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Whilst the latest instalment was largely focused on the administrative aspects and an implied interpretation of them, I think its worth remembering how this all started and what caused Jinnitech to go down this rabbit hole in the first place. This is one of my own "Made In USA" 128g REDMAGs. According to the Federal Trade Commission, for a product to qualify as "Made In USA" .... "The product should contain no — or negligible — foreign content." https://www.ftc.gov/tips-advice/business-center/guidance/complying-made-usa-standard That Toshiba SSD being made in the Philippines and it representing far more than a "negligible" part of the product clearly suggests that it disqualifies it from being able to use that claim. And thats before we get to the issue of the modern MiniMAGs having misleading definition of their actual capacity. Everything else that has flowed or been explored about RED in the subsequent videos has stemmed from the revelations about the drives. So, amongst the rest of it, don't lose sight of the fact that in the short term at least, the drives are the real story here because contravening the FTC regulations is actionable and the Lanham Act gives individuals and companies the right to sue anyone making such a false claim if they have been impacted by it. How RED have conducted themselves regarding patents and corporate structures and so on are one thing but if anyone can explain why the use of "Made In USA" isn't anything but deceptive then I'm all ears. Also, if any of you have your own opened REDMAGs that you can show pictures of to demonstrate that a claim of "Made In USA" is viable for your one then, of course, I'm all eyes.

Those look great! Awesome setting. Some from me, these are all Prores 422 LT

You could literally post a frame from R5 or Arri Alexa, say it's a Sony A7siii frame and someone would say the color isnt that good and that something is wrong with the skin tones.

We are only a few weeks away from “5 AWESOME WAYS to KEEP YOUR R5 from OVERHEATING 🔥🔥 🚫” and “My TOP 10 TIPS for Shooting 8K RAW on the EOS R5!”. With tips like: Buy a $400-800 external recorder for your $4,000 mirrorless photo camera. Take your battery out. Take your CFexpress card out. MAke sure to leave your SD card door OPEN! After shooting take off your lens and expose your sensor Avoid hot weather Don’t take photos before video Bring a second body, $2,600 R6 or another $4,000 R5 and swap them. Realize you paid $4,000 for another EOS R...again. LOL! But its Canon...if any other company released a camera like this they would be out of business fast and all the Canon apologist would be saying the same thing: “Unreliable piece of junk!, Not professional gear!, I wouldn’t dare shoot a a job where I was getting paid with that camera”. See my list above for 7 AWESOME WAYS to KEEP your R5 from OVERHEATING!!!

Priest: "If any of you has a reason why these two should not be married, speak now or forever hold your peace." Film maker: "WAIT THIS PEACE OF SHIT IS OVERHEATING!" Bride to groom: "See? I said to you to use a lighter fabric in your clothes"

There's a thread over on DVXuser: http://www.dvxuser.com/V6/showthread.php?356042-The-Hunt-(F3-still-delivering-the-goods)

POS tiny sensor loser camera.

I disagree. It depends on how you define 'professional works'. Making a feature film with it? Then probably not. As a C cam or similar on a Netflix series or Hollywood blockbuster, then why not, but as the principal filmmaking tool, of course not. But is a wedding videographer not producing professional work? Or a travel documentarian? Or journalist? Or sports/fashion hybrid shooter? All of the above are EXACTLY who this camera was targeted at and the R6 that sits below it. Otherwise what was it for, occasional snaps of cats and kids (yours own and not strangers) at the park?

You do not have to run a dummy battery. The workaround seems to be not having a card in camera, while you can still use the LP-E6NH batteries in cam. The 'Enginnerring Filmaker' guy seems to be determined to find out... I guess we'll see.

I think that Canon never intended this camera to be targeted at professional works. There are the 1D and Cx00, etc. line for that. 5R with hardware limitations, software limitations? Probably the potential user of this product will never need to record more than 1 minute of 8k raw and definitely will never work on Premiere with H265 files. This is the camera targeted to rich amateurs like parents recording graduations and soccer games, rich tourists, etc. where there are way more potential users for each potential one using it as a professional tool. After all, the Canon lenses are good, the PDFAF is good, colors are good. The aggressive marketing of Canon is good at selling products and probably Canon will sell a lot fo 5R and 6R. Just go to any camera shop and you will see 40% of the space taken up by Canon, another 40% by Sony, 10% by Nikon and the remaining 10% divided among Panasonic, Leica, Olympus.

With the first 4K cameras, 4K was regarded as a miracle and we could sacrifice on overheating for resolution. But it is very sad that in 2020 the newest cameras still have overheating problems and they are not even consistent/measurable.

Some grabs from a futur project, it was very hot outside, nearly 40°C outside for about 3 hours but no problem with the camera !

New accessory, attaches via hotshoe, produced by Tilta... 😄

16mm on veydra covered the 16:9 area on apsc Sony, I saw it on my own camera. On 3:2 full sensor there was vignetting in the corners. I looked for the 2 or 3 shots I took at NAB 2017 but not finding them 😕 so I have no proof but my word.

There is absolutely no problem to match these three lenses with the 10-bit F-log.

How much did Canon pay for this FUD campaign?

You might be surprised to find out that I find the Sony overheating just as bad. I am brand agnostic when it comes to my criticism because if you camera overheats when you want or need to use it, it doesn’t matter what brand it is, its fucking sucks. Furthermore, I WANT Canon to get their shit together so I can have a Canon mirrorless camera with my holy grail specs of bulletproof 4K up to 120p. Believe me, Canon would have my money. I bash Canon out of disappointment more than anything and hope they fix it.

A7iii was released 2 years ago for half the price. It does sometimes overheat but I have gotten the warning only twice after turning off the auto distortion correction (which does cause OH with some lenses). It was also never advertised and hyped by Sony as the best thing since sliced bread, mega hyping the video features. Even the classic poster boy for overheating, the Sony a6500, for $1500 was never advertised or hyped as a professional video tool, at least nowhere near the R5 is. Meanwhile canon fanboys salviating over the R5 like it was the Messiah... Then it OH after 30 mins and needs a 2hr cool down, and cost 4k, so yeah, I gotta pull you up on this. A lot us, Sony users included wouldn't mind an amazing R5 because we would buy and use it it too... But for the average corporate shoot it's too unreliable.

The answer is no. No designated anamorphic mode that will lets you preview the desqeeuzed image. Also, the IBIS will not take the anamorphic lens into account. I'm afraid only the S1H can do that. Or the GH5 and GH5-s 🙂

I gotta pull you up on this, just check out Sony years back and even this week people are still posting about Sony overheating workarounds, there's loads of videos on this recently: What's up with the overly myopic agenda against Canon on here with some of you guys? It's like Canon broke up with you or something. It's just gear.

This is interesting. I haven't posted on my T4 recording torture test yet. Last weekend I tested 4k 24p recording times in my office at 79F/26C. I was able to get almost 2 hours out of the camera, ending the test when the battery died. I recorded for about 24 minutes in 4K (limited by the amount of space on my card) then messed around the menu system, recorded a minute or so in 1080, reformatted the card and then recorded about 74 minutes in 4K by restarting record each time it ended after timing out. During this time, I was also feeding signal to my Ninja v to monitor recording. OIS on my 17-55 was enabled, as was IBIS (but not boost mode if I remember correctly). The camera was positioned on my desk on a Ronin-S, so the stabilization wasn't actually needed. I'm not sure how much heat the IBIS generates if it's on but not actually needed. I had the screen flipped out to dissipate heat. The camera definitely got hot to the touch but didn't trigger an overheat warning or limit record times above the normal limit. After I put in a new battery and reformatted my card, I put on my new Speedbooster with an EF 50 1.4, switched to photo mode and took a bunch of jpegs of one of my dogs, who was sleeping on my office couch (photo below, just for fun). So, at least at reasonably warm indoor temperature overheating doesn't seem to be an overheating problem, at least not one that would cripple a reasonable video workflow. ~Two hours of actual record time on a shoot is pretty long. As I mentioned before, I got about 2 hours of total use time outside on a 90+ degree day recording external 4K plus internal 1080. I'll try to do an outdoor torture test soon, but I'm not sure how to set it up with monitor (because I'm chained to the computer until I finish editing a project for a client). So far, overheating on the T4 isn't going to hold me back. IBIS

I don’t think there's any patent on fan technology. With Patients, who knows... 😂

Hehehe. He is not a journalist. He is a activist consumer who has been forced to fight against RED because of false case(s) against him. So much so, that RED seems to be restructuring their company under some yet-unheard structure and which attempts to protect RED and its assets from all sorts of prospective lawsuits. Hopefully, they send RED to the bottom of the earth, and all their money is paid in class action lawsuits and settlements, for ruthless harassment and bullying of customers and (self declared) competitors, under complete misuse of the legal system. It may also be a good time to discipline lawyers whose sole purpose seems to be bullying customers and competitors, especially the much smaller companies and not so affluent customers.

No, it is still MIA with the fP update. They had some issues with the S1H originally so I'm guessing that put the whole queue back but now that is out there might be some movement.

Agreed : ) My hope is they upgrade their firmware uplifting their recording limits and Tilta may prove to be able to diminish the heat in a way the user can extend the usage for 8K & 4K 120fps not for continuous recording, obviously, but definitely not for the brick all this hassle meant to be.

Maybe you should watch all his videos, and preferably a few times. He explains everything rather well. With facts, history, law, court filings, technology etc. If you still think it's a conspiracy theory, maybe its beyond your ability to understand the basic jargon in reference. I wouldn't call you a fanboy or something, because it's difficult to understand why you have a bias against someone who is clearly highlighting facts.

I agree Steve but my point was it WAS aimed at us...and does not appear fit for that purpose at this time.

Yes, but this makes no real difference to how companies, industries (and capitalism for that matter) generally work. Companies sue each other over trademarks and patents all the time, especially in industries like tech and pharmaceuticals.

Why didn’t Sigma make the fP just a little bit bigger with the same awesome heatsink design. Even better, why not a totally modular camera with connection pins to a powered PCI Express Bus on all sides for accessories to build out as you please. Just have a built in EVF. Make the external screen an accessory that flips and flops however people want it. Mount it on the top, bottom, side. Other accessories could be on-board light, a battery and SSD media mod “grip” that attaches to the bottom that provides extra power and a NVME M.2 SSD slot for recording to SSD. The options are endless. a plug-able sensor modular that allows you to swap out sensors. Including upgrading your sensor in the future. In addition they could release “toy” sensor modules like super16 for fun and profit for people that want to play around with retro looks and stuff. So basically design a camera body with as much cooling and horsepower as possible and let people build their camera the way they want. The ecosystem would explode around it. Sigma, I’m available for consult. Send me an DM!.

That people are publishing YouTube vids that they managed to make a video with the R5 without issue is a pretty damning state of affairs.

Dang! These look fantastic @Geoff CB. No 2 with the lady! Signature colours. Did you go by Ben Ericsons suggestion of using SLog or by Renaissance Mans variant? ProresLT, that means not even in its 444 mode, wow! Love your shots @Antoin e Looking forward to your video! Love the natural light and mood.

With all due respect, but unless "Jinnitech" manages to clearly put down and explain what is supposedly wrong with RED instead of churning out convoluted, suggestive and unclear mystery tales, this is all just some QAnon-style YouTube-"truther" conspiracy BS...

Some of these comments are just hard to fathom. These comparison on spec sheet vs spec sheet are getting a little out of control. The C300 absolutely destroys the A7s3. One is a cinema camera, the other is a small mirrorless. The R300 at $6,299 Is a steal. I’m assuming people here have never used a canon cinema camera, because visually and ergonomically, it’s night and day. Add XLR, ND filter, better color, better actual DR (not spec sheet DR), a cooling fan, etc. On top of that the new sensor in the c300 is absolutely fantastic. Not everything can be compared in a spec sheet. There are phones that do 4K 60 and they still look like a phone shot the footage. An A7s3 is great for what it is, but it is not a cinema camera

The new designed for mirrorless versions do at least have a couple of advantages over the old ones.

They're black so they don't show up in reflections or cause color casts on set. Same reason I always wear black/gray on set.

I am a stranger to the Sony system (last cameras were Fujis, Nikon Z6 and Pana S1), but not to the "colour war" as we can't watch YouTube or browse forum without being drowned into it. Anyway, I like to remember that the last season of "A Skier's Journey" serie was shot years ago on an A7S ii. I believe the makers are really talented story tellers and know what to do with an image. The serie was highly praised and, honestly, concerning, colours, hm... As I am contemplating the new A7S iii for these type of content (+ real time northern lights), this is just a remembering...

In the photography stills world nobody talks about color science. Nobody says Panasonics jpegs are better than Canon or Sonys. That is because people are shooting 12/14 bit raws and you get to choose exactly what colors you want. I sort of feel in a 10 bit world straight out of camera colors are simply less important because you get so much more leeway to create the colors that you desire. Of course there will be always be people who like to shoot jpegs or straight out of camera video but then you dont really need 10 bit at all.

I think that just looking to an already graded jpeg export is not going to reveal it. I was talking about my experience grading the files. There are much more color information in shadows and highlights. The guy with his bike in the air was really underexposed and I was able to push it up without looking mushy or like an alien. Scrubbing through those files into the timeline are really close to prores. I really had problems with banding and compression artifacts with the older Sony's. Don't see it on those files. I believe that in the hands of a good colorist it might bee amazing. And also with your tweeks in the color profiles we could achieve much better results.

Just downloaded the footage from that James Matthews video. Great footage by the way. The A7s iii is now a contender angainst other low priced cinema cameras. All the information you need to create a good color grading is there. Rich colors, shadow and highlight information. All packed inside a usable codec that is the h264 all-i 10bit. All the problems I had before with sony mirrorles footage are gone. Noise compression, banding, poor colors, artifacts, etc. I aways thought a good codec could turn these Sonys into something else, and here it is. Personaly I really liked the colors.

Wow, just watched. Scummy as fuck. Thanks for reminding me to never buy anything from RED.COM Inc...or shall I say RED.COM LLC now.

Ok so I guessed at how long I've had my 5DIV, I guess from now on I should go look at my purchase receipt and scan that in to ensure I am more precise. We are talking about video here and until Canon provides CLOG3 for the R5 the DR statement is still accurate, but yes the context was video and the current R5's CLOG implementation. You are free to ignore whoever you want, it wouldn't affect me in the slightest either way.

Needs quite a strong ND the wider open you shoot on a bright day! I've been using a variable Gobe, but it's not great at the stonger end... I was going to replace it with the Polar Pro, but because it now seems to have Peter McWotsits name on it by default...and I am sure I would be paying a premium for that unwanted 'privilege', so I'm looking at the Freewells that come in 1-5 and 6-9 flavours as a set which would be great for cloudy/indoor and sunny days respectively. But actually, right now, not spending anything as the way things stand, yes, shot a wedding last week, but that does not mean my next 4 spread over Sep & Oct will happen and if they do not, it's May 2021 and that could be; XH2, Z6s or A7Siii time... Or it might still be XT3 but right now, the new Sony has a lot of appeal for my specific needs...

I'm happily using my A7III for paid work and so are many others... so, I guess? I sold an M43 lens to someone that ranted away at how trash the Sonys were and how they fell apart on him after a year... Mine looks more or less the same as the day I bought it, and all the buttons still work fine. I don't love the A7III but I love it for its price point and capabilities when it was released. It has many flaws and things that I don't like, but the old school of "it's not metal and hard therefore trash and will fall apart" is... old school. The materials aren't "really cheap", I don't do handheld so how it feels doesn't matter as much, but there's nothing wrong with how the A7III feels, the menus aren't great but they're fine, I set up the custom menu and I can scroll... Why do you think people use BMPCC 4K? For it's useability on a gimbal? for the tilting screen and long battery life, as well as external ssd and no af-c? It's for the IQ and price... So yeah, lots of people will put up with whatever you apparently "can't" put up with. I can't deal with no AF-C but I don't tell other people they need it and then ask them why they don't...

Same can be said Blackmagic Pocket, Sony FS5 or Komodo. You can also adapt without a focal reducer to a7S III, Panasonics, FX9 or use natively on Canon EF cameras. RF mount is not the only solution for EF glass – RED, Blackmagic, Sony & Panasonic with adapters all work with EF glass. "Ok so a lot wrong with this." "your statement is quite misguided and not very well thought out" – thanks for being so harsh without understanding my comments. I was talking about unique selling points of RF mount cameras: they are the only ones working with RF lenses.

This really demonstrates how much NR is going on internally:

Brand preference plays a part. However I feel expectations are raised not to excessive levels, but merely the hope that a hybrid camera could be released that wasn't flawed in a significant way. The S1H is a superb camera, undermined by poor AF, a complaint you couldn't make against the R5 and R6, which is undermined by overheating, something the S1H doesn't suffer from. The A7sIII overheats also, and its photo function is limited to 12MP, which is a put off to some. Plus its IBIS is inferior to Canon and probably Panasonic, and its colour science isn't to everyone's liking. Somewhere between all these cameras is an excellent tool for all of us. It is frustrating to see cameras so close to getting it right, yet due to the decisions made in the design, to miss the mark ever so slightly. Can these cameras all be used. Of course they can. There are already videos shot by the R5 despite the overheating. However any cameras shortcomings will be a deterant to some, who had hoped to add that camera to their equipment. Dissapointment drives some complaints here and sounding off on forums like these doesn't mean we are not going out and filming, or learning new things. Gear discussion is always going to be a part of our craft. They maybe just tools, but the specs of those tools will either aid or hinder our work. My Pocket 4K would be much more useful with a great AF, a screen I could see outside and better battery life. How is that not important to my shooting. Discussions about these limits not only inform new buyers but also can lead to workarounds. Even if there is ultimately a lot of nonsense posts in between.

Thanks Penny. Looks like I'm in the clear for now. This footage is all ProRes 422 recorded through the BMVA 5". Mostly short clips, 30 seconds on average.

As an update I've decided to build a set from the Super Takumars and sell the Rokkors I've bought so far. The Rokkors have a lovely build quality, but it seems they don't have an option of a nice sharp 35mm - I got two different versions and both were unacceptable soft. The Taks, on the other hand, are beautifully built and render amazingly nicely. So far I've go the 28, 35, 50 1.4, 85 1.8 and 135 2.5 in my sweaty hands and am awaiting delivery of the 20 4.5 and the 200 4. Now I have to re-line one of my hard cases for them and set about getting focus gears made. I'm in 2 minds over de-clicking. A couple of these weren't cheap and I worry that de-clicking might hammer their resale value if I ever have to rake some funds back. Does anyone have any experience of that? As soon as those last 2 arrive I'll shoot a test of all lenses on the same subject for the delectation of EOSHD members.

You have lots of options for affordable cameras that shoot good. No one cares about red fanboys here. We care about if RED's patent is valid or not. In this case, details matter.