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At the weekend I bought the enigma that is the EOS R5 for myself. Foto-Meyer in Berlin were able to find me a rare unit. A huge thank you to them! What all EOS R5 owners have in common is that they have paid a lot of money for a professional video tool. We pay the money, we get to decide what happens next, and I'll be reaching out to Canon and making this clear. We need to ask them to work on a solution for overheating. It's worse than you can possibly imagine. Just need to get something straight - my purchase is NOT an endorsement of the EOS R5. I bought it purely to cover the camera on EOSHD and to help work on fixes for the many issues this camera has. It is in no way a dependable tool for 8K, RAW, oversampled 4K, 4k 60p or 4K 120fps in the state that it's in. At the very maximum it is a pixel binned 4K 30p camera similar to the Sony A7R IV with the benefits of Canon's colour science, 10bit codec, top LCD and better ergonomics. Actually that doesn't sound so bad does it?! But this is not how it's sold to us - it is supposed to be a $4k all singing, all dancing, cutting edge 8K/4K video tool and that's how it should perform in the real world. Read the full blog post: https://www.eoshd.com/news/i-bought-a-canon-eos-r5-and-it-overheated-in-the-wifi-menu-also-a-look-at-potential-solutions/

This thread details the teardown process, modifications made and some important findings: http://c.tieba.baidu.com/p/6848700307?pn=1 He replaced the two thermal pads that did not fully cover the CPU with a dollop of thermal paste and noticed significantly better and more even heat dissipation. Most important finding: despite the temperature drop and improved heat dissipation, 8K/4K HQ still cut off at 20min mark, suggesting a firmware limit is also in place.

Philip Bloom is - by his standards: unusually - outspoken on the R5: "This is the first camera I have used in memory that punishes you for using it. [...] I spent £4200 on a camera I cannot use most of the time and that’s ludicrous! I truly hope they find a way to fix this debacle."

Do you have anything constructive to offer or just more of this? Getting a bit bored of it now.

Can’t wait for Porsche to release a new 911 with 300 horsepower and a top speed of 200mph and a cruising speed of 100* *top speed only achievable on a cloudy, 24C day. Cruising speed is only for a max of 30 mins, except when in 6th gear max cruising time is 15mins. 5th gear allows unlimited cruising time but suspension is disabled and top speed is disabled.

No, it isn't a matter of opinion actually. It's a matter of objective fact and you're wrong. Where does it say in the disclosure up-front that the camera overheats in the Wifi menu waiting for a connection? Where does it say that you only get 5 mins of 8K recording after leaving the camera turned on doing nothing for about 10-15 minutes? Where does it say that the recovery times are extremely long and that not even applying ice to the back of the camera or freezing the body speeds the process up? It's a completely baloney situation. Electronics do not need 1 hour to cool down enough to get back to normal performance. You do not have to leave your laptop for an hour if the Intel CPU is thermally throttled. These are not my opinions by the way and if you want you can go and educate yourself on the factual side of semiconductors. Is a specs sheet count as "an advert"? What about the product description at B&H? It is not an advert in the sense of Red Bull gives you wings. It is completely unethical to say it has certain specs, but it's defective if you try to use it that way.

The camera seems to completely ignore ambient temp It carries on ticking the clock down... 15 mins, 10 mins, 5 mins... This is after just 1m 3sec of 8K recording, the rest of the time the camera was sat idle in live-view (8K enabled in the menus). The video mode you enable in the menu seems to set the timer. And after that not even liquid nitrogen seems to make the counter go up. All seems very fishy to me. I was down to 5 mins after applying the ice. To the touch the camera felt like an iceberg from top to bottom. I even had it on a bag of frozen chips at one point, but realised the chips were melting and I wanted to eat them for dinner the next day.

Thanks @androidlad This is the kind of post we need more of.

Who cares about a workaround for 4K24p?? Every camera does that since a long time. There is no workaround for 4K60p and 120p, recording externally is not option otherwise we would use proper cine camera if weight and size wasn't an issue. I am fine working with time limitations to get those heat producing features (like 15min max in 4K120) as long as taking stills / be in the menus do not lower those limitations and as long as the camera recovers similarly to any other camera on the market, and not in 2+ hours like it seems to be the case. For me it has never been about the initial time recording limitation, which are understandable, but about the recovery time and the camera heating by itself when on. The latter is what makes the camera barely usable for any usage and could have EASILY been avoided by Canon technically as proven by competitors. It's likely that they did make it more thermally efficient by purpose / and or put software limitation. If they actually did their best, which I do not believe a second, then they should fire the whole company (with managers first) and start from 0 or stick with making printers. What a joke. I went from "amazing, finally" when announced to "still great" when we heard about recording limitations to "WTF is this BS" when we found out that the camera is actually almost unusable for video due to the above. On top of that, my camera ordered day 1 still did not ship with no date in sight. That's actually probably a good thing since if Canon doesn't fix this I am afraid my testing period will very likely end up with a return.

Yes that much is clear I'm afraid. To be quite honest, I don't want to hear any more bullshit from you. So please take yourself off to a different forum.

Adrian here is the ultimate proof that people are blinkered idiots, that live under rocks. They miss long term trends and they even miss how millions of people use cameras differently to how they do. As for professional camera for video... I refer you to the famous Canon EOS R5 marketing and PR statements! https://www.eoshd.com/news/opinion-on-dpreviews-canon-eos-r5-overheating-test-in-4k/ Even Richard Butler at DPReview didn't absorb or register the Canon statements about professional video and cinematography use. It's unbelievable it really is. Why is the world so utterly full of chinless wonders who wander around the planet with their eyes half shut??

You really couldn't make this stuff up....

@rawshooter from your link here is co-founder Elle explaining it all. And also earlier you said db16 was really not a homebrew product but the work of some large Canadian company. Which implies that they lied and were deceptive with their kickstarter backers. “6 cameras have shipped so far. We have more built, but they each need to be hand tested and calibrated before they ship. After the holiday it should be faster and probably 3 cameras a day. There are many factors that go into shipping that have nothing to do with whether the camera is ready, like customs forms, verifying addresses, printing up invoices, physical packing, that kind of boring stuff. This pretty much says what the roles of everyone at the company are: http://www.digitalbolex.com/about/ Joe partnered with the executives at Ienso, a preexisting camera company, to create a new company called Cinemeridian. Cinemeridian has existed since 2011, which is when hardware development of the camera began. Joe, Mike (our CTO), and I essentially do the concept development of features both hardware and software, and Mike executes those. Joe is the CEO of the company. He is the actual boss. He works with Kish and Pomfort to design our lenses and software and to seek out new relationships with other companies who might want to make products for the camera, works with Mike and the engineering team to problem solve issues, does the hands-on thorough camera testing on the LA end, writes blog posts, answers questions on the forum, and does a lot of banal business stuff. Mike is a rockstar. What's funny about the suppositions in this thread is that Stelio is actually the least involved in day to day stuff on our project, as he manages the business side of Ienso and all the other projects they've done, and chimes in when we need more heads on an engineering problem. They are all awesome guys up in Canada and everyone in the company has put in a ridiculous amount of work. Source of development funds is that Ienso is financially invested in the project, and Joe has put in the funds he received from selling his half of the successful business he founded years ago. He sold his half because his previous business partner did not want to branch out into developing new imaging technology, and he believed in the future of raw. He would not have put his own money, his financial future, into this thing if he didn't believe in it 100%, and that's a very brave thing to do. Warranty is 1 year standard warranty like most consumer electronics, and will be serviced in Toronto. A few rental houses have asked if we would be interested in local US based warranty and servicing, and we'll definitely be looking into that once the first batch of cameras is out. I think it's a great accomplishment that we've done what other big camera companies have done in a shorter time with far fewer resources. That's not to say that we're perfect, we've had many problems and delays, but that's all part of starting a business. But I hope that someone who has watched our journey and decides to try something they wouldn't have previously thought possible might learn something from where we've gone right and wrong.” In summation, the company practices of digital bolex is pretty much an inverse of red. They aren’t a company that exists as a patent troll. They don’t bully or harass or threaten to sue their customers. They don’t threaten bloggers or filmmakers with legal action. And they most likely probably label their products country of origin honestly.

If you buy an Apple Mac Pro, it also says "Made in USA" although all the components were made in Asia. And to celebrate the "Made in USA" fact, they even pulled this stunt at the factory:

Yeah that is a very nice review of a good lens. There are plenty of options for FF though. Deleted the rest of my post as i do not want to start an equivalence type war here.

There is only HQ up to 30, 60 is lineskipped/binned, 120 is internal only the same for 8k at the moment. From the test that I saw external "unlimited" without card is HQ but another test would not be bad..

slashcam has tested RS and 8k, 4kHQ is 16ms!!!...... boy they have created what would be the perfect hybrid but nobody can use for video because the recovery times are just insane. Either is software crippled or it has a big HW flaw.... if the first let's hope they remove/fix if the second why they don't sell a version in a bigger body with a Fan?!? 8k 30 RAW, 4k oversampled from 8k 10bit with 16ms RS and AF and nobody can take advantage..... what a waste. Problem is that is a very good photo camera (best canon ever) so even if they do nothing they will sell a ton....

And this is preposterous. You could even say it was Malus-cious (I hope someone gets this joke please...).

The A7S3 has lots to like but I'm not sure if I'll be upgrading just yet. Personally I'm hoping we get a 24MP A74 that does 4K 60 (with 6K downsampling for more sharpness) and allows for the 1.5x APSC crop at full 4K. I use that APSC punch-in a lot on my A9 and would easily give up 120fps for it (60fps is still 2.5x slow-mo at 24fps playback which is pretty good for most purposes). Kind of bummed the color is not sorted yet.. but maybe EOS HD Pro Color can improve things.

Oh EF is a "dead mount" too! Not sure which will last longer, EOS-M or EF. Arguably EOS-M is the newer mirrorless mount thus as a longer lifespan. But I doubt that, I think EF has quite a few years left up its sleeve, just because of the massive user base, and especially pros on the high end will still want to keep on seeing pro work horses being made for a few more years for EF mount. I'd give it a good 50/50 chance we'll see a 5D/6D-ish level replacement within the next few years, and that at least one more 1D series will still come out. Yup, the moment a RF APS-C camera/lens comes out then you know the days for EOS-M are becoming very very short indeed.

To paraphrase you, @rawshooter your defense of red is: "Every other tech company has done illegal and/or bullying tactics before (including Olympus hiring the Yakuza) , so there is precedent for fraud and this makes it okay. That is completely normalized behavior. Here in America, in the 19th century, slavery was not just common, but built into the fabric of the Southern US economy. It was the accepted form of the economic output of America. And yet, slavery, I think we can all agree is not normalized today. In fact, slavery is illegal today in the United States. Therefore activists and journalists and filmmakers should exist to point out the problem of this, just as filmmakers in our cases exist to tell stories that empower and bring awareness to different conditions and issues facing our modern lives. We should thanks filmmakers and journalists when they bring issues like this to the forefront. For example, the filmmakers who made Black Fish, completely changed the public's understanding of Sea World. So did Gasland, as it brought awareness to the danger of fracking. One more thought from me about Red. When Red started, they were a massive innovator. They changed the face of digital cinema with the red one. Before that, the closest digital cinematic cameras cost $400,000 or more. With the red one, as well as the Canon 5D, everything changed. High end cinematography became within reach of many more people. Now it is red that is trying to hold back innovation. That alone makes the story of Red via Jinnitech, to those who remember the incredible story of Red even the more fascinating.

I was only fabricating a post to shoehorn a callback to the chips really but you never know, the GH6 might be L mount with an electronic MFT adapter so you could adapt M mounts, or use the new Sigma APS-C L mounts or your existing MFT lenses. Is there an unbreakable GH rule that says it can't be APS-C and L mount ? It could use different portions of the sensor for each option so you could have thrice cropped clips. I'll get my coat.

Exactly. You can't win with some people: Simplify it too much and they'll say it is "too simple". Go into too many details and they'll accuse him of making "conspiracy truther-style videos". He's already put out many videos, for a series that is hours upon hours long! Can you seriously say with a straight face that he's simplified it too much and should make his videos even longer?? (I think he should do the opposite, and keep the current videos but also make a 2nd series which is a 5 or even 2 minute trimmed down edit summary of each of the long form videos)

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.

Hi, I found great plugin for you guys to check out. It seems to work find in Resolve (the current new 16 public beta version, I'm on the Studio version). Boost by UrsaDSP is a compressor, limiter, upward expander and saturator. What it allows you to do is to make your tracks sit in the mix by bring your low volume information up, compressing regular volume information and limiting the peaks as well as choosing to enhance the signal further with saturation (labeled Drive) which is available when you turn off Punch which is transient enhancement (which I am not currently using, I use Drive instead.) UrsaDSP plugins is distributed by Devious Machines at deviousmachines.com, where you can download the demo. They also have a discounted intro price of £39.99 (about $52 when I purchased today). Anyways, I find making things sound louder and better at the same time is a difficult problem to solve. From my experience Boost is fantastic a solving this problem. It can also be use across your mix, though I have not tried it on a full mix yet. BTW - I have no affiliation with UrsaDSP, but they have been responsive on the Gearslutz forum when I found out about this plugin. Video below... Finally, it is super easy to use.

Can't argue with this, I am using manual lenses almost exclusively myself. On the other hand, ML does provide the best exposure and (manual) focusing tools available in-camera south of 10 grand, maybe more, by far, so this offsets the lack of IBIS somewhat. I am amazed these tools aren't matched by newer cameras 8 years later.

I will rewatch it with the swells and peaks.:) Seriously, what an awesome review was that! Even without sound. 🙂

I noticed similar bogus C300 auctions a few months back. Also based in Italy.

Could be worse, it could be Tasmania

Don't forget they are still putting out EF mount cameras and lenses too (and more so than M mount) so I can not see how they will manage THREE current mounts in a (rapidly) shrinking market. I guess the test will be how long it takes to put out RF mount APSC stills cameras and appropriate RF crop sensor lenses.

Great review - thanks for sharing. I have the 17.5mm and 42.5mm from the series and watching that review did not make me feel badly about the ones I have, because his comments remind me of how I feel about mine. My only criticisms of the Voigt MFT range is that (according to lens rentals) they're not made to be disassembled / serviced, so in that sense they're kind of 'disposable' if something happens to them. Having said that they're built like tanks and you'd really have to try to damage them to the point when you'd be facing that situation. My other criticism of the range is that it lacks a ~16mm equivalent, with the widest one being the 10.5mm which is equivalent to a 21mm, and it's not wide enough for my purposes (mainly architecture). Beyond that, they're just glorious. I'll also mention that in combination with the GH5 (and it's lacklustre low-light performance) these lenses are really a game changer. I've been on location and with the camera in auto-SS auto-ISO modes I've pulled up the camera to my face to be greeted with a composition in grey dull tones with gritty ISO noise. Remembering to open up the aperture I've then spun the aperture ring and watched as before my eyes the noise disappears and then in the last 2-3 stops as I went from 2.8 down to 0.95, the image colours appear and the image gets that smooth polished look with pure clean colours. The above is a true story and happened while I was shooting in available light at night in Japan, where this was one of the shots I took in the same location (taken on the 17.5mm 0.95): It's ungraded, I think I only added some contrast/sat. The GH5 really really benefits from those extra 3 stops compared to much slower lenses like the "professional" 12-35mm f2.8. With all the new cameras and discussion of prores and shooting raw I've been looking at lenses for S35 and FF and I actually find that there aren't so many great options available. I would imagine there are and it's just my lack of familiarity, but with my experience of owning and using the Voigt and with my comparative lack of knowledge of S35 and FF lenses, MFT actually seems like the mount with the best options. You missed out by watching it without sound - he really hit the swells and peaks with the soundtrack! Great stuff.

but the payment won't clear until you send the item to the buyer

I tried selling some stuff on EBay several years back. Ever single winning bid was a scammer trying to get me to ship the product before payment cleared. That was the last time I typed eBay.com into my address bar.

Wise words. 500 bucks in a stupid flyaway once a decade ago because it was a reputable/legit seller (with high ebay feedback), I thought so. Beware.

A 2012 5d mark 3 shoots beautiful 1080p full-frame 14-bit lossless compressed raw with more sharpness than you'll ever need for YT, at a bit rate comparable to Prores XQ. If IS lenses can do instead of IBIS, I don't think you'll find a better deal.

Highly recommend a PIX-E5 or PIX-E7 if you can grab them, those recorders are tanks and can get 4:4:4. Or get the Atomos Ninja V with SDI adapter.

I never said it was good versus evil. I said it’s my opinion JinniTech is doing the right thing by suing RED for an unfair, consumer terms of service contract. Bruce is a customer of RED products after all. By the way, A non-profit is in-fact a business. They don’t magically good badge of honor because they are a non-profit. The NRA is a non-profit and they are now being sued as well.

The fact the they used SLog3 blows my mind, how on earth did they get rid of banding in highlights/sky?????

Can you give some examples that Red.COM llc is a very normalized case of a tech company? I find they are more unique and acting exactly like patent troll companies. They bully, silence, and accuse and DOX publically a competitor - in this case, Jinnitech, with their own SSDs that work in their camera. As the video shows, red had no patent at the time on their interface - they just had a patent application. And how many companies switched from a INC to a LLC and declared zero assets? I could find no precedent of this. Imagine if Apple, INC or Alphabet, INC (Google's parent company) did this because of class-action lawsuits. This is an exemplary news story. And one that will get wider coverage in business and tech and entertainment news sites, once they get the info they need. It's an investigate journalism story - and sadly - now a days - very few publications can do this kind of work. You should be thankful of Jinnitech - they are exposing corporate fraud that seems to have in its business model - litigation vs innovation. That's not healthy for our industry. That's not healthy for us, the end users. Innovation is a beautiful thing, and the reason why we have now an industry so affordable in its quality goods for such a low price that it has launched a whole new younger generation of voices that would not have been possible 20 years ago. Before Covid, I just came back from a job in Kenya at a refugee camp. I worked with an amazing cinematographer and filmmaker who was a refugee! His imagery is more impressive by far than mine. A refugee who made around 40 dollars a year. Through youtube on his mobile phone and a canon 5d given to him by a UN film program. Their voices are finally being heard from their perspective, not from westerners.

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

Held one of these for the first time yesterday. Love the setup and features and the IBIS seems even better that the Z6. Viewfinder is absolutely beautiful. Hope the next iteration can improve AF. Will be testing out the video next week.

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 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...

The two empty SDRAM slots that I've highlighted here on this teardown of the ATEM Mini Pro are likely to at least be part of the answer to what they've added to the Mini Pro ISO.

Agreed. Frankly that sounds illegal.

Not really. I never asked for 8K... or even 120fps 4K.. maybe some did, I didn't. In fact, what I was hoping for was a Canon version of the S1H camera with their own colour science and AF. Still waiting....

Clearly they should stick to entry level DSLRs and ride their good name 🙃 This is another case of cripple hammer gone to far to protect a cinema line that is in another completely different market. When will they learn?

Too late, damage is already done. How did they even manage to fuck this up? Was this a rush job? Nobody thought about adding a decent heatsink? Or even test the thing?

In that case a viable alternative is to shoot at 16,000, which is much cleaner and just raise exposure in post the same way he did with the FX9. I'd be interested to see that one since we've seen how clean the a7s3 is at 16k. Its really amazing watching all the reviews how incomplete the tests are in the rush to be first. Even the Undone video leaves questions... Chris

That's a lot of testing but do you want to know what I do? I have a GH5 also, I shoot nearly everything in 8bit 4:2:0 LongGOP 4K 60FPS and deliver every project in 1080P with a 16MB/s or 8MB/s bitrate and not one paying customer has complained about the video quality. I used to go through the same hand wringing over quality until I realized I'm not creating Hollywood blockbusters, my footage is going to be totally trashed by YT compression, and my clients will never notice the difference; they care about the content and have no idea where the quality could have been better. I also have a C200 and have never shot a single project in RAW...everything is 4:2:0 LongGOP and my clients love it. For both cameras I avoid WDR scenarios whenever possible, I perfectly white balance the scene, and I shoot CLOG3 with the C200 and CinelikeD with the GH5. Sure 10bit and RAW give you more latitude in post....but in most situations I have found that highlight rolloff and white balance are the two things that will make your footage fall apart in post if you are shooting 8bit. If you can get those right in camera you won't have any problems in post. If I ever get a big time paying commercial gig in the 5 figure+ range then sure, I'll switch the C200 over to RAW and happily invoice the client for the extra storage and post processing time required or I might even go and rent something even fancier, but until then there is no way I am wasting my storage space, time, or equipment to improve quality that is impossible for the average viewer to see especially when 90% of them will view the footage on a tiny cell phone screen.