https://noamkroll.com/playing-against-filmmaking-trends-on-our-feature-with-arri-alexa-classic-2k-prores-hq-43-aspect-ratio/ His pipeline was RAW -> Prores HQ -> storage. Prores HQ in 1080 is around 176Mbps, is All-I, and is 10-bit. It sounds lovely. Uncompressed 1080 10-bit is a whopping 1490Mbps, so the 176Mbps of HQ is quite a saving of data rates. But what do I actually want? So I made a list: I want more bit-depth than 10-bit 10-bit is fine if you're on a controlled set or have time to get your WB broadly right in camera, but for some of the horrendous situations I find myself in, having more bit-depth would help (remember how with RAW you can WB in post - well, bit depth is what enables that) I want high bit-rates for a good quality image A good quality image means that every portion of the screen gets a decent amount of data, so this is about bit-rate. It's not about resolution, because a 100Mbps 4K file will still have half the data available for each square cm of the screen than a 200Mbps 1080 file I want files that are easy to edit in post It doesn't matter if my 8K smartphone files are only 100Mbps, the computer still has to decode, process, display, and encode 16 times as many pixels as 1080 So, do I want 1080p RAW? Yes, and no. RAW has great bit-depth, much larger bit-rates than I care for, but also isn't the best that 1080 can get because it is lower resolution after debayering. Do I want 2.5K RAW? Maybe. Problem is that RAW and IBIS are very rarely found together. What I really want is some kind of compressed, but not too compressed, intermediary file. What I really want is 1080 Prores 4444 (which is 264Mbps) or Prores 4444 XQ (which is 396Mbps), because these are 12-bit. 12-bit would do me very nicely. So, what do we get from the manufacturers? We get ridiculous bitrates on the higher resolutions, and paltry token efforts on the lower ones. My XC10 is a classic case - 305Mbps 4K but 35Mbps 1080p. The 4K has 2.5 times the amount of data per pixel than the 1080p, and 10 times the amount of data per square cm of screen. But I have a GH5, which is one of the exceptions, as Panasonic went for the jugular on the lower resolution modes as well as the higher ones, and so I'm down to the three "best" modes that will work on a UHS-I SD card: 5K 4:3 200Mbps Long-GOP h265 4K 16:9 150Mbps Long-GOP h264 1080p 16:9 200Mbps All-I h264 So I shot a test. That test showed me that the 5K mode is far superior, even on a 1080p timeline, but uploaded to YT is a different story. Considering I have partnered with YT for distribution share my videos on YT, that's what my friends and family end up seeing. This lead me to the question about what is actually visible after it's been minced by YT? Luckily I had done a previous test where I took an 8K RAW file, and rendered out various resolution Prores HQ intermediaries, then exported each of them from a 4K timeline. That video is here: So, I downloaded the above video in 4K, 2K, and 1080p resolutions, took screen grabs, and put them side-by-side for comparison. Here they are - you're welcome. So, what can I see in these images? The 4K download is better than the 2K, which is better than the 1080p. This is hardly news, each of these is more than double the bit-rate of the next one and they're all using the same compression algorithm, that's how mathematics works. Watching in 4K each lower resolution is subtly worse than the previous, except for 1.2k (720p) which is way worse. That's to be expected, 2k - 1.2k is a bigger percentage drop than the other resolutions. However, things don't get "bad" until in the 2.5k - 1.2k range, depending on your tolerance for IQ. Moving to the other extreme, watching in 1080 they are all very similar, except for the 1.2k version, which is interesting. Some of these grabs also have a lower resolution one looking better than the higher one next to it. That's not an accident on my part (I checked), it really is like that. As the original video has the resolutions all in sequence in the one video, I suspect that the frame I chose was differing distances from the previous keyframe in the stream, so that will introduce some variation. So, what does this mean? Well, firstly, no point shooting in 8K RAW if your viewers are watching in 1080p on YT. I doubt that's news to anyone, but maybe it is to some R5 pre-orders lol. More importantly, if your audience is watching in 1080 then they're not going to notice if you used 2K intermediaries or 3.2k ones. How can we apply this to our situations? This is more complex. In this pipeline we had 8K RAW -> X Prores -> timeline. This meant that the Prores was by far the weakest link, and Prores HQ is pretty high-bitrate compared to most consumer formats. 1080 Prores HQ is 176Mbps, but UHD Prores HQ is 707Mbps. I don't know of any cameras that shoot h264 in anything even approaching those data rates for those resolutions, so good luck with that. If you're shooting 4K 100Mbps h264 then that's the same bitrate per square pixel of screen as 1.4K Prores HQ, which is pretty darn close to that 1.2k that looks awful in all the above. Obviously if your viewers are watching in 4K then it's worth shooting in the highest bit-rate you can find. What does this mean for me? Not sure yet, I need to do more tests on the GH5 modes, and I need to think more about things like tracking and stabilisation which can use extra resolution in the edit. But I won't rule out going back to 1080p.

Nice to know, I hate to swap formats and throw away my lenses collection. Really. Counting with the same performance as with native Canon R mount glass means I can only focus on the price for body + accessories. Lenses should not be included in the same pack. They are the pyramid's platform. Looks like most part of posters here tend to forget it. Once overheating will be under control or more news how to handle a workaround will pop up around, I see this camera as the best current offer to fit my needs and liking. Seems pretty clear to me that this 5.1K option route will put this device in some upper degree, in point of fact. Isn't it in behalf of this we are using a camera forum to exchange ideas and information we can adapt for our shooter's life? ; ) If “multiple solutions” or “a full statement and plan in the coming weeks” will kill the fair overheating concerns, who won't try to have one? I predict this camera can be as much revolutionary as 5DII was a decade ago. We also had to wait until no more workarounds were necessary along that late 2008 and early 2009, even though, much easier from a mere firmware update then, it finally happened:

I have the 35mm RF and seems the same.

Interesting idea, it does feel a little anamorphic. Cool look.

Yes, I am not good at sensor math, but I believe it would be around 1.15 to 1.17 crop--- something in that ballpark. The speed booster is my game plan when the 4k HQ has stopped working. With the speed booster you will get close to a full frame look while still having sharp 4k, 10 bit internal, IBIS, great autofocus, Canon colors and no heat problems (in theory). I still wished Canon did this right with better heat design (or any heat design at all it seems), but I can live with this solution for now.

Love Canon outcome, no match anywhere else to my eyes and taste... The more I watch Canon stuff the more I realize I am condemned to spend €3285 in USD for one unit, that is, if I will find where to get supply for soon : ) Just sold.

https://petapixel.com/2020/07/30/canon-is-delaying-eos-r5-shipments-due-to-overheating-concerns-report/ PetaPixel picked it up. Others agreeing as well. All signs point to recall. Imagine they fix the overheating and suddenly a deluge of a7siii on the market lol.

This is awesome! Exactly the affordable product/solution I’ve been waiting for. I’ll admit that I love my Sonys, but Blackmagic is the leader of innovation right now.

Now that Canon and Sony have played their video hand with the R5/6 and A7SIII (Sony still has a A7IV in their sleeves) respectively, the ball as been kicked—no absolutely belted—into Panasonic’s court. Panasonic has been absolutely silent either twirling their thumbs in worry or rubbing their hands in anticipation. Besides the very vague rumors is there anything more concrete out there about future products from them, wether MFT or FF? I can see Panasonic competing with the A7S fairly easily if they sort out their AF. It’s not a stretch seeing them deliver a MFT camera with oversampled 4K up to 120p quite easily. The Z-Cam E2M4 is doing 160FPS 4K at 13 stops DR on the same sensor Family as the GH5S/P4K. With a newer Sony STARVIS 4/3 sensor and upgraded internals with those ever so practical Panasonic focused design we may see a another leap mirrorless technology from them. Really hoping we will get some more info with @Andrew Reids upcoming interview with them.

https://www.canonrumors.com/whats-next-for-the-canon-eos-r5-and-canon-eos-r6/ your report and this article. All seems to point to a recall / hardware fix. They completely screwed the launch, but that’s good news. Because that means the camera which was going to be the perfect hybrid and that ended up being wasted due to overheating will indeed maybe become perfect if they fix it.

I was able to smoothly play the Canon R5 4K120FPS footage within DR using both a 1080P timeline and a 4K timeline. The caveat there is that it stuttered at the very beginning then it played smoothly, I'm not sure if behind the scenes DR was cheating a bit and doing some sort of caching; but my system actually surprised me, it played smoother than some of my GoPro and Drone footage. I tested the footage on both a 1080P timeline and a 4K timeline and playback was still smooth. My system is an HP Z4 with Windows 10, Core i9 14 core CPU, a RTX 2080TI video card, Davinci Resolve Studio, 64GB of memory, and NVME RAID array for the project drive. I haven't tested the Sony footage yet because it is still downloading, I wish they had broken it up into individual files so that I could download just one. One thing that I couldn't tell from the YouTube videos is if they were using DR Studio or the free version, you don't get HW acceleration in the free version. My build is probably around $6K so well below the $15K MAC system in the video. So I went a step further and color graded the clip and DR was still smooth. I do feel like it was at the edge of what it could handle, and would probably require proxies for any kind of real work with this footage. Another annoying thing is you will definitely need proxies if you want to do any kind of speed ramping with the footage, when I tried to bring it up to normal playback speed it was unusable.