Django

Yeah I'm still pretty upset the R6 didn't get any kind of overheating fix but at least R5 seems like a solid option now. I'm in the US currently and there are some pretty good deals ($3,500) not to mention the second hand market. This makes the R5 a lot more appealing than the R5C now imo since you gain IBIS, battery life etc for at least a $1000 cheaper. Kind of a game changer I guess. Its finally the killer hybrid spec camera it was meant to be and the price is getting appealing too.

FWIW, he went from C70 to FX3 to R5 to R5C.. and now back to R5?! all in the span of 10 months lol.

So they fixed the R5 overheating a.k.a auto temp shut off but didn't bother fixing it on the R6?! Now that really pisses me off. Canon is playing mind games again. They want you to fork +$4K for a non-overheating FF 4K camera. $2500 isn't good enough. Probably only fixed the R5 as they were losing sales to R5C. This really makes me wanna ditch their system.

Its certainly not a vintage mojo lens but rather a very practical APS-C zoom that covers the narrow but useful 27mm-52mm range and with a constant fast F1.8 aperture. It is very sharp and can really benefit from a Pro-Mist, upside being it resolves high-resolution exceptionally well. I really like to pair it on a P6K and I imagine will do well on a R7 too.. some "cinematic" examples of it:

That's inherent to all Fuji X-Trans cameras. I remember it drove me crazy back when I had XT2 & 5DIII. The dark reds could never be as rich as on Canon. Some shades of red were almost pinkish red and I could never get them right in post without messing up the whole CS. I remember doing multiple side by side tests and the difference was night & day. The deep reds was by far the most annoying thing about Fuji color science to me.. Hopefully ProRes/ProRes RAW mitigates this on XH2S.

Fuji XH2S also has open gate, this Fuji DP had this interesting perspective to say about it: 3:2 aspect ratio is attractive for me. I have always wondered why I usually shoot in 3:2 or 4:3 when I take photos, but as soon as I switch to video, the angle of view changes to 16:9. 3:2 allows me to use the full pixel sensor, and I was happy to be able to shoot video with the same angle of view as stills. I have to say I really like this aspect ratio, even without anamorphic lens. it reminds me of a super16/TV ratio. Bit more square and a nice change from widescreen 16:9.

right but again though aside from one crane shot he's just shooting alone on a tripod, sometimes even handheld no gimbal, no cine lens involved either:

Lol I'd normally agree with ya but if you look carefully aside from that one gimbal crane rig shot most of the shots are just the guy alone with a tripod. For the ProRes RAW recording on Atomos he's got an assistant (probably from Fuji). The rest of the visible crew are probably just typical people you'd find on any music video set (props, makeup, sound etc). It honestly wasn't overkill. Also that BTS is for two separate music videos, that's why it may seem like there's a lot people/gear.. I find this type of real-life shoot so much more interesting than pixel peeping color/DR charts or walking around backyard testing AF/IBIS.

Perhaps the first ProRes RAW shot project: The super grainy grade is a little extreme but there is just something about that 3:2 open gate mode I love. The DR looks really good too and overall this extreme grade shows the image is quite flexible. Also here is the BTS: https://youtu.be/ER_Ec8YbXss

No way. The C70 is already an RF C300 mk3 just without EVF/SDI etc. They didn't cripple it, in fact they recently gave it RAW. Besides middle codec is now standard across the range including $1500 R7. My guess is C300 mk3 will get a significant drop before being phased out for a mk4 with RF mount and new sensor, high resolution etc.

interesting, also missed the rumours of an R7C: The Canon EOS R7 C will record 7K60P in Cinema RAW Light and will reportedly have the same codec options as other Cinema EOS cameras, including the Canon EOS R5 C. https://www.canonrumors.com/a-canon-eos-r7-c-is-on-the-way-but-not-in-2022-cr3/ If priced nice and with IBIS that could be a real winner..

hmm.. so you're exclusively into EF FF lenses & FoV.. but your main cam is a S35 RF C70 & you're considering the APS-C R7 which is also RF? Obviously you could put speed boosters on both but what a convoluted approach. Not taking a dig at your gear choices as I understand the paradigm you are faced with. As for now the only FF mirrorless that don't overheat are the R5C & R3, but one doesn't have IBIS and the other is ridiculously expensive. Canon needs to release a sub $3K FF with IBIS that doesn't overheat as well as sub $6K FF cine cam. In the mean time, yeah R7 is probably as you say the accidental best choice for an affordable Canon hybrid. But in your shoes it would make better sense to go with Sony as they now have a very wide range of native compact FF lenses that compares to EF as well as FF cine cams (FX3, FX6, FX9). No adapters/boosters needed. Lot less headache. But of course, switching systems isn't a meagre affair and you're well invested in Canon so not an option I assume. I am on a dual system and even though I better appreciate the ergonomics, shooting experience, AF and skin tones of Canon, I am also at the same time tempted to dump them and go all-in with Sony. I already have the metabones speed booster so I could even keep my favourite EF lenses, and by setting the Sony to S35 mode gain the stop of light. But 90% of the time I'd probably be on native Sony lenses as I simply hate messing around with adapters (including on my R6). Also very tempted to go back to Fuji with the XH2S. Staying put at the moment but if within 6 months nothing really moves in the right direction from Canon I might seriously reconsider.

I'm very prone to "motion sickness" (car travel, sea travel, VR etc): https://en.wikipedia.org/wiki/Motion_sickness zero problems in airplanes, trains, or when I'm driving myself (only as passenger). the worst is FPS video games & VR, I get sick within seconds. Probably why I had similar reaction to the gyro stab tests..

Pretty impressive stuff and not that big of a crop-in. However viewing those tests gave me heavy motion sickness (I'm super sensitive to it), felt like I was in a FPS / VR game. Stabilisation is almost too good lol. Kudos to BlackMagic though, their name really holds true.

I think it looks superb and makes me wanna dump my gear and go out and shoot with an XH2S immediately! According to the BTS video/page it was all shot in 6K open-gate mode, mostly Flog2 and those noisy shots were at ISO8000. I like the Fuji noise though it resembles film grain not ugly chroma noise or banding. https://fujifilm-x.com/fr-fr/stories/x-h2s-short-film-where-are-you-going-x-aditya-varma/

We often tend to obsess over camera bodies but it is indeed the native lens selection that makes/breaks a system for me. And hence I can't really recommend R7 at this point. It has only 3 RF-S lenses atm. Meaning you're going to have to adapt either FF EF or EF-S. Meh. On the other hand Fuji released its most accomplished hybrid and has a plethora of excellent lenses, including new generation primes and that parafocal motorized 18-120mm F4. AF on XH2S seems to finally be on point with a very sticky face eye detection. Plus of course the Fuji IQ and the film simulations for SOOC goodness. I'm also tied into not one but two other systems (Sony & Canon) and what I like about them is they have pro cine lines (I like having mirrorless + cine cam) and both FF/S35 but I'm finding it very hard to resist going back to Fuji with the XH2S and a couple primes (18mm F1.4, 33mm 1.4, 56mm F1.2) and the new 18-120mm. Can't wait to test that camera out.

Anton Bauer Titon base is the way to go imo for proper batt life.. dummy battery p-tap mode: works handheld too, here in USB-C mode.. most annoying part of the Pocket 6Ks is the unreliable battery life metering.. another reason to go external with indicator.

Hadn't read these posts, thanks @gt3rs for the feedback. To be fair to Canon, it seems most of the R5C video 'issues' are also there on the C-line cameras. The C-line AF is not as snappy as an EOS hybrid. It can't compete for sports/action. Video playback is one by one, no quick scroll. Etc. I understand how this could be jarring for EOS users but its something C-line users are familiar with. Its true Canon should further integrate the two teams/OS's and merge the features a bit. I guess you can feel its a gen-1 type product. For me none of those would be a deal breaker though. I don't do sports/action. I guess R3 would probably be a better solution than R5C for such cases. The battery situation however seems much worse than I thought. @gt3rs Have you looked into the Titon base P-Tap kit? Seems tailored for the R5/R5C: https://www.antonbauer.com/en/kit-my-camera/canon-eos-r5/

Film doesn't underexpose well so you get crushed blacks rather quickly hence the contrasty look but it obliterates digital in highlight DR latitude. Kodak Vision has been championing their motion film stock and I remember reading it gives DR readings anywhere from 12 to 20 stops depending on scan techniques and recovery methods. You can check some of the charts yourself: https://www.kodak.com/content/products-brochures/Film/VISION-200T-Sellsheet_US_4PG-EN.pdf The wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital "dodging and burning," a very powerful tool in the colorists' toolkit, is now even more powerful—up to two stops more image information can be extracted from scene highlights in VISION3 Films. If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured on these film could be lost. Kodak has recommendations for extracting the full density range stored on high dynamic range films in a technical document titled Scanning Recommendations for Extended Dynamic Range Camera Films Also recommend some of the great accompanying videos : notice at 1:40 how the DP states he overexposed the highlights by 6-7 stops and again at 2:00 the field is 4 stops over and the sky 7 stops over before recovering the highlights. have fun achieving that kind of highlight latitude in digital! ..again at 7:37 overexposing the grassy area by 3-4 stops and perfect recovery. Just some extra food for thought when comparing film to digital.

Right, now I remember! That was the build and settings that worked best. I just might pickup a 5D3 again at some point for nostalgic reasons and to experiment with ML RAW again. Good to know the workflow in post is simplified a bit too.. Absolutely. I actually also simulate the film workflow with my Leica M9 as the playback is totally useless on the super low res display, no live view and it only takes small size SD cards that I fill to the max with only 24/36 pics available. Changes everything. I did a pro portrait shoot recently with this M9 setup and the R6, end result was well 36 shots on the Leica vs +400 on the Canon. There were great shots on both cameras but the clients favourite was by far the Leica ones (and I did not tell them which came from which camera). There was just more work/effort put into the composition, direction etc.. was an interesting experiment!

They should just retire the non Pro 6K at this point imo. Confusing lineup with so little differentiating the 6K G2 & 6K Pro.

I can deal with no playback, but no Live View + No playback? Is that how it really was (I forget its been so long)? So what you're basically shooting from the optical viewfinder or guesstimating focus? metering exposure etc? If so that's actually good for skills (its why I still love shooting film for stills) but damn thank goodness for "modern comfort" as well!

damn got excited for a second reading the thread title but yeah what a snooze announcement..

Yeah its pretty much supply & demand but also its a camera that cost $16K when released and some owners are probably more reluctant to "dump" it for peanuts. The C300mk2 is still imo a great older cam as is the FS7. Its actually a camera on my current (Canon system) upgrade list. The C300mk2 has that one elusive codec that would be my perfect default go-to: 12-bit 4:4:4 2K Clog2 internal. That codec alone places the C300mk2 the closest to ARRI's ProRes 4444 XQ. The FX6 is also FF (no speed booster needed) and has that game changing E-ND. That said the FS7 is still above class (FX9 is its replacement) and is the only cam I know that has the native ENG shoulder mount with extended arm config. Not for everyone nor for every situation but I love the ease of use and comfort of that setup and the output it gives.. here is an old pic I found on google of Andrew at photokina during release !