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S5II

R5c does NOT have a slower AF vs R5. If you set both for maximum speed and reaction they are both the same speed tested with the same lens (70-200 and 100-500) going from infinity, mfd, middle back and forth on the same subjects with the same light. R5 is quite faster in AF while NOT recording as it seems to use the photo and not video AF but as soon as you are recording they are basically the same. As I have both I feel the R5c AF more sticky than the R5 in video. R5c AF has less options so you don't have animal, cars AF and the AF "zones" are more limited but you gain face only (I believe R3 and R7 now has that too but R5 not). The biggest drawback imo is that in 4k 100/120 there is no face AF. I hope they will add in a firmware update as the C70 just got it, but in contrast you can record audio at 4k 100/120 and it has a bit better quality on the R5c so I end up using more the R5c for 4k 120 than the R5.

Before ordering, I asked the DPL guy which drive he recomends. He suggested this : SABRENT 1TB Rocket NVMe PCIe M.2 2242 DRAM-less Low Power Internal High Performance SSD (SB-1342-1TB) That's what I ordered, and gave me the results above. I'm not about to shoot a long interview in cDNG, so keeping clips reasonably short is no problem for me. For anything longer, I'll shoot Braw... which just gave me an idea. Are these issues caused my the SSD or the camera? I'll plug the SSD into my VA and shoot Braw with the FP and see if it also cuts out before the disk is full.

Holy **&t you are shooting Paris FW? Now I am seriously jealous, I shoot all of the big fashion shows here in FL with the biggest being Miami SW. I was invited to NYFW and Paris FW, but no one was willing to pay for my travel. For fashion shows I've got my kit down to a single Lowepro bag and a tripod....I shot Miami SW with the C70 and R5. This year I plan on trying just the C70 and R7. In the bag I've got my mini XLR shotgun mic, Sennheiser wireless transmitter/receiver + lav mic, side handle for the C70, C70 in a cage, and R5 is just rigged with a shoulder strap for photography. I was able to shoot all of Miami SW, interviews, vendors, models, promo videos, etc. with just that setup. As far as color grading VLOG goes, I think anything can seem like anything if you pixel peep, if you just get out and shoot and grade until the footage looks good to you and your customer that's all that really matters. When looked at from that viewpoint, VLOG was no worse for me than CLOG. This year I plan on trying the R7 to see if I can add a bit of walking as well without a gimbal and to be able to switch between the R7 and C70 for video. The R7 will take over for handheld video and photography, C70 for interviews and the runway walks. I tried the monopod thing and couldn't make it work, monopods feel so limiting and still not as stable as a tripod or as dynamic as handheld, even without IBIS I would rather handheld over a monopod. It does sound like the R3 checks a lot of boxes for you as well, you definitely cannot go from a fully rigged R5C to photography very easily. I don't get why the R5C is so bad on battery life; it doesn't have to power IBIS and its the same sensor as the R5. You could set it up like I did with the C70, where it slides easily into a nato rail V-mount battery setup for long form and slides off into a handheld setup for shorter shoots and gimbal work. That is also how my R7 is setup. Below is a picture of my setup. The S5 is in the picture but the C70 and R7 both slide right into the same top tripod mount. I use the bottom tripod plate to mount the whole thing to a tripod. For fashion shows I setup the tripod and nato/v-mount (and to hold my spot in the pit), then slide off the camera and go shoot b-roll until the show starts. Of course you still would have that IBIS problem with the R5C and the slower AF......so there's no way around that if you go with the R5C

Switch to Davinci Resolve....problem solved. Just kidding (but not really). I used Premier for years, got tired of paying the subscription fees, learned Davinci Resolve in 1 week, best decision I ever made. If you shoot LOG with a DR supported camera, DR's managed color is another real time saver; there's also tutorials that help you do the same things you do in Premier in DR; I used a few of those, a few of Blackmagic's training courses, especially on color grading and project setup, and within 1wk could do everything in Resolve that I used to do in Premier. No more endless subscription fees, no more weird render failures, no more crashing, no more forced updates leading to project instability, etc. etc.

There’s always a discrepancy between premiere renders and how Macs display them. The gamma will be lifted. It’s an apple / adobe disconnect. I don’t expect it ever to be fixed tbh

Post screengrabs of your export settings

Can you give us some info on your workflow? Are you working with log footage? What are your project settings? What export settings are you using?

Yeah must admit it seems to be the best looking footage I have ever seen out of a Red camera.