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I wouldn’t choose to switch from what I have today, but one of the reasons I moved from Fuji was the lack of stabilised bodies or lenses. It was basically XH1 and slow zooms when I left. Loved the image quality coming out of the XT3 and much preferred it’s tilt screen that they ruined (IMO) with the flipping flippy flip screen of the XT4. And now Tamron has brought out the 17-70mm f2.8 (basically a 28-105) with probably around 3.5 stops if OIS. For around 1500 for this lens and an XT3…WOW. So Z9, amazing bit of kit, but just how much does something like that really bring you when it comes down to it? Very little for a HUGE amount more. When prices hit around 3k, it might be viable for me, but that is a couple of years away at least. It may even be superseded before anyone even has their preorder the rate they are knocking them out… Chip shortage? Shit shortage for anyone that wants to buy anything these days…

Yeah for all the horrible insane prices increase we see, with pricey cameras like the Z9, FX6, or R5C etc, we've actually never been living in better time ever in history for filmmaking! As cameras such as the Panasonic S5 / GH5S, Z Cam E2-M4, Pocket 4K, Fujifilm X-T3, all offer amazing image quality for very very low prices!

Well, the Panasonic S5 already has the Panasonic DMW-XLR1, which is pretty much the best OEM accessory for audio for a hybrid. And doesn't overheat. Just need Panasonic to add ND filters to it now.... pity the Panasonic BS1H didn't have ND filters, as nobody will ever be shooting photos with that!

It sounds like you are experiencing a known issue inherent in the first few models of the EOSM (and in some other Canon models) in which the exposure simulation feature is disabled in still photo mode, when manual lenses are mounted. Without using Magic Lantern, there are two hardware hacks that will allow the LCD screen show a usable image (but that might not be accurate in regards to exposure): Mount a smart lens (Canon or other brand) and open the aperture as wide/bright as it will go. Then, swap out the smart lens with your manual lens. Get a "preset aperture," lens chip (as shown in the below video) and touch it to the lens mount contacts of your EOSM (or to the contacts on your smart adapter), then mount the manual lens: It appears that the Magic Lantern "stable" build has an exposure simulation setting within the "Exposure" tab under the "LV Display" title. I'm using a nightly build, and the exposure simulation setting is in a different place within the "Exposure" tab. I can't get the exposure simulation setting to change from "Movie" mode. Also, I can't get the ML menu to appear when the top dial on the EOSM is set to manual photo mode. The ML menu does appear does appear when that dial is set to the green full-auto mode, and I see the Canon "Exp. Sim." symbol appear on the screen. However, even in that mode, I still cannot change the exposure simulation setting in the ML menu. Magic Lantern "stable" build also offers an "LV Display Gain" setting under the "Display" tab, that evidently only appears or works in photo mode. It's may not provide an accurate representation of exposure on the LCD screen, but it should allow framing and focusing. One can then check the histogram on the recorded images to progressively dial-in the exposure. Of course, one could use a light meter to more quickly arrive at the proper exposure. By the way, a few days ago, @ZEEK released another super16-oriented video on using Soviet/Russian lenses on the EOSM:

Well we all have different requirements & deal breakers but calling the R5C mediocre is pretty extreme. No IBIS for photography has never been a problem for me personally. If I'm shooting lowlight I'll use fast glass, crank up the ISO or use a flash. There's always sticks for long exposure. For video work its a nice convenience for locked handheld shots but the EIS + OIS isn't a bad compromise either. For anything more serious: mono/tripod, gimbal. I just don't see lack of IBIS as that big of a downer. YMMV. Battery wise you can always get the battery grip or use a bottom plate screw-on power base with dummy battery which is a much more elegant solution than your basic external power banks: I guess my point is when there's a will there's a way. I find the R5C a very interesting product that merges C-line & EOS line perfectly. Only thing missing to me would be ND's but no hybrid seems to have done it yet. R3 is a dope camera but the price is ridiculous if you're not a sports/action photog. We're talking Komodo money. You shoot a lot in 60p no? Beware as in XF-AVC Clog from 60p to 120p the dual gain output is not activated. Cine just did an updated lab test with the new RAW update: About 13 stops can be identified above the noise floor, as well as a 14th and a faint 15th. IMATEST shows 12.3 stops at a signal to noise ratio of 2 (SNR), and 14 stops at SNR = 1. Also, in the middle graph above the blue “14” line about 3 additional stops are exhibited. Wow! Now, as we have reached already 8 stops of exposure latitude – the maximum we have seen so far with all cameras in the lab with one exception, the Arri ALEXA Mini LF (having 10 stops of exposure latitude).

Actually a note about the use of AF or my use of it… I do use AF for tracking, but as above, only one dedicated unit set up for it. My S1H is paired with a cine lens so it’s obviously manual focus anyway. With the S1R’s, almost 100% AF for stills and almost 100% when in video mode, but purely to get an initial focus lock. I have red highlighting on cranked to the max. The AF locks on extremely quickly. It ONLY hunts if you keep using the AF. I don’t. As soon as it locks, I flip the lens rocker from AF to manual. Any doubt, give the focus a twiddle and the zoomed in function comes up with even more intense red highlighting. It’s very quick to learn, super fast to use and highly accurate. ie, in video mode I do use the AF system, but purely to get me there quicker than using only manual focus. Works for me anyway.

In the early days when they kept it simple (focusing on monitoring tools, etc.) and had stable releases - it was dependable. When they started focusing on Dual ISO output and RAW.... pushing the limits.... thats when it all started falling apart. There is no stable release anymore... not for a long time now... even the gateway into getting ML isn't as simple as it was back then. Also... I find it funny... that everyone based Canon's inability to max out their own tech off of Magic Lantern's efforts.... yeah well... it was all over inflated... ask a real user.... how long is the record limit with Magic Lantern on the 5D Mark 3... and the real truth starts coming out. Thats when you start to realize that R5's 8K over heating and record limit issues wasn't so bad.

I am afraid of that. Sometimes footage which can be found on youtube shows disturbing "artifacts" (flickering red dots in darker parts of the picture looking like a noise). Maybe problems mostly occur in the newest experimental builds? There have to be some tested "safe modes" in ML for sure... Anyway, thank you for your input.

Magic Lantern has to be the most Unreliable thing ever invented. You would have better luck guessing the Lotto numbers than using Magic Lantern often. If you don't cuss you will.

Don't understand why a Canon 5Dmk2 is on your list of considerations??!! And I'd add to your considering the Panasonic S5, and Panasonic G9 (maybe even the Panasonic G85 for cheap). Plus the Fujifilm X-S10

@Attila Bakos Dunno, here is the page dedicated to the new sensor: https://fujifilm-x.com/fr-fr/products/x-trans-cmos/ What I wonder is if they have finally found a way to fix those false color issues plaguing Xtrans that we talked about couple months ago? does this point give promise: Arrangement of G pixel on all diagonal lines G pixels are placed in all diagonal lines. It improves the accuracy of diagonal high-frequency image detection and color interpolation

I am still amazed at the files coming from the Gh5, no matter it being the L variante of VLog. My S1 is even better. Fs700 8bit Slog2 is pretty amazing in good light too. We have no reason to complain in the image department.

I frankly wish that Nikon would make a dedicated video camera a-la Sony fx3, but with Nikon ergonomics, a big bright screen, gyro stab, etc. Not going to dream about a build-in ND but if Nikon engeneers would manage to fit it in a Z7 sized body, this camera would disrupt the market for sure.

With a new Megadap Nikon Z to Sony e-mount adapter I am actually looking at Nikon cameras in a new light now. If they prodcue a more compact and cheap version of their flagship Z9, or just migrate some of its features to a refreshed versions of Z6 and Z7 I might just get one. Two ecosystems in one! Only the batteries would be different.

I actually think the R3 or the R7 are the better hybrid cameras at the moment. R7 remains to be seen, but the R3 has no overheating, IBIS, almost as good video specs as the R5, hybrid hotshoe, etc. The R5C is terrible on battery life, no IBIS, and takes 8 sec to switch from photos to video and back. IMO if you are truly shooting hybrid the R3 would be the better fit. If you need top quality video the C70 is the better fit and if you need top quality photography then the R5 is the better fit. The R5C ends up being too mediocre at both photos and video in my opinion to be a true hybrid. No IBIS kills it for lowlight handheld photography and handheld video work, 30min max per battery kills it for nearly anything run and gun unless you want to lug around a power supply which is unrealistic for photography, etc. etc. Too many compromises IMO. I gave up on the "perfect" hybrid, but the R7 gives me hope again. The R3 wasn't a good fit for me because I don't shoot sports so paying $6K USD for all of that buffer clearing speed didn't make sense especially considering the C70 has internal NDs and better audio options. So for now, I'm still lugging around a minimum of two bodies. I have the C70 and I will readily admit the DGO sensor is a little overrated; my S5 did better in lowlight and had slightly more DR than the C70. The C70's real strengths are the audio, ND filters, no overheating, XF-AVC, CLOG2, and RAW options. The sensor is just average IMO. Its great for a S35 sensor, but average in the crowded field of FF sensors.

Thank you. @stephen I would like to give it a try without ML first. Liveview in video mode is correct in photomode it is way too dark. Testing was one 500th second in video and one 50th sec in photo. 500th in video was the correct exposure. How do i get the same correct liveview in photo mode, which i am getting in video mode? checked all the menues a dozen times. Thanks!

I use gimbals, mono/tripods even with IBIS cameras. IBIS is useful but it isn't magic. I'll take the camera that doesn't overheat over the others if given the choice. Plus all the C-line video features like LUT import, WFM, shutter angle, S35/S16 crop modes, anamorphic desqueeze etc.. That said, I'm leaning towards C70 (+ R6). The NDs, battery life, audio & DGO sensor being more useful to me than 8K.

GHAlex just did an update/release for the GH6. So excited to mess around with this. He doesn't have any shot of it up yet, but I bet they will be amazing https://www.emotivecolor.com/gallery

I agree with you, I went to Panasonic and the GH5 then the S5 for the past few years because Canon was so disappointing. Well now I'm back in force with the C70 and R5. I had too much EF glass to go far, and Panasonic with adapted EF lenses destroyed what little AF they had to start with. I have the C70 with the speedbooster and it is fantastic especially with the extra stop of light. For the R5 I have the EF to RF straight through adapter; the ND filter version was insanely expensive and I mainly got the R5 for photography anyway to replace my 5DIV. Plus with photography, I typically just need a 2 stop or 4 stop which takes seconds to screw onto the lens one time. As far as ISO performance, I feel like any modern camera will do just fine in lowlight for social media content; noise is invisible on cell phones at 480P which is how most people will view most social media content. Obviously if you are looking for something for larger productions then a different camera would be a better fit. Only us videographer types really care about things like noise and DR and lowlight performance. TBH, I know I'm going to sound like a total Canon fanboy here for a second, but the AF with the R5 and even the C70 is so good (light years above anything I had with the GH5 and S5) that I don't need to punch in to check focus while filming. The R5 with eye tracking AF has completely changed the way I shoot photography (no more focusing then recomposing and hoping the subject doesn't fall into the edge distortion territory of the lens), and the R7 supposedly has even better AF than the R5 (taken from the R3). Also, their proprietary focus peaking system with the 3 little triangles really helps more than focus peaking highlights ever did for me with the Panasonic bodies. Of course its not all perfect, Panasonic is way better about giving you an easier color subsampling option (420) that can be HW accelerated, and Panasonic gives you a WFM, the electronic level stays visible while filming, the XLR audio module is reasonably priced (and native), and the body quality ahead of Canon's current cameras. Even with the R5 every useful filming tool disappears when you press record, the body quality is disappointing compared to my 5D4, no WFM, and no multi-function shoe for higher quality audio (the R7 does have the multi-function shoe but the Tascam adapter is pretty expensive).

@tupp and others. i got a question, now that I got a lens adapter and played around a little bit. Liveview in photo mode is completely off on my camera. In video mode it shows right exposure on the monitor. In photo mode it was way too dark. How do I change that? I also had to make sure to enable shooting without a lens. I pressed and pressed the shutter release and nothing happend. Imagine that, duh! 🙂

Another still from some tests with the BMMCC, this time with an Angéniux 17.5-70mm zoom (Super 16, PL mount). I love this lens but it has by far the most extreme focus breathing of any lens I've used...kind of amazing it was sold as a cinema lens.