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@Django both are very good cameras with each some drawbacks. For video my A cam is the R5c and B cam is the R5. Any framerate above 30fps the R5c is sharper and 120 you can record audio on an SD. So for my usage is better as I shot a lot in 8k 50 and slow mo. XAVC, S35 RAW, Waveform, Peeking during AF, and face only AF, unlimited recording, being the other keys advantage of the R5c On IBIS, in my experience it is super valuable between 30mm and 100mm but not good below 30mm and not really useful and sometime bad above 100mm. Here is the catch, as you cannot disable IBIS and keep IS on, the R5c with a wide angle IS lens is better than the R5 no wobble but you get IS. As I already posted with the 100-500, that I use a lot handled for video, I get better results in the R5c than the R5 as on the R5 sometime in fast pans it jumps and I think it is the IBIS. I use quite a bit a gimbal for tracking shoot and there having IS but no IBIS at 24mm it creates a more stable picture, no wobble but yet IS helps with the small jitters. Bottomline if you use a lot 35, 50, 85 primes then the R5 IBIS is super valuable for the reset especially with IS lenses in my experience is counterproductive. This scene would not work with IBIS due to wobble, but IS helps on the gimbal with the vibrations, so R5c wins in this situations: This one is handled with 100-500 on the R5c so only IS: Battery is the biggest issue of the R5c, the grip solves it but is expensive and no support of 8k RAW 50/60, the alternative also expensive is half or full cage, smallrig small v mount plate and FXLION Nano One + kondorblue dummy battery (I use the USB-C cable when I do 8K RAW 50/60). But it makes the overall setup bulky and cumbersome the only good thing is that with two battery you basically go all day. So yes R5c battery sucks big time Due to this the TCO of the R5c is more expensive than R5 and you really cannot use just 1 internal battery… On the lag I really don’t see the problem, here a sequence of photos at 20fps all perfectly sharp and I could follow the player easily on the EVF, on my 1DX III I was not getting a 100% ratio in a sequence like this and less frames too: On the R3 I think is overpriced for what it is and I’m not going back to 20-24 mpix, I so much easy to be a bel to crop a bit so I can leave some safety room. Why not buying a used R5 you can use it for a few months and see if it is perfect for your usage or not. If not you probably sell it for just a few euro less of what you paid? R5c used are quite rare....

Here's a gift from and to EOSHD. It's been a journey these past 10 years. Me and mine have bopped in and out of here over the years. We would like to share our old-fashioned American Christmas film. It takes place on Christmas Eve, so I guess today's an appropriate time to share it! This film wouldn't have been made without EOSHD and everyone's wisdom helping us grow technically, especially with advice regarding M43 cams. If you like classic Hollywood movies, let us know what you think about our attempt at making a 1930's style film. Happy Christmas!

My suggestion with LOG is just to expose 1-2 stops over, just using the cameras light meter and then nail WB of course. I like Filmconvert a lot

Hey Rinad! @Rinad Amir 35mm, i see:) You dropped two super hot infos on two obscure and legendary zoom lenses. The Konica 35 to 100 2.8 and the Zeiss 40-120 2.8. Just sayin thanks again and hello.:) I got three of the Konicas because of you, one beat up but splendid image though with zoom creep, one perfect in all regards. Anyway. I loved 28 on boosted mft with crop 1.4 of FF. So I take the 28. I grab the tiny Canon nFD 2.8. Love that lens. Maybe I got a superiour sample. Mine is just splendid.

35mm hands down rest is irrelevant for me anyways.

On full frame I think I'd have to go 35mm. The ability to switch from FF to APSC would give me the ability to use it as a 35mm and a 50mm, and those are two of my most common focal lengths. A 50mm would come close, since then I'd have some telephoto capabilities but I think the 35 would win out.

Yes, you can isolate one or the other! If you wanted to isolate Panasonic's offical VLog to V709 gamma (or gamut) you can use the excellent free online tool LutCalc (make sure Input Range and Output Range is set as below): But I find Panasonic's V709 curve to be too mild: blacks don't reach the top and bottom of the waveform and middle grey stays annoyingly at 42 IRE instead of 49 where it "should" be: In Resolve you can use the Color Space Transform effect. This is what it would look like for VLog to Rec709. These settings would blow the highlights, though: So I like this modification of the settings: This gives a decent curve with dark blacks and middle grey at the right value: Or, of course, you can use a simple RGB curve to create your own gamma curve, as you did for SLog2. But regardless of which method you use, if you're separating the gamma and gamut transforms then the order in which they're applied is very important. In the case of Panasonic's transforms, if the gamma comes before the gamut then the colours will break. For Resolve's transforms, if you put the gamut before the gamma then the colours will be a bit inaccurate. It's interesting to me because it's the Wild West out there in terms of what people are doing. I definitely think that some major YouTubers are doing things the "wrong" way, for example simply adding a curve to out of the box log footage and not transforming the gamut. Of course, if you like the results it doesn't really matter.

Yeah, we really thought about doing that old fashioned "Continental" accent, but the director wanted more of a modern delivery once she saw what we were getting during rehearsal. Thanks for the positive feedabck on the dolly moves. Not a lot of folks mention that. Kinda wish I'd gone even more aggressive with it in hindsight, but that's all part of the fun.

Merry Christams, fuzzy and everyone! Well done!

Completely agree with you about the Fuji, specially in slow pans, is jumpy as hell. Never used the Canons, but the footages that I saw looks good. And Olympus was always the best for me, had the E-M5 MK II and was superb. Even the E-M10 MK III, which in theory had in inferior IBIS, was better than Fuji, and on par with my GX9 when I had both. Dunno if they changed something.

IBIS + OIS are always better than some digital motion sensor which always ruins the image in one way or another with artefacting, there just no way around this, maybe in the year 2050 we will have AI capable of reconstructing an image perfectly. There some wobble on the S5 with a wide angle lens, but if you have a wide angle lens with OIS/OSS should the wobble issues not be removed? Considering Panasonic uses the same method as Sony for IBIS + OIS, the sensor only does X - Y axis with roll and lens does pitch and yaw. Canon IBIS is pretty mediocre, I would say Sony newer cameras does a better job with IBIS + digital IS in video mode than Canon does, Canon have the same issues as Olympus and Fuji in that they are solely made for photography use, they all seem to suffer when you start panning or doing walks they go all over the place, whereas Panasonic and later Sony cameras seem to really refined their IBIS for video, Sony A7IV does not suffer from these panning issues. Honestly, Canon is just making excuses with R5C, it should have IBIS LOL, you could always just make it lock itself in place like some cameras do when you do not use it however there is an argument for not using IBIS, it makes the camera 100g lighter, it makes the camera a lot more sturdy, IBIS systems break REALLY easily on impact, but if Canon worried about breaking and the sensor floating around when the IBIS is not in use, I do not understand why they could not just invent in a locking system that locks it in centre.

Back to the original topic, I'm a huge fan of the Dark Power Labs stuff. I've been using the Sabrents that PC recommends in mine. One thing that he doesn't mention (should you go that route) is that you need to peel off the heatsink sticker on it - the enclosure uses a thermal pad to attach to the SSD so it isn't needed anyway. With the sticker attached, the enclosure is too tight. Do they get hot? YES. When recording, it hasn't been too bad for me. When dumping a full disk? The enclosure gets uncomfortably hot. That's going to happen with just about any extremely small/fast SSD during heavy I/O. Anyway, I use the smaller enclosure attached to the EVF on my FP-L (no cage) and I use the DPL cage with the longer SSD enclosure attached on the bottom with my FP. Either way, it's a pretty slick setup. One of the things I like is that when I'm just shooting photos or don't need 12-bit, I can just unscrew the holder and throw it in my pocket.

How do you find 4k 8bit raw vs 1080 12bit raw? If shooting to SD cards, I generally go 1080 12bit, but only because I haven't properly tested 4k 8bit yet. Would love to hear your thoughts.

A used canon c100 II or c300 could be a dream camera for me. They are so cheap, built in ND filters, downsampled 1080p. How does the CLOG image hold up? If I went fro my Nikon Z6 10 bit NLOG to say the C300’s 8 bit 50mbps image, would I lose much you think? Or if I got the c100 mark II and paired it with my Atomos ninja star to record 8 bit 4:2:2 prores in clog1?

@kyedoes a lot of travel so I can definitely see how a GH5 with vari ND and a small lens is a better setup for that usage. You could probably pocket that if you have the right Jacket where as you'll never be able to pocket a C100. Also for situations where you want to film and not be noticed a GH5 or other camera just looks more like you are doing casual photography. C100 not as much. But if you rig out a DSLR it stops looking like a stills camera and you stop looking like a hobbyist. I did a video using the ARRI Alexa, C100, and GH5. The C100 was my favorite out of the box look. It was a lower dynamic range scene but the colors were just really pretty.

I haven't proven any point other than it is all relative to what camera you are comparing with. You choose to call it "huge" compared to your GH5 or a Gopro. I am indeed saying it is small compared to most cinema cameras but also action sport mirrorless or a rigged up Z6/R6/A7 with external monitor. I'll stay it again, the C100 is small considering it has: built-in NDs, an EVF, large display, fan system, all-day battery, XLRs. It's like the Pocket 6K Pro. The term "pocket" is really relative but makes sense if you compare it to an ARRI.

oh I dunno, I'd say it! Think I've only worked with one camera that's smaller in recent months. And that was on a no budget student film. (the Panasonic GH5)

To all my friends at EOSHD I have some very sad news. My sister has been diagnosed with terminal cancer. She is just 38. I have just brought the news to the main blog page here, for the full story: https://www.eoshd.com/news/my-sister-zara-reid-is-in-end-of-life-care-for-cancer/ I might need to rely on my friends here to get me through this very difficult time and keep working. Anyone who pre-orders my Panasonic GH6 Shooter's Guide will really be helping. I am in financial difficulties too, on top of this. I want to keep this blog going even though I am a wreak at the moment. I am going to miss my sister enormously. She was at the heart of my family. Please don't hesitate to contact me if you wish to pass a message of support onto myself, Zara or my mum. My email address is eoshd.com@gmail.com In the future my aim is to get back to work and carry on EOSHD. Sorry it has been so quiet of late. Thanks guys.

Jeez... like... there isn't a thing that me or anyone else can say to make you or your sister feel better. Take your time after everything is said and done.... this is not going to be an easy trek. Hang in there... We will talk later - much later.

It was devastating to read your post and I am so sorry that this has happened. Your sister sounds like a remarkable person. Wishing you and your family strength and resilience as you navigate this extremely difficult time.