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Many years ago, when footballers were still earning only a bit more than the average working man, they used to have their wages further reduced in the summer period when no games were played. One of the finest players of that era, Tom Finney, told a great story about his colleague Tommy Docherty trying to get a better pay deal for himself. "Tommy came down from Celtic, and had a fairly good season with us. In those days we used to line up in the corridor before going in to the manager to find out our terms for the following year. I went in to see Bill Scott, the manager, and he said I'd be on the same terms as the year before, £12 a week during the season, and £10 a week in the summer, which was known as 12-and-10. Tommy went in after me, and was told he'd be on 12-and-eight. `I'm not signing,' he said. `I've just found out that Finney's on 12-and-10.' The manager couldn't believe it. `But Finney's a far better player than you,' he said. `Not in the bloody summer he's not,' Tommy said." I've been reminded of that story again by numerous comments I've been reading about the S1-H and its AF system. Yes, the R5 and A7Siii might have much better AF systems than the S1-H but not when the camera has overheated they haven't.

Well they did base it on a design of a hybrid 20D and 5D. Just not the ones people were expecting.

Buy an S1H. It's actually a bummer to see so many youtubers/bloggers/influences/blah supporting Canon and Sony as they continue to under-deliver. And here is Panasonic, who for 4-5 years now has been on an absolute roll (GH5 > GH5s > EVA-1 > S1 > S1H), giving us super reliable products with the best IQ and specs on the market with things we ask for (dual XRL, timecode, video tools). Please, everyone buy Panasonic. I don't want to use a Sony in the future. And while I love the C200/C300III/C500II, I don't want a mirrorless camera that craps out after a few minutes.

Man oh man, all those other TY channels that made multiple videos hyping this thing and making fun of people concerned about overheating (they are tying to be smart about how to spend their hard earned money) only to finally release a video telling us the major deal breakers with this camera and its marketing...those channels are anti-consumer and you should steer well clear of their bullshit.

https://wolfcrow.com/canon-eos-r5-overheating-tests-the-true-story/ R5 testing in different conditions by WOLFCROW(Sareesh sudhakaran). Checkout his videos and blogs. He has very good content. Just like G.undone he is too informative

You could just as easily say the S1H is the best mirrorless camera out there if you don't need great AF or the A7sIII is the best if you don't need photos larger than 12MP. Knock enough of the cons out of the 'for and against' discussions cos you don't need or care about them and you have a winning camera. Incidentally Sony has greater DR, and colour can be as much about grade, not to mention subject to what you like and prefer. No camera will be winning the best mirrorless contest anytime soon. They're all flawed in crucial ways.

Missing the point. If you're shooting 1080p, why all this hype about the R5 and 8K and 120fps 4K. Ever since the R5 announcement, so many on forums were telling me why I needed 8K. Apparently even delivering 4K and 1080p, my work would benefit from it, so I was led to believe. Now the R5 only does reliable 1080p, I bet its back to users saying we don't need 4K and that 1080p is good enough. I wish people would make their minds up.

Use case for Alexa = on set with a crew, use case for an SLR = 1 person, running and gunning.

Lame AF is showstopper for Alexa then too.

The Micro is really due an update. Especially with the Z-Cam/Komodo using the same form factor and being quite popular. It would make sense that they use their new sensor technology in upcoming cameras. I read somewhere that a MFT crop of that 12K sensor is 8K. It would be cool if they could use the full S35 12K sensor but limited to 8k full sensor recording.

You can always add an EF to RF mount speedbooster adapter and work FF from there avoiding overheating issue @ 5.1K resolution. This information has already been advised before in this post and successive ones a dozen pages back along this same thread:

Many Cannon fans are saying "That's OK,...I can work arround the heat. I only shoot short clips anyway..." These guys ARE going to find that they get burned with shutdowns more than they anticipated. Its going to hit them when they LEAST want it to. I predict that the used market will be FLOODED with R5's starting in 6 months and we will see WAY more R5's for sale on eBay than we would normally see. The R5 resale value is going to be terrible and Cannon makes zero dollars from resold cameras.

Hahaha! That's the most savage comment in the entire thread. (well, following up what @Nugat said first) It would be a return to the bad old day of REDs! When you always had to have a couple more bodies on standby on set.

XT3 you can switch between stills and video but you need to enable silent mode. Having said that, it’s FAR better having a switch like the XT4. Do you need to shoot 4K Dustin or is 1080 good enough because that would open up another Fuji contender, the XH1. Loved loved loved my XH1...but traded IBIS for 4K moving to XT3. If I had to make that same choice today, I’d pick IBIS for my specific needs. Very cheap are XH1’s...

I Strangely, but I managed to deal with and checked both 🙂 Actually, I had UMP G1 and worked with C200. It seems that G2 finally has stable ISO3200 15 stops performance without fear of any FNP, whitch was main concern to worry with G1. Looking just to final Image and codec manipulation especially (including cost of media), UMP is far better than C200, at least for narrative movie project - but C200 has the most beautiful and cleverest compact form factor (although cheaper body) I had opportunity to work with... Several month ago I started first to prepare, and than first shooting days of one feature film - and because of working condition (moving quickly, travel abroad to and from Russia including its some wilder area), I decided to base everything on starter kit of 2 Pocket 4k (it was only cine-capable camera that, if something fail, could be buy and replaced quickly everywhere).

I considered the Red Komodo when I was deciding if I should wait for it or go with my C200 and I chose the C200 when the price for the C200 dropped to $5400USD. I shoot mainly events, music videos, interviews, etc. and the Komodo, while way more attractive than the other models does not have internal ND filters, XLR audio, flip out monitor, AF is less reliable than Canon's, and for me one of the biggest things was no lower end codec. As much as everyone trashes LongGOP and 4:2:0 8bit, the colors and picture that I get out of the C200 is incredible when you realize what codec it is using and if I ever get a gig that needs it I can always step up to RAW. For long events or talking heads you just don't need ProRes or any flavor of raw. If Red would add XLR inputs, an eND filter, improve their AF, add lower data rate codec options, and keep it in the $6K price range it would suddenly make the A7SIII, the C100, and the C200 look a lot less attractive.

Color, aliasing free, motion cadence, smoothness. incredible. That's where the money is atm. 4K , 6k, 8k are worthless without those.

At least three more variants of the ATEM Mini.

It is. Pro cameramen don't go to a gig without a couple of cam units at least anyways.

These two Super8 and Nezza are a nuisance.

Sometimes i want to sell my S1H because of its AF that's not on par with the offeringd of the competition. But then I think about my needs and realize I don't shoot sports, i don't shoot fast action, i usually shoot interviews, corporate, docs, and i'd love to go more tow fictional kind of shoot (narrative). And i tell myself why would I need another camera for those controlled environments i'm shooting in? Panasonic bodies are so reliable, but hey they're not as trendy as all those cameras from Canon ans Sony that all the bloggers show. That's a shame. The AF is a lame excuse to me. I rather have a reliable camera, a workhorse with not so good continuous af than an unreliable camera with fast blazing af.

Sod the recall. Canon can sell the EOS R5 to Icelandic elves and eskimos.

You said it perfectly well, pal, exactly my standpoint : ) Here's some real world user report published today: source Also lovely imagerie available on that link : -)

Nonsense... you don't even read my posts or you wouldn't put me in the same line of any fanboys to praise whatever brand you dislike. How can you comment them then, humm?? : D I am a regular poster on EOSHD since the early beginning, for almost a decade now. What about you? Since last month of July...?? :- D It's absolutely laughable you infer I am here ignoring this issue or praising them when their commitment clearly doesn't match mine! WOW It's not difficult to follow the position or experience of someone but for that, you need to read them first. ; ) Last but not least, how old are you? Or you'll omit my question as much as when you mentioned engineer skills as the quality to be entitled to trust Tilta products and I asked about yours? No pun intended. And you're still lacking any answer to add up there... ; )) Nonetheless, maybe you know more on basic laws of thermal dynamics than them from Tilta? ;- ] Something completely disgusting is trading places to distort the facts or take the world B&W, bashing people or brands at the distance of a keyboard hidden behind a mouse and an anonymous alias and yet, pretending to believe only one side can offer criticism when it is much easier to see it from eventual adopters/buyers rather than naysayers. Not you, for sure. But it was not me either to call for credentials or bringing academic degrees to the equation. Even before they had released it?! What the hell a solid accessories supplier such as Tilta would think about all that? Or their customers? Or do I risk to be insulted and the usual mantra to call me their fanboy? LOL The same follows for the Canon patent. Welcome that tip on the HEPA filter. That's an example of constructive criticism. Let's not confound the fair criticism all of us are entitled to (especially Canon customers, oh yes) with haters. We are what we do, words mean too little. This applies to everyone, not this or that user per se. Filmmakers are used to positively search for solutions, not problems. That's also what basically tells about their experience in less or greater degree.

I think "Leica50mm" is the anonymous online troll account of Canon's US marketing boss

No I don't have time to do the types of reviews you see online, I don't know where they find the time. There's nothing really special about my studio setup, 10' PVC for the rolls, Westcott cotton backdrops, posing stool, GVM panels, GVM lights, Westcott umbrellas, studio is 16' x 32' with a 13' ceiling, backdrops are 9' x 20' the green screen is 10' x 10'. or it might be 10' x 20' can't remember. While building my studio I watched Joe Edelman's YouTube videos a few times for ideas, and there's plenty of tutorials on the proper use of a green screen, and more tutorials on how to key out the green screen in editing. I use DaVinci Resolve and combine the alpha output technique with color qualifiers to get rid of the green screen then I use a power window to mask the edges which lets me expand my background beyond the edges of the green screen until the background fills the frame and it makes my studio look a lot larger. My front 3 photography lights are Godox 600's and they are battery powered so that clients do not trip over cables and they are mobile so that I can do beach shoots and sunset shoots for the photography side of the house. For video lighting outdoors for say a swimsuit shoot I use C stands and foam core panels to add fill light while using the sun as the rim and key light ($20 at Home Depot or Lowes). This is my GVM Panel Kit, it is mobile and can take AC power or battery power https://www.amazon.com/gp/product/B07J1GLLB2/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 And here are the lights I use for lower budget music videos, interviews, etc., the color changing feature is fantastic, no more gels. https://www.amazon.com/gp/product/B07M5FD2MM/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 My backdrops never leave the studio, too much of a hassle, and lighting a green screen anywhere but in the studio isn't worth the work to me so I don't offer mobile green screen services or mobile "studio look" photography services, if I'm shooting on location it's going to be using whatever background that location can provide.

Maybe it is safe to assume that J. Brawley has at least some weight of consulting influence to BM plans. It seems that his enjoy to participate in forums discussions provide closest possible information through wall of anti-hints attitude that IMO looks dictated and compatible with rest of G. Petty personality expressions. Last that I've read by mr Brawly about that matter is (quote from Personal View): "It's funny people talk about how great the Z cam is, but I think that BMD kind of did it first with the MICRO. A camera I use a lot. My personal wish would be for them to update THAT camera, maybe go to a full MFT sized version of the 12K sensor."

Have you any full frame f2.8 zooms you could try it with (for stills and video AF) and report back?! Something I am very interested in right now. @Dustin re. XH1, sorry, I only think in 4K 60 terms as I do a lot of slowed down footage! A used XT3 with an 18-55 has to be one of the best value kits right now. It’s just the longer end that I use that kills it for my work, but otherwise superb.

Nuts isn't it! This is the 'flagship'. 2005 called and wants its camera back. Canon have said they may add C log 3 via firmware which would obviously improves things, but with the much much larger issues I can see that going to the back of the dev queue.

I would debate the R5 heavily for that line of work. Green screen work can be complex to setup and film and the R5s overheating would make it very impractical. The S1H has 6K and can even output RAW to a recorder via a proper HDMI port; making it more reliable for sure. Besides who uses a hybrid for that work anyway. At which point do you turn to dedicated video cameras. The new Blackmagic would be more suited to that line of work. I would even favour the Pocket 6K. BRAW is a lot easier on the system than 8K RAW from Canon. The only video I saw taken from 8K RAW, the poster said his machine crashed several times working on it. In fact he doubted he'd use 8K RAW much for that reason.

You can say that, my well and oh so well mannered spoken friend. 🙂 Or get yourself a FS700 with a Shogun Flame and a speedbooster for less than 2500 USD.

I don't like what the Aivascope Anamorphic adapter does to this footage.

I've also been super happy with my T3. Love the image quality out of it and the film simulations for photo. I have been able to get the Ninja to work fine with it and really like getting a 422 Prores file to edit, plus a much bigger monitor with a full suite of monitoring tools is clutch. I've mainly used the 18-55 on it; it really is a decent lens if a bit slow. A key benefit of the X-mount system that hasn't been mentioned yet is cheap, good cinema glass. I have a Meike 25mm, and it's a great piece of glass to use, if you have a matte box to control flairs. I'll definitely be getting more of these lenses if Canon continues to screw up it's mirrorless line. I've had the new Metabones speedbooster for a week or so. It does boost your price range a fair bit, but if you have old lenses you can use with it, it might well be worth the investment. The optical quality is great as far as I can tell. The autofocus does work, but I can't yet say whether it matches or beats native lenses because my L-glass is all quite old (~15 years) with USM motors. I'd like to try it out with STM motors or the very best new L-glass.

This is the opposite of what RED has done with the Komodo. This is the lowest priced RED ever produced.

That's so sweet. I'm sure you two will be happy together. I'm still waiting for mine to be made.

Apart of AF exactly UMP G2 if you're ok with form factor and S35. (Although I think price will even go down pretty soon with new offer with new BM sensor.)

(BTW E2-F6 is announced to be properly used with iPhone and iPad as monitor)

If the image and color is at the and of a day someone's top priority - as for me - maybe is not too digression to remind that Z cam E2-F6 Full-Frame 6K is 4000$ https://www.bhphotovideo.com/c/product/1496581-REG/z_cam_e2_f6_professional_full_frame_6k.html

What does that have to do with what I said about testing ?

So some thoughts... 1) This filter for $60 is excellent. The blue sky performance isn't bad at all compared to my previous genustech filter (nearly $200!) No X pattern thanks to the hard stops 1b) I will be returning this filter because it's just not strong enough for outdoor work. I have ordered the ND8 version which will be here in a couple days. 2) I suck at exposing slog2 but truthfully haven't used it that much over the years Below is an image I grabbed really quickly this afternoon pulled out of resolve in a) slog2, b&c with a simple rec709 conversion and color correction to taste. Highlights are blown on the clouds because the ND wasn't strong enough but also the whole thing just looks way TOO dark. 3) I know from shooting film my Nikon e-series 28mm 2.8 vignettes pretty bad but with the viltrox speedbooster, it also vignettes. This image isn't soo bad but on some others, it gives off the horror look without intending to! Even my Sony 35mm 1.8 vignettes badly as well... I've read the Sigma 16mm 1.4 doesn't vignette that bad but with the lack of an affordable, native zoom below an f4, I don't think I can continue with this Sony system on my low budget...Thoughts on the stills (minus the obvious missed highlights) are welcome. I don't believe I've ever posted actual work on here before..

Great question. 1. Value. You can purchase a cinema lenses that were 10 of thousands of dollars for 5 to 20 percent of what they cost new especially for B4 lenses. You can purchase a Fujinon 15x para focal constant aperture cinema B4 lens zoom lens for $1700 on ebay today, Adorama sells it as a special order for $39,500. https://www.adorama.com/fuhac15x73b.html?utm_source=adl-gbase 2. Performance. Having access to a long zoom range and much of it at a constant aperture (in many cases) opens up creative possibilities. Size, weight and cost are in line with the reasons people chose super 16 in the first place:. You get a tool for shooting like a lager budget production at a lower cost with some expected compromises like greater depth of field. 3. Design: a true cinema is a joy to behold and to hold and use. You can get a Zeiss DigiZoom 6-24mm (that’s like a 24mm - 96mm) 1.9T constant aperture for $1600 on ebay with a flight case. This was about $60k new. The thing is It is a Zeiss cinema lens and the glass has the Zeiss look/fire.. 4. the right toot for the right job. If you have $1500 prime lens, why not complement it with a $1,500 ($50K designed zoom lens). I think you need both because and they are different tools. Yet, with the right sensor you can get both looks/functions on a budget. 5. It is really a matter of preference. Some productions shot on super 16 for the look, control, speed of shooting and the cost savings. I think some people will shoot it again because it is now possible to get the color fidelity and resolution of close to film with BLackmagic new RGB sensor tech. The limitations weren’t the lens in the first place, so people can now get the look they previously had loved and enjoyed without the costs of shooting on film. To me it is a comparatively inexpensive way to get a much-needed cinema tool.

Funny how this issue gets so much attention, but literally nobody complains about Canon charging 10% higher netto prices in the EUR/GBP zone compared to Yen/US$. They started that with the 5D 4. THAT is what kept me from buying the R5. Third party lens manufacturers like Sigma or Tamron actually have lower netto prices for many lenses here, it cannot be a general thing.

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.

No need. You have a point. Just ignore when people want a monochromatic world. No matter what, your point stands.

It is even worse as I don't have a R5 and I'm not even defending it for the overheat in video as is a big question mark for any video usage. I also praised the A7S although it has also issues including possible overheating. But this guy joined 3 weeks ago and did 90 useless posts and attacking people and is not banned..... maybe is time for me to move somewhere else...

5.1K mode apparently is safe. Insulting R5 adopters with fanboyism is no sense. At a certain point this dead horse as well flogging the issue, any attempt of finding a workaround, becomes a disservice.

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:

Thanks, was looking for this. I'm interested again! What would happen if you put that speed booster on the R5? Is the crop similar to the Eos R?