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Its a huge shame that other camera manufacturers don't follow Blackmagics example of running video via USB to a SSD drive. This would be a better solution to the R5 than an external recorder. You could eliminate the card and still record for longer periods on something much lighter and not battery powered than an external recorder. If the R5 has this function and allowed longer recording times, including even 8K RAW and 120fps 4K to it, I would buy the camera. As it stands, internal is too unreliable and external risky due to micro HDMI and too bulky for what I would buy the camera for.

Everybody here agrees that the R5 has overheating problems, but whether or not it's a deal breaker depends on the users usecase. For me, the R5 seems to offer something very useful and I have therefore ordered the camera fully aware of the overheating. It seems like this makes me a canboy from your point of view, and you seem to refuse to acknowledge that the R5 might work well for users with different needs than you. My last Canon camera is the 6D from 2012 and I own newer cameras from both Sony and Panasonic. The R5 will enable me to retire my Sony camera and 6D, while my GH5 will cover the the cases where the R5 falls short.

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.

The way I see it, this forum has played a major role in how huge hybrid cameras have become for actual filmmaking. That happened because Andrew and others were finding workarounds and solutions to these small cameras most Pros would never use on paid productions. Yeah theres always gonna be opposing views, and brand favorites but it's easy to recognize a hater. That Nezza is talking more about "Canboys" than the R5 itself... LOL

Should be an interesting few days coming up then.

Hallo friends, As a S1 owner I am longing for the awesome features of a S1H. This forum doesnt help it otherwise.:) So I keep browsing the bay for used cameras to show up for attractive prices. This week three auctions turned up, two for S1H, one for S1, all of them with different locations in Italy. None of my questions regarding payment procedure and shipping were answered. Two of them have feedback as buyers only, none as sellers, one of them only a very few as seller with all of them over one year old. All three of them have reused and stolen text and photos from three other original auctions from the US. I checked that, because I was suspicious of the supposely great deals and sofore I used ebays function of showing past auctions. So watch out a little bit in search for a good deal and of course happy bidding with valid auctions. Most of them are legit but some of them might not be. Edit: One of the S1H auctions is still running til tomorrow. So, evaluate the points above.

You brought in the moral category of the "good cause"... Anyway, we could also extend the cause to other small-scale camera manufacturers. Take Digital Bolex, for example. When they were still in business, they pretended to be a filmmaker-run Kickstarter grassroots project. In reality, however, a company "Digital Bolex" never existed, but the actual company was the large-scale Canadian electronics manufacturer Ienso. The people who posed, on fairs and in social media, as the "Digital Bolex" founders, were neither company owners, nor camera designers, but hired social media influencers. On top of that, the supposed Digital Bolex D16 prototype presented at the SXSW festival to launch the Kickstarter campaign was a disguised third-party camera by another manufacturer (the Prosilica GX2300). Later, the company registration was changed from California and Canada to a letterbox company address in Delaware. Enough material for shocking YouTube revelations - objectively even more shocking than what's currently being 'revealed' about RED. Nevertheless, the D16 turned out to be a real product, wasn't exactly affordable, and people were and still are happy with it. Bottom line: I still fail to see how RED's business practices are categorically worse than those common in the industry. (And if you want to pick a really bad case, just take Olympus with their corruption scandal and past ties to Japanese organized crime.)

IBIS on S1 is really incredible. It was better than my former Z6, which was better than A7iii in many tests. I read that it is on par with the GH5 one. With careful use, plus a dual-is enabled lens, like the 24-105, plus a touch of digital stab with resolve, I had almost completely locked-on shot. Using EF lenses is not good, really. You'll find a MC-21 compatibility list (from many user reports) here : https://www.tttphotography.com/sigma-mc-21-ef-l-lens-adapter-compatibility/ I used it with a Canon 100-400 L iii and a 50 1.8 stm. Franckly, the 100-400 performs very well, even with the TC 1.4 iii attached. The 50 1.8 is so so, so does the 200 f2.8 ii I also tried (it goes back and forth before acquiring AF). To keep in mind : no continuous AF with this castrated Sigma adapter. In short, for photography, it is miles from what we can see with Sony and Sigma MC-11. For video, it is a bit useless, outside the "single AF" before shooting type of use. There is a new electronic adapter (viltrox if I remember, but not sure) ; I read that is better than Sigma on many lenses.

Please give me a break, this a business suing a business. If we're turning this debate to one of "good vs. evil", we should go to churches, join cults or watch superhero movies. If you want to support a good cause, have a non-profit NGO like the EFF sue corporations like RED (or Apple, or basically the whole industry), but never trust another company.

Now that cameras are starting to use CFExpress 2 there is no excuses anymore. Those cards use NVM.e protocol over PCI Express bus to deliver data to the card. The same way a computer would deliver data to a NVM.e SSD card in a laptop, workstation, or NAS. The implementation would be trivial. Would love to see a company offer a battery grip with an extra battery and a slot to slide in a NVM.e SSD to record to. Maybe even make it a “media mod” battery grip and offer external RAW recording like Sony does for the FX9 but in a mirrorless camera. The battery grip could have the dedicated hardware to encode the signal. You could even add BRAW after the fact if the battery grip were to include special encoding hardware BM uses to skirt the compressed RAW stuff. So many possibilities, so many un inspiring camera brands.

I got frustrated that I skipped the Alpha and Beta test phase and went straight to extensive amounts of Pi testing. With chips.

no K for $4k what a deal

Actually in this case yes....I do think absolutely no one should buy the R5 and the R6..want to know why? Because every single buyer of these two cameras proves to Canon that they can get away with selling a camera that is unfit for purpose. So as long as buyers keep rewarding Canon for putting out products that are unfit for purpose guess what Canon is going to keep doing? Canon IMO is closer than anyone else to creating the perfect hybrid camera (AF, Color Science, ecosystem, lenses, form factor, etc.), unless people vote with their wallets they have no incentive to change that last 10%.

Philip Bloom just posted this on his Instagram account: ”Shooting real time sunset on #elenibeach In Skiathos with the @canonukR5 and @sonyalpha A7S III so I can put them on my tv when I am home and pretend I am there. The R5 managed 26 minutes in 4K HQ mode before shutting down. Now it’s recording in 4K line skipped mode. I just need to watch for that 29.59 record limit. The A7S III is recording 50p 4K 10 bit. It’s been going for 90 minutes now, zero issues.” ”I can sum up what filming with the @sonyalpha A7S III on holiday is like very succinctly... It’s just easy, you don’t have to fight the camera, everything works beautifully and the image is just gorgeous. If this camera was capable of high resolution stills it would be the perfect camera. As it is this is a superb small beast of a video camera. There’s nothing else out there that comes close to all it does. I will be very sad to give it back at the end of my holiday. “

An excellent look at the Voigtlander 60mm. Some day I would like to collect them all!

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.

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.

Sorry to have derailed a camera thread so badly. Back on topic.... When the GH6 does finally come out, people will inevitably be looking for quirky vintage lenses to adapt to it. If you find yourself in Berlin, I've found the Sunday flea market at Mauerpark to be a bit of a treasure trove. While you are there, go to the food part where there is a truck selling what are hands down the best thrice cooked chips you'll find anywhere.

Waiting for Pocket version! Hope for not much longer now... :- )

All the signs point to it being unintentionally crippled this time. It's astounding how broken the R5 is. I now have mine and had it overheat in the Wifi menu. It was just sitting there on the desk waiting for a connection. And the cool down periods are incredibly long. There are signs Canon knew about the problem late on and tried to patch it up with a few features. The overheat control option reduces the live-view quality so the image processor doesn't have to deal with the 8K torrent of data coming off the sensor. The live-view feed seems to be active all the time even when camera is in the menus which is why mine overheated in the WiFi menu with not a single second of video recorded. Well ok... 6 seconds to be exact! Without "overheat protection" turned on in menus, it basically cooks itself doing nothing.

Ebay is pretty safe fortunately. 100% buyer back guarantee. They won't even get the funds until like 25 days after the auction. That said if they try to do anything fishy like have you pay outside of ebay or pay for another item as some sort of bargain deal don't do it. Once you go outside of ebay you have no recourse.

@Video Hummus I feel you. That 60mm looks like the best resolving of the bunch. Holy, what quality at 0.95! Makes me want to give my 90mm f2.5 Vivitar 1 the time it deserves. I second Jordans post, what a review that was. I watched it without sound. Fantastic! Thanks for posting!

Out of my head: How HP and other printer manufacturers shut out third-party ink cartridge suppliers by putting DRM chips into their printers that would cause the printers to stop working and spew out error messages if you used a third-party ink cartridge. HP (and other "original" printer manufacturer) ink is several times more expensive per liter than Chanel No. 5 perfume and vintage Scotch whiskey. In fact, RED only copied the HP business model with its RED mags. How practically all camera manufacturers use DRM chips in their batteries to block the use of third-party batteries, and spread FUD (fear/uncertainty/doubt) that third-party batteries will damage your camera. - Just this week, I'm struggling with third-party battery error/warning messages from a Sony mirrorless camera after I installed a firmware update. How Amazon sues all web stores that implement 1-click-buy buttons. How Apple sued everyone who used the word "App Store". How Microsoft earns more patent royalties from Android licenses than from its own operating systems. How the MPEG-LA sues everyone who uses the h264 codec without paying them license fees.

They didn't design a hybrid because they simply didn't want it. For obvious reasons. A pity. Our trade-off now is trying now how to take advantage from this gem, if possible, in order to overcome this overheating issue and their firmware cripple.

Not irony. We can always tend to be biased on our own viewpoints. So, we should try to practice self-criticism as much as we can : ) BTW, are you Italian or from Italian ancestry? I ask you because I try to understand you. Without mention as a disclaimer footnote, I love Italy, Italians and "our" culture. I am Portuguese but one of them by adoption for decades today.

Yeah, I follow the point, this can serve the topic. But, to call any different scope outside of his playground of Canboys, oh well, that's a way to underestimate everything you've just said. Andrew's legacy included. Without mention to bash someone's else standpoint instead. Not fair. Pure bias.

No im not, but whats the point of 39 pages of "this is unacceptable, canon cripple hammer hits again, only canon fanboys will buy this camera, wow look that guy uses a r5 on a wedding what an amateur, no pro would do that....." over and over again what is this? Middleschool?

your not alone, your never alone. Not sure where i saw that... now. If its a lens test or similar i'll watch it in 1080 which probably equates to two or three items a month, otherwise its 720 for any tutorial or youtube that i want to enjoy. I try real hard not to watch anything on a lower quality setting, after youtube compression which has basically murdered anything sent it way, i find my eyes don't really thank me for watching anything on a lower quality setting anymore. Which has in turn made me more discerning about the content that i do watch. Pretty sure on my internet plan anything i upload counts towards data used. So it would be kinda pointless and masochistic of me to upload 4k, not to mention slow. So i kinda settled on 1080 already, but thanks for the effort by the way, at least you post results to back up your statements, personally i am finding a lot of opinions finding their way into youtube without the visual evidence to back things up at times. Maybe i grow both, cynical and blasé perhaps.

I don't know how much a used Panasonic S1 goes for in your neck of the woods, but it would be ideal for that kind of a situation. (I am assuming you wouldn't need AF-C in those situations but I could be wrong.)

The R300 looks amazing and, with those specs, is a great buy, especially if Canon also puts out a dedicated speedbooster. All you lose is raw internal (and even that may be included at a later date) from the C300 III? The R200 on the other hand is CLOSE, but has to have a 10-bit codec at least up to 30p to be useful. Too many people ask for 10-bit now to spend any true money on an 8-bit camera in 2020. All the new mid-tier and higher-end mirrorless cameras have 10-bit internal now, so it would seem a bit crazy to have a $3500 VIDEO camera that doesn't.

As long as it's not a pie floater, then you'll be fine... For our American friends:

I don’t know, cameras come nowhere close to the human eye. But like I posted before in a different thread the human eye uses a lot of evolutionary trickery. Reality vs perception is a real thing. You’re brain will literal mess with its perception of time to fix a deficiency in how your eyes work. You can see it for yourself when you look at a clock with a ticking second hand (one that ticks instead of a constant motion). Look at the second hand and then look away and look back. Every once in a while you may see the second hand tick back or seem to stay longer on one second...yes this is real. It is called Chronostasis and the Stopped-Clock illusion. There is also a blind spot on your retina and you can test this as well with a simple black dot on a paper test. You brain just stitches together the missing data by interoperating what it things should be there. Quite literally like the clone tool in photoshop. We also have built in HDR where our brain is again overcoming human eye deficiency to fake exposure, again all happening in real time. Where camera DR really lacks is in the highlights and we will need a sensor with an absolute DR of around 21 stops to match the human eye. That or some subtle HDR trickery. Another way to improve DR for current sensors is to develop an eND that can selectively darken certain areas of the eND glass. You can then develop the software to selectively apply ND to the highlight areas of the image. So for example, a sunset. You would just switch on your eND, tell it to only apply to highlighted regions and boom, you have massive “perceived” DR. You can even do something simpler approach and just have and eND that can simulate a graduated ND and allow the user to select the grade and intensity from top to bottom, bottom to top, and from left and right respectively. This would be more likely first step. I’m sure someone is already working on it.

I'm thinking about the sort of test that you might consider to satisfy this objective that you described in the post. "If we make a film and someone watches it and can't tell if you used an Alexa or not then it's job well done. The fact they might be able to tell between your camera and an Alexa in a side-by-side test is irrelevant when they're watching your film." I honestly think that the only two options that are required as responses in that context would be : I don't care what it was shot on, I like it. I don't care what it was shot on, I don't like it. You might possibly learn more about the cameras themselves with the greater granularity of answers but you'll learn far more about the reaction to what you are doing with them with only those two options. There's nothing to say you can't do both but I would give serious consideration to doing this simpler subjective test first and then use the more elaborate optioned answer version to make it more objective for whatever it is you want to find out about the cameras.

in 2020 I want 10bit codec. I am not going to have this discussion again, but if you do not need "broadcast ready codecs", then everything if fine, skip this comment. I am not going to spend 8000 euros, or more for another personal camera - because that is how 6500$ translates to Europe - and then I have to rent for broadcasted, or better projects, thank you very much, I stay with GH5 and Pocket cameras for lesser projects and rent when I want to go higher. If you are a youtuber, then even your 4 years old phone has enough specs and there are multiple solutions under 500$ to better those specs. I rarely need raw, or any raw, but 8bit was alright 10 years ago.. I am still waiting for a C100mkII replacement, this is one of the most populat Canon cameras ever, where is the next one? R200 certainly is not. Sony and Panasonic offer XLR thingies that give their video centric mirrorless exactly the same sound options as a video camera (Sony records 4ch and can take the Sony wireless natively) and the only difference is the internal ND, if you get IBIS, better or similar sensor, much better codecs, smaller price tag and you miss only the internal ND, then most people will go with the better everything and they will stick one of the many vND we all have. As simple as that, there is a limit when a video camera is better than a mirrorless and in Europe you will have probably to go above 8000euros for a Canon one.

From the moment RF Mount has announced (if not even earlier!) then it was crystal clear that EOS-M is a doomed mount that Canon will "eventually" (we don't know exactly when, but the writing is clearly there on the wall) drop support for.

This is another cool one just posted to dvxuser, everything shot with the F3 (except for the slow motion components that are FS700 raw instead):

Wow what a lens... and what a review. Thats some quality content right there. If I was still shooting M43, the voigts would be very tempting!

I found a Xyla chart test of the Komodo on the FB user group. Thought i'd download the R3D and put it in a timeline to compare against Cinema 5D's test of the Pocket 6K. I'm no expert, and obviously these tests came from different sources, but it gives a fairly accurate result of what to expect. Id like to get hold of the BRAW still to compare them slightly more closely. Left is Pocket 6K. Right is Komodo. Cinema 5D rated the Pocket 6K at 11.8. (Blackmagic Claim 13) I would put Komodo at 12.2 (Approx) (RED claim 16.5+) Cinema 5D rated the S1H as 12.7 (Panasonic claim 14) Gerald Undone rated the A7s iii as 13.0 (Sony claim 15)

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

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!!!

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

It really does blow my mind how willing people are to reward Canon with their money even if it means having to use an external recorder, empty card slots, and a dummy battery to get usable results.

Maybe it was intentional? Cannons do get hot.

I think you miss the irony in my post. That is my EXACT point. The industry, those of us anyway that work in it, are currently twiddling our thumbs and waiting on better times so have a lot of extra time we might not ordinarily have to talk endless shite on-line 😉

Have you heard of the pandemic?

These workarounds don't work for all modes. What about 4k 120p? Can't do that currently with an external recorder and even if you could, you've now lost compactness which makes it difficult or impossible to use in the field for wildlife videography. It defeats the purpose of the camera for how I would use it. Even if you primarily shoot stills, the damn camera heats up and makes it nearly unusable when you do want to take video. I fail to understand why anyone would use these workarounds for a camera with bad engineering design. Why promote this garbage? Why spend thousands of dollars on a camera that works half-assed at best and requires you to spend another thousand to use it for some of it's video modes but not all? If you want to stop Canon from making shit cameras stop buying them.

Meh. The screenshot is nice. The actual footage didn't look impressive, at least on my screen. Not bad, just not better than a lot of current hybrid footage. Definitely didn't seem on a level with cine camera footage, though some other Komodo clips have, at least for me.

Now that's a funny post. Since it was directed at me I'll respond. RED came down to our side now with it's $6K Komodo, so the game has changed. I am a happy hybrid shooter and love that gear. I had a moment watching that Komodo footage and seeing the price. All most of us want is reliable gears that produces a great image. And as far as global shutter, you can spell it out ya know, global shutter is really not out in the wild at all. Go find global shutter footage we can look at and review. All of this goes back to cine cameras and how heavy they get when rigged up. IBIS was never a thought on a cine rig for various reasons. Cine already figured our how to get the shots they needed. Massive jibs, car jibs, Arri skeleton steady cam suits, etc, etc. It's a big market in the cine world. No wonder they don't want IBIS. Now global shutter is a different thing isn't it? It's technology roots go back to film with it's full sensor readout process. I'm not selling my hybrid gear because I will still use it. Next question is will or can the Komodo be Netflix approved.

I don't know. One girl looks like a zombie and the other one looks like she plays outside and gets some sunshine. And my main camera is a Sony. Oof

You might wanna try the Fujinon 12.5mm 1.4. That beauty covers S16 mode of the GH5, which the 1.4x crop is. It almost covers 4K area of the GX85. Just sayin, because I see a bit of vignetting in the S16 mode. I bought that lens after Glenns recommendation. @mercer