Django

For sure, when I tested out the S line when it first came out, the size/weight was a huge turn off. Something about the ergonomics I didn't gel with. The L lenses are also pretty big/hefty, not sure lighting up the bodies won't create other balance issues. On the flip side, those that miss DSLRs and their rugged construction probably embrace that. Again, I am that FS7 user that still uses one today in 2022. This is obvious to me. Doesn't mean I don't wanna upgrade to a FX6/FX9, their advanced AI assisted AF (V2 firmware) being a major selling point. I'd say its a very strong minority of FX & C-line users that don't own any AF lenses. Again its one of the main appeal of both systems. And by the way, I am speaking from my perspective as an actual FX & C-line user, not hearsay. Maybe let's just agree to disagree on such broad off-topics.

This one? One of my all-time favourites! Those guys are on another level of finesse..

RED bottom of the barrel?!! cmon.. their politics were often fishy with all the overpriced proprietary stuff and the cheap OEM scandals.. and the compressed RAW patent is cringe. They sure got good lawyers it seems. But in the end the cameras deliver. And with Komodo its definitely a new chapter. Looks we finally got 6K for 6K. Its the best IQ for price factor out there imo.

haha that's hilarious: None of these can be mimicked on Red, Alexa, or any digital system. This is film. Film is part of the reason this has so many hits and likes. Point an MX at that low sun and tell me what the shadows look like, or the running figures if you flicked on HDR. Point an Alexa at the girl against the tree and tell me her skin will look anything like the kind, clear, rich image you see here. Nothing compares. Still I will retire tomorrow if this was shot anything but film. But I guess there is a reason why they say the Canon 5D2 started the FF Revolution. More impressive than 8-bit is its in 720p. Definitely a statement that bit-depth & resolution aren't the end-all. Those early 5Ds sure had some mojo though, my god. Makes me wanna pick up a 5D3 again and shoot MLRaw. Or maybe that elusive 1DC, possibly the best 8-bit camera out there?

@webrunner5 You can export to all ProRes flavours in Resolve, even free version. On a Mac at least that is..

I'm well aware of all this. Worked with steadicam operators on BMD cams and Nikon AIS glass up until about 2016. Every single shoot these days where we hire a crew, even super low budget: 1st AC is on wireless focus system, sure. This isn't news to me, and I'm not debating any of that either. However, surely you realise that outside of the film crew bubble you're in, there is an entire world of amateur, hobby, influencers and pro solo operators. I'd even say that is the main target of most of these mid-tier hybrid cameras. And while one can get around contrast based AF or MF, that doesn't negate the fact that latest-gen AF can be a strong asset for certain applications. Just like IBIS. Nobody waited for IBIS to shoot videos with their DSLRs, but we're all glad to have it standard on-board now on our MILCs. Well you'd hope so, the FS7 came out in 2014 ! The main point here though is that Canon, Nikon or Sony autofocus (FX3/FX6/FX9) puts Panasonic DFD AF to shame. I don't think it gets compared to Canon's DPAF specifically. The reality is that all mirrorless systems expect Panny have more or less caught up with DPAF. They are by far in last position as far as AF. So sure, AF is a major concern there, I'd even say it's the main hurdle keeping many of us from switching over to that system. That said, it seems like a portion of Panny users have simply accepted their fate and work around it. That's cool, doesn't mean its not a deal breaker to the other majority.

Pretty sure BRAW is proprietary and limited to BMD cams and recorders. Just like Canon RAW. CinemaDNG can go up to 14-bit so yeah if you're after that ultimate level of colour info it could be worth it.

There are substantial reasons why BRAW is better than CinemaDNG mainly file sizes and post workflow: Blackmagic RAW is much more preferable than CinemaDNG. Filmmakers that have worked with CinemaDNG know exactly how much this codec is complex from post production point of view. CinemaDNG makes post production more complicated. Furthermore, in CinemaDNG every single frame is actually separate file (image sequence), which means that before the exporting to NLE, a transcoding process must be performed. You get the RAW, but with a lot of hassle. Balckmagic RAW is much more post production friendly, since you treat it as a regular file (like ProRes).

I actually think what camera you choose can be crucial for a project like this but not for the reasons most may think. I'm thinking mostly about budget and time constraints. A big cine cam takes time to rig, to setup. do reverse angle shots etc. It all eats up precious time. Having two or even three cameras like OP can allow multi-cam or multi-rigs speeding up down time. Then you have the crew to think about. Big cam usually means first AC, 2nd AC etc. With an A7S3/FX3 you could get away with AF on gimbal shots, handheld with IBIS, monopod instead of tripod etc. This all saves you time & budget that can be allocated to more shots, location, production value. Anyways maybe OP can share his own experience & congrats to him on the music video!

12-bit H265 is an unused format, because hardware decoding just isn't there yet. Most computers struggle with even 10-bit h265. ProRes is much less compressed and therefore can be easily supported up to 12-bit. ProRes 4444 XQ which is the highest quality and indeed available on ARRIs has huge data rates (1700mbps). REDs strangle hold on RAW is for compressed RAW. I'm not sure how BRAW or Canon Raw Light get around this (I guess it's a ratio threshold).

This one is my favourite, as it always gets a mention when discussing poor AF. Right, let's compare a solo operated MILC with an ARRI on a gimbal.. with dedicated focus puller. And your comment clearly makes me thing you've never experienced latest gen video AF. FYI I learned to focus with MF. Still use MF on my Leica glass. I hire focus pullers whenever I can. I have contrast based AF on my FS7 which is my daily workhorse. I know how to adapt to it. None of those negate the fact AF has made substantial progress and can be a reliable asset. When shooting Vlog style with your own face in the frame, you're usually going to shoot one handed with some kind of Gorillapod arm or something. You may despise these types of shooters but its a valid community and one of the reasons why most video centric cameras have face detection and such.. You are so focused on yourself (pun intended) you missed the point I was making. I'm not telling you what to do with your action shoots. I'm telling you there are other scenarios, such as closer shots on bigger sensors with faster glass, where critical AF is required. Oh cmon you're the one that started plugging your GH5 and your camera footage in a Canon thread. It's systematic here. You won't find me rambling off about DPAF benefits in Panasonic threads. Could we maybe get back on topic?

I'm genuinely happy you are so satisfied with GH5's AF performance. If I were picky though I'd say those scenes aren't too challenging AF-wise with wide shots at that distance and with such wide DoF. Try that on a bigger sensor close range under F2. There are tons of other scenarios then talking heads on a tripod. Here is the GH5 clip from the YouTuber I was referencing. It's basically unwatchable and the AF just can't seem to lock on face: I'm sure you'll be quick to claim user error but that's just piss poor AF performance imo. I read he's switching to Fuji..

I knew MF was going to be your answer lol. Closing the iris is also another good workaround. I'm afraid this type of apologetic mentality is what results in Panny never improving the AF. Your loss though what can I say? 🤷‍♂️ And no one is arguing that overheating isn't a real issue. I'm just saying the time limit from the only real test is encouraging. Wait and see before crying wolf..

Agreed, crop modes can be useful. R5C does S35 in 6K & S16 in 4.6K. RAW. Well again, unless you rely heavily on AF! 😉

Not if you're on gimbal, Vlogging or certain run & gun situations. I literally just watched a video from a pretty popular solo YouTuber at a music trade show in Berlin where the entire footage was ruined because of constant wild hunting. What do you know, it was shot on a GH5. Sure you can claim its user fault but there is no denying that Panasonics DFD AF is a major setback when compared to the competition. And like it or not, strong AF is crucial for some types of shooters. The AF reliability I get from Canon, wether in stills with eye-tracking shooting wide open at F1.2 or in video with DPAF tracking is outstanding. When I have to go back to contrast-only AF on my FS7 it feels like I'm getting punished, constantly punching in to check focus. Stressing I may have missed shots. DPAF is so liberating, you won't realise it until you get used to it. I know that a lot of M43 shooters use manual glass so this doesn't concern you, but it does to others. I was just reporting Gordons testings, since he's the only one that actually performed one. All I stated was that they were pretty promising, even if indoors under controlled conditions. I also added: Sorry but I'm not sure what you are arguing against?

..and no overheat doesn't matter much either if all your footage is OOF. so yeah ying-yang. from the testing so far R7 seems to manage all the way up to 2 hours in 4Kfine making overheating a non issue. of course we'll have to wait for more real world tests but so far it seems promising on that end.

R7 is a true APS-C hybrid: 32MP stills camera & 7K supersampled 10-bit 4K Clog3. With the best AF in the game. XT4 is currently its only competitor and $300 more expensive with less MP/resolution and not as sophisticated AF. XH2S should be announced next week with some big video features expected (6K / 4K120p) but will run you $2500 and its expected to require an external active cooling kit (similar to the Tilta one for R5) to not overheat. So stay tuned for more APS-C announcements..

Grading knowledge will be more less the same no matter what system you are on. I suggest indeed starting with just log, LUTs and simple curve/color adjustments. I don't think I'd chose my camera system purely based on those credentials. Going Fuji is APS-C and brings other pros/cons. That said, what I can tell you is Clog is very easy to shoot with on R6 thanks to the Rec709 View Assist and Clog is also very easy to grade with numerous existing LUTs. Fuji Flog is much less popular, so maybe requires a bit more effort. Or maybe you are just planning on using the film simulations like Eterna and shoot SOOC. In that case Fuji will be a lot less skill demanding.

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR. Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close. The 28-70F2 is a jewel of a lens ($3,500). Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project. So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC. I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

Correct, the crop only applies to the 1:1 readout 4K60p mode. Of course it isn't end of the world. You should know by now people here just love to sh!t on Canon and focus on every little shortcoming. This isn't a bad offering for their first gen APS-C RF models. R7 destroys any Sony A6xxx cam both in specs and ergonomics. The specs are actually very close to XT4 but with a 7K oversampled mode (and it beats it on stills side & AF).

I agree with you there, although nothing seems to really beat those flagship DSLRs in terms of tank like build quality. It's all about portability now which means my R6 lives inside a cage. The new thumbwheel placement around the joystick is also rather bizarre.

There is a non crop 4K60p mode but its not oversampled (probably line skipped). XT3 doesn't have IBIS. and XT4 is currently 1700€ so more expensive and much worst AF. I do agree though that RF-S (prime) lenses need to happen if they want this APS-C line to be successful, although you could always use Canon/Sigma EF-S with an adapter.

@MrSMW Please rectify your quote. I never mentioned Dan Watson nor did I even watch his video review! As for camera systems, Canon has a pretty solid mirrorless line-up (R3, R5, R5C, R6, R7, R10, R) and lens system (EF, EF-S, RF, RF-S). With 6K/8K RAW Light, DPAF2 and imo the best ergonomics and menus, I'd go as far as saying they've taken back their leadership position. Politics aside. And despite a few gotchas R7 can do 10-bit oversampled 4K, Log, DPAF2 & 4K60p which none of the same category Sony APS-C cameras can. If the overheating really isn't an issue in 7K oversampled 4KFine mode, I really don't see why the camera wouldn't be a perfectly solid choice as an APS-C hybrid for wedding or any other pro assignment. It's pretty much the new 7D.

Ok didn't realise this was in the Mini category. Yeah depends where you're at. Here in Paris, France we've got pretty big film studios & production houses. ARRI also has offices. I literally stumble on sets in the city daily with ARRI cams & lights. My friends production house has 3 AMIRAS. they specialise in high-end Multicam shoots for TV & events. Sounds good, let us know when that happens! Oh I know that but for some reason I thought eND was a better (less polluting) solution than standard built-in NDs? could be wrong though..

again: The R7's cropped 4K/60 applies a 1.81x crop on top of the sensor's existing 1.6x crop, relative to full-frame. This will be useful for achieving a zoomed-in look but means you're using just 1/4 of the camera's sensor, so there'll be a significant noise cost in all but the best light.