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I plan to rig the R7 with a speedbooster which turns it into a FF FOV camera, but the downside is FF lenses don't have the reach that crop lenses typically do. The kit lens is a 18-150mm lens, my most useful lens is the FF Canon EF 24-105mm F4.0 However, if I use the crop mode on the R7 and a speedbooster I can extend that to around 24-160mm at F2.8. The extra reach will be useful when shooting runway shows and the models are posing at the start of the runway, or the guest speaker never walks down the runway, or weddings where you want a closeup of the ring exchange, etc. etc. pretty much anytime your current lens just doesn't get you close enough. On my editing workstation the files are marginally editable without proxies. I use Davinci Resolve, and my GPU is an RTX2080 Ti with a Core i9 14 core CPU. I used compressed IPB in the R7 and CLOG3 which is H.265 422 10 bit footage. NVIDIA can't accelerate that footage so the CPU had to do all of the work. For the footage that was 30FPS I could edit it without proxies as long as I was ok with occasional dropped frames and a little stuttering. For the 60FPS footage I needed proxies or optimized media. The R5's footage is the same way, proxies or optimized media is the only way I can playback the footage in real time. The C70 by comparison uses XFAV-C and both 30FPS and 60FPS footage plays smoothly. RAW 4K out of the C70 and RAW 8K out of the R5 of course plays perfectly fine. I live in FL USA. In the summer here it averages 95F + with up to 100% humidity so everything I buy I keep overheating in mind. The R5 overheated even with the latest FW at the time in less than 30min at an outdoor runway show when shooting mostly photos with a few 4K video clips mixed in. The 4K wasn't even the HQ mode so I don't care what anyone on YT says....the R5 WILL overheat still to this day in any 4K mode during real world use in hotter climates. Once the warning came on I stopped shooting all video clips because for all I know it might have stopped taking pictures next which would have been far worse. At the same fashion show the C70 ran for hours with no problems. I am hoping the R7's ambient temp handling performance is at least as good as the S5; the S5 never overheated once.

Honestly the more I use this camera the more I love it. After filming a couple events I'm really impressed. I am considering selling my entire M43 kit, or at least most of it, to get another one. I'll maybe keep the GH5 and the 12-35mm and 35-100mm, and sell the rest. I really like the sooc colors I get using the natural profile. Sometimes I will tweak it just a little, but most of the time it looks really good without any kind of corrections. I'm glad that more people are taking note of the S5. I really don't know that you can beat it for the price.

Here is another R5C extra secret bonus hack: Turn the camera off when you're not shooting. I'm kidding, Canon should obviously address this. Poor battery life is what is keeping most away from this camera. Sounds like its Achilles heel..

Here is a hopefully more consistent set. All with f8 and 1/30 on tripod. In contrast to the previous sets, I didn't rely on focus peaking at all but on magnification. All .jpgs and raws here, and there's also a set with IBIS on (which doesn't seem to make a difference): https://www.dropbox.com/scl/fo/466oznln2oz53txn3nyn6/h?dl=0&rlkey=4a0m3kmpo1puuatt1f5xfojq3 A7 above, A7iv is below Minolta MD 50: Olympus 50mm: Sony FE 50mm The manual lenses look here far better than on the previous pictures.

Hello everyone, I have owned Sigma fp for a year now, and I want to say that this camera will never cease to amaze and delight me. I am not professionally engaged in this video filming and in connection with this I would like to clarify something. In this video link below, I've interpreted the internal CDNG (12 bit), perhaps a little differently. And I know that from the point of view of the "science of color" this is not true. But I really liked the result. Trying to process the same files that Ryan Earl suggests (via CST in RED Log3G10) - I get a really accurate picture, but it does not convey a sense of color depth. Do I need to use additional presets after conversion? Video here (Youtube)

The Lighthouse was actually 1.19:1 (19:16) which was used in the 20s and 30s, notably Murnau's Sunrise and Lang's M. It was a standard super 35 frame (so 4:3) with an optical soundtrack overlaid to yield a more square 1.19:1 -- it was called "Movietone." I'm not sure if they did that on the Lighthouse or just cropped it in post. Interestingly, any theatre that hasn't moved to digital projection can use that optical soundtrack without modifications. Xavier Dolan's Mommy was shot in 1:1, though.

I just had a chance to take a look at some X-H2s originals shot in F-Log and F-Log2 in H.265, and it seems to me that the chroma smoothing is way less aggressive in this camera. It's still there, but it won't cause problems I think. This is just my first impression, not a deep analysis. And now you can completely get rid of the smoothing by shooting raw to an external recorder, I tested this with a ProRes RAW HQ clip. What I couldn't test is ProRes internal. I also noticed that the H.265 files are now tagged with the BT.709 matrix coefficients instead of the BT.601. This will definitely solve some interpretation issues. One small downside is that the files are no longer full range (at least the F-Log and F-Log2 originals I received), they only use the limited range, so we lost some precision here.