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I probably draw the line around 600-800 mbps, which would be 4.5 to 6GB per minute. I prefer BRAW whenever possible - better than ProRes RAW - and of course it's internal on my BMPCC 6K Pro and BMPCC 4K. I generally shoot Q5 on both, which can average around 5-7GB/min on the 6K and about 2GB/min on the 4K. If I'm doing something that needs green screen work or anything like that, I might shoot Q1 on the 6K, which is a whopping 11-12GB/min or Q0 on the 4K which is about 8GB/min. But that's better than ProRes 422 HQ which is 7GB/min on the 4K. I reviewed the GH6 recently and while ProRes is a great feature to have, it takes up a ton of space, especially if you shoot the open gate 5.8K. Much prefer to just shoot 200mbps H.265 LongGOP (in 5.7K DCI or 5.8K open gate), which is a lot nicer than ProRes 422 HQ which clocks in at 1522mbps (both 23.98p). For 4K DCI I would use the 400mbps All-I H.264 4.2.2 - I wish Panasonic had at least offered H.265 All-I 4.2.2 for the 5.7K DCI and 5.8K open gate, instead of just 4.2.2 All-I ProRes. Supposedly they did this since H.265 is heavy on computers, but my Mac Studio can easily handle it - even my Mac Mini M1 doesn't have a problem with it. For me, I use BRAW whenever possible. It's the best compressed RAW codec out there outside of REDCODE RAW. Smooth as butter to edit and of course seamless integration with Resolve. CinemaDNG provides little benefit for me and produces massive files that are simply unwieldy to deal with. ProRes is more of the a convenience thing than an actual efficient codec. It just works smoothly on a lot of computers without top of the line specs, but once you get beyond 1080 HD, it becomes simply too much storage. I edit off a few SSDs in RAID 5 configuration, then I have some regular HDDs in a NAS for archival storage. Hopefully more compressed RAW options open up in the near future once RED loses their patent in this Nikon suit - at least that's what I predict will happen. It will also be hilarious to me if Nikon, the company that has historically never cared about video or filmmaking, is the one to invalidate their stupid patent. (keep in mind, everything I shoot is narrative film, so high-quality video is necessary - so I'm willing to tolerate higher bitrates, though not excessively so)

Apple M1 Pro 10-Core Chip 16GB Unified RAM | 1TB SSD 14.2" 3024 x 1964 Liquid Retina XDR Screen 16-Core GPU | 16-Core Neural Engine

I heard a rumor that.. Canon R6 Mark II Leaked Specification 24mp Full-frame CMOS Sensor Dual Pixel RAW / RAW burst Dual Pixel CMOS AF In-body stabilization Digital Tele-Converter 12fps Mechanical Hybrid Auto 4K 30p (No Crop) 4K 60p (Cropped. The EOS R6 is a 1.1x crop) Canon Log 3/HDR PQ Cloud RAW processing RF/RF-S Lenses SD/SDHC dual card slot Not much change in the form factor over the original EOS R6 The Canon R6 will use the same stacked sensor we have seen in the Canon R3 camera. The camera announcement is expected first half of 2023.

I used the R5c with the full cage and the FxLion One Battery on top of the cage on a Ronin S quite a bit and depending on the lens is a bit at the limit with the clearance. The EVF of the R5c is stick out quite a bit and the cage need some more space on the motor side. Sold the S and now I use a RS3 Pro and due to stronger motors and longer harms I can mount whatever with no issue. For my Africa project I did use a lot with the 70-200 and no problem at all to balance and still have enough clearance to go underslung. Although Smallrig claims the cage to be compatible with the DJI arca plate ,mine is not and I tested with RSC2 (too small for this camera anyway) and RS3 Pro plates and due to the security pin both cannot take the cage directly. I have the R5 full cage so maybe. Bottomline either you mount the DJI arca adapter (that comes with the gimbal) on the tripod hole of the cage or if you want something more solid you need to buy this: SMALLRIG Quick Release Plate for Arca-Type Standard Compatible with DJI RS 2 / RSC 2 / RS 3 / RS 3 Pro Gimbal - 3154 or this SMALLRIG Camera Quick Release Plate Adapter with Arca-Swiss for DJI RS 2/RSC 2/RS 3/RS 3 Pro & for Ronin-S Gimbal - 3061. I use the gimbal on high vibration environment quite a bit, on MTB, Motorbike, Jeep, Skii, Heli so the stronger motor of the RS3 Pro is a no brainer for my usage. For only 200g more is imo worth. The new auto locking of the RS3 and RS3 Pro seems a small thing but it makes life so much easier.

I have an xhs2 too.

Another heads up for BRAW. The quality and flexibility you get (even white balance can be completely changed afterwards, ISO basically does not exist, except for the dual gain choice one has to make, carefully !) is great, while being more data efficient than the comparable prores. For me it is most often Q5 for 6-10 cam shoots, which typically are 2x 1.5 hours. That usually gives around 3TB of footage in 4K. Q5 BRAW 4K DCI at 25 fps typically gives something between 200 and 300 mbit/s if I am not mistaken. 400 mbit max for wide shots with movement and much detail.

I would love an internal 2.8K RAW codec around 300Mbit. A good balance of image quality and practicality. I have moved on from 1080p but 2.8K never got the attention it deserved. It's a big step up from 1080. As the original BMCC showed! Closest at the moment is the 6K C-RAW from EOS R3 in 24p mode at 720Mbit. Or ProRes LT on the X-H2 which I think stands up very well to some of the lighter RAW codecs and BRAW. ProRes RAW file sizes are a bit silly so won't be rushing out to buy an external recorder any time soon! Canon RAW lite seems to edit quite fluidly on my MacBook Pro 16" (m1 pro) It's a shame EOS R3 cannot downsample the RAW to 2.8K and 4K in-camera as I don't particularly need 6K.