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Granted the Mac Pro might not be for mass consumers, but there's a much wider market than just filmmakers. And It's not actually a niche product; it's just a high-end version of a product nearly every home and office uses. Any professional who needs a powerful desktop for any reason might consider it. And many more people with more money than sense will go out and buy it simply because they think "it's what professionals use and I want the best". The real genius of Apple products is in the styling and marketing, not in the design or features. It's worth noting that if Apple put out a cinema camera they would likely not be able to include ProRes raw recording internally - they already challenged Red's patent in court and lost. And being Apple, they would probably have a proprietary lens mount with very limited, overpriced lenses. You would have to buy an ipad or iphone as the monitor, there would be no headphone jack, the audio inputs would be some new proprietary type, everything would be touchscreen only, and the mounting threads would be 1/2" instead of 1/4" so that you have to buy a special Apple baseplate for $2499 just to put it on a tripod. Plus it would probably have an internal media and an internal battery that cannot be removed and which does not last for a full 10hr production day (and the charger would be sold separately). Apple are the last company I would want to see release a cinema camera.

Well... did you try instead to focus on the BACKGROUND??? Maybe that way it would lock focus on you by mistake ¯\_(ツ)_/¯

Going early into mirrorless gave Sony an advantage initially, but it also means they made the mistake of APS-C as the basis for their mount. Which they're trying to shoehorn a FF sensor into, which results in limitations in terms of the lenses they can design and what they can do with their sensors. With time, this will become more and more apparent to even the average consumer. Nikon has better camera body IBIS and "better" (in the sense of one of: size/price/performance/value/speed/etc) lenses than Sony. Canon meanwhile has made the deathly mistake of splitting up their mirrorless across EOS M & RF Mounts, they can not possibly support both forever! Nikon has already long ago killed their Nikon 1 experiment, that mistake is gone in the past now. Out of the "big three" I see Nikon the best set up for the long term future, they just need to keep on doing what they're doing. Release another couple of DX Z Mount bodies to get the mainstream average buyers and attract new blood to the system, plus Pro FX Z Mount body and keep up that stream of new Z Mount lens releases. (and purely in my dreams.... release a FX6/C70 competitor with a Z Mount!!)

I haven't used the R5 but I know someone who has one and it seems like the overheating is overblown for a lot of workflows. If you like the R serries I would definetly at least rent the R5 and give it a try.

I think it’s going to potentially get interesting when the full lineup of f1.8’s are available; the 24, 35, 50 and 85, the latter of which is now shipping. Hopefully by the weekend for me and then I will know more. A few have reported MUCH improved AF after the firmware upgrade, but they may be smoking something... I really need to experience it to believe it as I’m pretty sure it’s marginal at best.

Canon EF lenses on an MC-21 Adapter on Panasonic S-series cameras only provide AF-S. There is NO AF-C available using EF lenses on the MC-21, neither when shooting video nor when shooting stills. Maybe if / when metabones comes out with an EF-L mount adapter there will be AF-C available on Panasonic S-series cameras. I only have one EF lens and that is the 16-35 f/4 and it seems to work fine when using AF-S (haven't tried it with the new Ver 1.6 firmware though). Even when shooting video in V-LOG at 24fps (where the Panasonic S1 struggles the most) the AF-S is fine. However, I normally shoot large, stationary objects, since I shoot real estate / architecture / travel. Houses and mountains don't move too quickly 🙂 As a side note, most Canon and Sigma EF-S glass will automatically set the camera to crop mode, and you can't change back to FF mode. I don't have any EF-S glass but I heard that some lenses might not, such as the Tamron 12-24 will let you shoot in FF mode. Apparently at around 16mm that Tamron 12-24mm lens will cover the full area of the FF sensor. Hearsay: I've read on other forums from people who own both an a7 III and an S1-series of cameras that EF glass performs a lot better on their Sony cameras than on their panasonic cameras. I've actually heard people say that their EF glass performs better on their Sony a7 III than on their Canon 5D III. Again, just hearsay, so don't quote me on this. Bottom line: as @MrSMW noted above, If AF is really important to you using Canon EF lenses, then go with the Sony. Just one last bit of food for thought though... While I realize and can see your reasoning for not wanting to buy L Mount glass, the Panasonic lenses are truly capable video lenses. Each lens varies, but most of them offer minimal focus breathing, are parfocal, have the ability to set the focus ring to linear, and allow you to customize the focus throw from about 90-degrees to around 270-degrees (as best as I can remember). They also have beautiful rendering, minimal flare, minimal ghosting, minimal CA, minimal LOCA. They were designed for hybrid shooters, while I think most Canon EF glass was designed for photographers.

(Water)cooled Canon EOS R5

Not sure what you are reading? R5 does not overheats in 4k 30 LQ and 4k 30 APSC, there is no LQ in APSC..... The above table is correct. R6 is not surprising is there since day one.....

Nope, but as above, for photography AF, I doubt there would be much in it though the S5 is probably a little slower, but as accurate as CDAF tends to work that way. My own experience of the S5 is just that, it's not lightning fast, but it is accurate. Sports or any fast moving subjects is not really any CDAF lenses forte. Video AF is another matter and the Sony will slay the Panasonic, roast it and eat it for lunch. Every time. I'm running tests right now between the 2 lenses I have and that is the Pan kit lens and it's 'OK' and the Sigma 56mm f1.4 and that one is so far terrible. In fact, using myself as a subject (as no one else is home), 5 times out of 5 attempts, it remains locked on the background and will not pick me up in any mode or at any distance. Not once. Switching to the Pan kit lens in the same lighting and the same settings, it will, but not instantaneously. I had more success yesterday (with the Sigma) when I could lock on the subject before pressing the record button, but it still wasn't great. Summary so far is that with native it's OK, with anything else, even from within the L Mount Alliance, it's iffy and I imagine with an adaptor and a Canon lens, ha ha ha ha good luck with that. I have the Pan 85mm f1.8 arriving shortly so looking forward to seeing if that is a bit more tuned for video AF... New firmware may make a difference. I am downloading that one as I type. They do sometimes sneak something in there rather than admit there is any kind of issue and there is supposed to be something in that regard for shooting log, but we'll see...

For photography you will be fine with either camera. For videography the A7SIII is the only way to go. Talking about AF only here of course.

Heads up. Tilta has a deal on their motor. $135 https://tilta.com/shop/nucleus-nano-motor-kit-i/ But you can get an open box system from them as well for $171 https://tilta.com/shop/nucleus-nano-wireless-lens-control-system-open-box/

I can only speak about the R5 as I don't have a R6 (I think there are to many limitations for video) 10 Bit CLog (apparently canon has promised to offer also CLog3 in a future firmware update, but I would count on it when I see it) does have one major limitation that Zebras are not available in CLog, other minors limitations: you cannot take a screengrab in the camera, starts at 400 ISO (is normal) but you can go down to 100 (loosing a bit DR). R5 crop mode does not overheats and yes you can mount an EF-S lens (you may have some vignetting with some lenses I think but I don't have any EF-S lens). I did use a couple of times the crop mode to gain reach and deliver directly the file, normally I prefer to use 8k and punch in as you have more freedom. Speed-booster should work too. The Canon official one is not official supported on the R5. But the 4k LQ is still very good so really not sure why people are making such a big fuss about it. Yes compared to 4K oversampled is less sharp but point me out another camera at any price that has the same sharpness as 4k oversampled on the R5.... not even the C500 II has the same sharpness... 1080p never used and I don't plan to use it so I have no idea 30min limitation is on all DSLR/Mirrorless of Canon, and yes this is a true cripple hammer for sure as the European tax does not exist anymore.

I am a little confused on why it doesn't have 10 bit 422 recording. You'd think a smaller sensor would be capable considering we have stuff like the Sigma FP doing full frame RAW internally. Also what's with camera companie's obsession with not being able to dial back sharpening?

Meh, Forza 500 fan noise is absolutely negligible, at least on my unit. I use it on talking heads and interviews quite close to the mic day in and day out, I've never had a problem with it at all. Most rooms are going to have a lot more ambient noise anyway, in real world use I'd honestly be shocked if anyone could truly have a complaint.

Exciting tool for this unique purchase, I don't even remember to ever be so excited with something more lately... 9 hours left. Fellows based in Europe, tomorrow morning this offer is over, this is really a last call for such discounted price: https://www.indiegogo.com/projects/afx-autofocus-adapter/x/4309913#/

If I wake up with cold sweats from nightmares tonight, then I blame you @barefoot_dp That sounds downright horrifying, and yet has just enough feeling of realism to it to be possible.

That's a nice combination. The 16gb 1TB is the sweet spot for me as well...

I tried one single outdoor tracking sequence from around 50 feet away (face tracking mode) and it locked on body immediately, went to face as the subject got nearer and then eye at about 10 feet. Pre new firmware, if that is going to make any difference... Locks and tracks nicely indoors. I will give it a proper run this afternoon with one of my unwilling subjects but it’s looking good. Will I use it for stills? No, but only because I moved from Fuji to the L Mount system for a reason and that is so I could continue to shoot S35 video and full frame stills in one system. Will I shoot any APSC stills at all? Yes actually, but not with any of the Sigma APSC lenses and I will be getting all 3 as part of a single camera/3 lens dedicated video set up. I made a final decision on my stills lenses late last night after wrestling over every possible combination and came to the following conclusion and that is neither the f2.8’s or the big/heavy f1.4’s (such as the Sigma 105) are going to work for me. Instead, I am going to weld a Sigma 35mm f1.4 to one body and the new Sigma 85mm f1.4 to another, but when I need to (ceremonies and speeches) flick to crop mode to get a ‘130mm’ in camera crop. I need small and light and fast and portable as possible and for my needs, I have cracked it now. Final line up: Static video = S5 + Sigma 30mm f1.4 + tripod + power bank. This unit for ceremony & speeches only otherwise 20-60mm kit lens goes on and unit lives in my belt as my wide angle stills lens. Filming = S5 + Sigma 16mm f1.4 (dancing), Sigma 56mm f1.4 (indoor) and Pan 85mm f1.8 (outdoor) giving me 4K 50p focal lengths equivalent to: 24, 84 and 127.5mm. This unit lives on the freestanding monopod. Stills = pair of S5’s mated to the Sigma 35mm f1.4 and Sigma 85mm f1.4 which can be extended in crop mode to 127.5mm. I also have the super-wide 20mm focal width of the first unit all day except ceremony & speeches when I don’t need it anyway. 4 bodies + 7 lenses and it’s all still one backpack and one small camera bag with the monopod in hand, including my tiny folding carbon tripod, light stand, lighting, audio and drone. Phew. A lot harder than I thought but I remain convinced there is no better system for my needs right now than the combination of L Mount Sigma glass with S5 bodies.

Nikon is not a video company. Their forte is and will always be photo gear. They make very good products in that respect. A bit more expensive than the usual players, no doubt. But the quality is there. Let's be honest here guys: Nikon = Japanese ethos. Failing for them means being bought by another Japanese company. Since they are a part of the umbrella of the massive Mitsubishi group, I HIGHLY doubt we'll ever see a dramatic shift. At least not as dramatic as Pentax, which by the way still make a very good photo cameras.

January 8th, 1935 - November 17th, 2020. One of the masters of underwater photography and its pioneer. Without him we would have all a different progress in this craft and tools to create our work. Credentials to whom earned them. JFYI https://divingalmanac.com/brooks-ii-ernest/

I am indeed! I meant to thank bloggers (including Andrew specifically) for bringing the issue of overheating up so much. The pressure about the timer nonsense forced Canon to change the way the camera monitors temperatures, which is the reason the mod works at all.