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It has parallels with the world in general. We have in Russia today a dying man who has been horrifically poisoned, screaming in agony on a plane and straight into a coma from which he may never pull out. Leader of the opposition to Putin. The RT news anchor tosses the peasant people some lie. "It is low blood sugar. Always carry candy" The low effort of that bullshit, and the distain for the intelligence of the general populace. And it is the same thing with Toneh. Toss the peasants some badly research bullshit dressed up with a whiteboard zapping key phrases at the audience. Pure clickbait. Pure cynicism. Ah you stole the idea... Nobody will notice. Just say you forgot. Whatever. Who cares. End of days stuff my friends. Thank you to all on here who have helped research and inform on the overheating findings these past few weeks.

Here is a VFX heavy short film I shot on the Samsung NX1 years ago, finally decided to finish it and get it online so here it is! The last scene is the canon T3i all lenses used are the rokinon 24mm f1.4 and Canon 50mm f1.4 Watching in 4k is strongly recommended as YouTube loves compressing things

I can't remember if I already posted this, but we shot this with mostly S1. Couldn't believe the quality of the image. Truly amazing.

Agreed 1,000 percent. The so-called cinematic look is 99% about lighting; the camera and lenses make a difference but it's minor in comparison. This video in particular drives the point home:

I've been doing various tests of image quality (Prores vs h264/h265) and also YouTube quality, and i'm thinking my next test will be if YT at 4K is good enough quality to tell the difference between a 4K acquisition / 4K upload and a 2K acquisition / 4K upscaled upload. The reason I mention this is that you're wondering if 4K 420 8-bit would be "good enough" for YT, whereas I think there's a chance that even 2K 422 might be "better" than 4K YT. My experience is that the difference between a great 4K master and a barely passable 4K master is basically invisible once YT compression has done its thing and brutally crunched the image.

Internet is a real mess.

"Breaking news" And people wonder why I take issue with so many YouTubers.

Let's be honest, these stupid workarounds are not practical on set. It is up to Canon to fix the damn camera, not us. We paid the money, and not a small amount. Unscrewing the back, prodding the card door sensor, ripping the clock battery out... None of it is acceptable for $4000

This is the ridiculousness of the situation. Canon is missing out on a BUNCH of sales over this. You see numerous people on forums stating they'd buy if the limitations weren't there but as they are they won't. People aren't stupid, these cameras aren't impulse buys, they're very considered decisions and this news is EVERYWHERE camera people go online. Canon makes it's money on the glass, all these missed body sales means no high margin glass sales. If they'd just delivered 4K 60 HQ 4:2:2 unlimited int people would be snapping them up and I honestly don't see how that would have hurt their C line much. Canon just got silly with hype-y specs.

That lens looks familiar.... I think I paid $20 for it, including shipping.

Perhaps with the delay of the Summer Olympics to July 2021 gave some breathing room for Panasonic to re-evaluate the capabilities. When they launched the S camera’s the official company line was “Panasonic is on track for 8K by 2020”. I assumed we would have seen it in a FF S series camera, but with the release of the S5 and the past 24MP S1H release it hasn’t come to pass. The spirit of the GH MFT cameras has always been “the first with 4K...the first with 4K 60p...”. Or in more broad terms to push the limits. However, we have see a gigantic leap in FF technology. We have 8K, we have 4K120p, all offered in 10-bit 420 or better, with excellent rolling shutter performance. At this point I would rather see the first internal ND solution in a mirrorless camera than 8K from a MFT sensor. I would rather see a very solid 6K60p and 4K120p. I would rather have internal RAW or ProRes HQ straight from the camera. Give us dual gain ISO from GH5S with IBIS. Give us some more absolutely unique 1.7 prime zooms like the 10-25 f/1.7 A 25-50 f/1.7 would pair nicely indeed and give us a native mount lens with AF that would compete with the classic speedbooster Sigma 18-35 and 50-100 f/1.8 setups. Besides, we have all the other focal lengths and aperture combinations already covered in the extensive MFT lens ecosystem. People that complain about these big and heavy MFT lenses don’t need yet another 12-35 f2.8 standard zoom! All of those features above actually improve the shooting experience with the camera. 6K is a nice middle ground, offering excellent 4K delivery and makes a “8K” anamorphic headline grabber still possible, while also offering a high resolution HFR not seen in any other mirrorless camera. Besides, I could shoot 6K60p and use a superscaler from BM Resolve or Topaz and essential get a 8K60p video and very few people would be the wiser. All the new “hybrid” cameras aren’t really hybrids at all. The R5/R6 are photo first cameras. They shit the bed for video. The Sony A7SIII is an excellent video mirrorless camera but its 12MP sensor hampers it for mixed photo work. Besides, I think Blackmagic is more of a threat they now have a S35 12K sensor shooting at 60p! Imagine something similar in a new pocket 6K camera with modular mount...ouch! The A7IV will be a true hybrid but will probably max out at 4K60p video and still have a 24MP sensor, which is well within the competing range for 20MP+ MFT sensors for photo work. And they don’t even have to use a 4:3 sensor if that don’t want to. JVC has proved that (although for photo I really like the 4:3 aspect ratio vs 3:2 a lot)! Anyway, long rambling post.

My bad, I got you mixed up with that other dude named BTN_Plx.

I agree with Kye that top-quality 1080p (e.g. GH5/G9 level) isn't very far below 4k quality, particularly if your final output is heading for YouTube etc., and it is a lot faster to work with 1080p when editing. But the quality difference is more noticeable with a lot of cameras due to lower-quality down-sampling/scaling from the full sensor area to 1080p. The GH5 & G9 have the processing capability to do it properly.

yeah. Sort of. You can get a x1.29 crop any time you want at the touch of a (programmed) button. When shooting 4k50/60p you're forced to a x1.19 crop at a minimum anyway. When shooting slowmotion 1080 you're forced to a x1.29 crop anyway When shooting with Digital Image Stabilisation (DIS) on, you're forced to x1.11 crop anyway. (DIS can't be used during slowmo btw) The crops don't stack, of course. Technically ANY time you shoot 4k you can crop x2 into that in post for a decent 1080p too, of course.

yeah other youtuber show EOSHD, except Tony! What a leech!

Yeah, unfortunately video is the main traffic grabber nowadays

Absolutely hilarious. Giving weasels a bad name. I know you don’t want to do the whole YouTube thing Andrew, but this is why. Toneh just rips others peoples hard work and words and records his video and collectes ad revenue and plugs his books.

"Silver haired click weasel" (C) Theoria Apophasis

Ah yes, that makes sense. It's one of those things where being more mobile might make for a better looking end result over the bump in absolute image quality. I've absolutely over-rigged cameras in the past and in a doc situation the first thing you end up doing is take all the extra stuff off again ha.

I would 100% just go with prores 422 for a doc destined for Youtube. Most of the time when you record raw you get increased noise (as it bypasses some of the camera's processing like NR). In a doc situation with less than ideal lighting you could really be making more work for yourself in terms of having to de-noise everything. Also slightly on a tangent - will a Ninja V work with your camera? Or do you need the Inferno to take the raw output? I think the Inferno is a bit large & heavy for a doc where it helps to be discreet. Also they chew through batteries which could be stressful in situations where you have to keep rolling. I would definitely still try out Prores raw, but on something more controlled!

Thank you. After reading your comment, I feel like maybe I was thinking too much. I still don't know why I worry about this shoot so much. It's not like it is my first paid job ever. I have been doing event videography for three years now. Maybe I just don't feel like I am a filmmaker because I have never done any narrative film or documentary. I just know how to expose and get shots that are useable, and make the "story" in editing. And having to be a proper filmmaker and plan for a short documentary for the first time makes me kind of nervous. I don't know. Maybe I should just shoot 4K internally. 8bit 420 has never been a problem for me anyway. I mainly shoot in S-Log2 so there is banding and compression artifacts here and there, but I guess YouTube compression is going to butcher the video regardless 😆. Or just ditch the thought of trying ProRes Raw and shoot ProRes 422 like I always do when I have to record externally.

His point is moot anyway because the 65C temps return to normal in 2-3 minutes and not hours like the cripple timer would lead you to believe. If it was 8K recording for 20 mins and then a 5 min cool down before another round of 8K then that’s fine. If the cool down timer actual was based off internal temperature that would be fine. It’s not. It seems completely artificial and arguably an excessive cripple.

I have the C200 and it will do Canon RAW but I have shot everything from music videos to commercial work and never used the RAW capabilities. I do shoot literally everything in 4K because it gives you crop and recomposition options in post but I wouldn't recommend shooting RAW if you have never used that codec and it does sound like overkill for YouTube. Two things I would not recommend doing for the first time on a paid shoot is using a gamma curve and a codec you have never used before. I don't know what other codecs the FS5 offers but I can tell you that the 4:2:0 8 bit out of my C200 has been more than enough for everything I throw at it. For my workflow though I am very careful to get the WB correct in camera and control the highlights because it will fall apart in post if I got either of those wrong. If you have never shot 4K I would definitely test that as well ahead of time mainly due to the data rates. Many SD cards can handle 1080P with no problem, but some cards can't handle the 4K data rates. Also, just a personal thing, but I have never used an external recorder, to me its just more gear that can break, batteries can die, and that can be misconfigured.

Just tried this as well. It does forget the aperture because it didn't write it to NVRAM in time if you pull the battery quite quickly - I tried after about 10 seconds, with the battery door open and a small screw lodged in the pin to force the camera into ON state even with door open. It does not forget the timers That seems to work off a separate clock to the main date / time and is constantly ticking away like a quartz powered by the button cell. One solution I wish the Chinese guy had tried is to permanently remove the internal battery and see if the recovery timer is reset every time you reboot without it. It would be annoying to be kept asking to input date and time on every startup though.

We tried this via the Wifi App by @BTM_Pix It just changes the data and time, it does not reset the separate clock used to measure the camera up-time. I can confirm Magic Lantern are looking into it.

H.264 1080P via Google Drive. Most clients don't care about 4K or the codec, and they actually prefer smaller file size. Of course, there are some clients who have specific need, and I will deliver the codec and resolution they want. But more often than not, H264 1080P is the most suitable format for the clients. I do event videography mostly, so this is my experience.

Apart from the artificial crippling, the consensus is the camera doesn’t actually overheat? What voodoo is in there that the S1H doesn’t have? (which needs a huge vent). Thing is, if Canon didn’t do this I would of been a customer of 2 bodies and a bunch of RF lenses. Plus I would of likely picked up an RF cine cam in the future. Just doesn’t make much business sense to me.

You loose color information in log images in 8-bit codecs. The more DR here you are trying to accomplish the worse it will look. S log2 is really the limit for 8-bit and even then sometimes that's pushing it.

Here's some other films of his: (Shot with NX1)

@MicahMahaffey Great stuff. I've been following your stuff for a couple years now. Great addition.

He even takes BTM_PIX idea to install a dummy battery with a external toggle. Lol I wonder where he got that idea.