Kino

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec: In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

If you look back on the clips that were posted, such as the plane at the airport, you can see that while Komodo has trouble with noise and low light, the color fidelity is not sacrificed as it can be with a lot of cameras in the $6K range. When the lights go down, the bit depth does not suffer: it does not go "thin" or start looking like 8-bit footage when you withdraw light. I can't speak to the colors in the grading process as I haven't downloaded any of the R3D files, but you can probably get it to match any of the modern RED sensors close enough. This is, after all, intended as a gimbal camera and not as a main one. So it is somewhat taking the place of the very capable RED Raven 4.5K, albeit in a very different marketplace. Nowadays, for just two thousand more, you can get a Kinefinity MAVO LF ($8K brain), which is an incredible camera for the price and I think a much better option as a proper cinema cam:

Has anyone tried comparing the R5 overheating and recovery times with the BG-R10 battery grip in place?

I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR: Then again, for $6K, you are getting a "discount Dragon," so no complaints!

I have no doubt this 8K sensor will find its way into Canon's cine lineup with proper heat management. But you will be paying a lot more cash for this privilege. Like any Japanese conglomerate, Canon are masters of product differentiation. They will never give you everything in one product and they will never give you more for less. Indeed, it turns out this camera has amazing RS performance, but it is otherwise hobbled vs. the 1DX III when it comes to usability for video. It also lacks the more creamy look of the 1DX III and has slightly less DR. You can see how it clips easier in this test: :

I watched the whole presentation live on their YT channel weeks ago. Grant did say you can switch the mount to EF by purchasing it separately, but my point is that it is a camera intended for high-end PL glass. That's not to say you can't use EF glass or that it won't work at all. On Blackmagic Forum, they posted a still image from the 12K camera using a Sigma 18-35 EF, so it is possible (but not ideal).

I'm sure it's great, although FF 8K would have been much more sensible with less demanding optics. The optical challenge in resolving 12K at the Super 35mm sensor size requires lenses that cost far more than the Blackmagic camera. It's a camera for rental houses, which is why it ships with a PL mount. There, they can rent you the $40K Cooke lenses you will need for that purpose.

IBIS is no substitute for a stabilizer or tripod, unfortunately. I believe 8K RAW at Full Frame is ideal for landscape and architectural videography as well as stock footage. VFX guys and product shooters (commercials, ads) would also find it useful, I'm sure.

Ooh la la! There is a bit too much contrast, but it is a nice image overall. There is also significant noise in some of the night shots, but that might be user error.

If you count the 12th stop on the Pocket, which is just barely off the noise floor, you would have to count the 13th stop on the Komodo. In either case, Komodo demonstrates a 1-stop improvement. Moreover, Komodo has 2 usable stops at or above 80 IRE and a much flatter curve overall. And this is to say nothing of the lack of an AA filter on the Pocket. RED, by contrast, employs very aggressive OLPFs that soften the image and give it a more filmic look. I do think Komodo is a bit soft for a 6K camera as a result, but that is just my preference.

Engineering guy: "I shot an entire wedding on the R5 in 1080P and it didn't overheat": He even has to concede that the LOG on the R5 is not as flat as the EOS R. Like I said, this stuff just writes itself . . .

This Canon patent was filed last year for the 1D body. It might find its way to the next 1DX or perhaps a "1DC II." Still, I would not rule out a new mirrorless flagship ("1RX") or a proper cinema camera to host this 8K RAW implementation. Patience is key. Good things come to those who wait . . .

RS is highly visible throughout the train sequence:

Not for me. RS would not be an issue in most situations (static/tripod shots, sliders, and gimbals) and is greatly reduced in 60fps. You can even shoot 1.3 crop and 60fps to retain the DPAF. There is no other FF camera with internal 5.5K RAW and all these features for that price. On top of that, it can produce a very filmic image and will retain its value as an investment in case you need to sell it:

Moc Nguyen always seems to get the best out of the R5: Is this getting closer to the 1DX III image quality? I think it is still a step below in terms of DR and creaminess.

One would assume so, and the camera is certainly not going to "explode," but you cannot be sure there will be no damage due to repeated overheating. There are no guarantees when it comes to electronics overheating. I've burned out plenty of electronic components (capacitors, circuit boards, light engines, etc.) over the years in TVs, monitors, and PC components, even with such throttling protection in place. With Canon, I've always said that they are the most reliable as the Toyota/Lexus of cameras, but they have never had a problem like this before. This is uncharted waters for Canon and its customers.

R5 overheats after 9 minutes in All-i 8K 24/30 fps (not even RAW) when testing the camera in the car (10:20). Then, a little while later when he starts recording again, it overheats much faster. This camera is basically unusable when recording longer than 1-minute clips. You also have to wonder what is happening to the long-term health of the internals (e.g., circuit board) considering the excessive heat generation. This $4K investment could easily burn out its circuits after the warranty period.

R5's 4k 120fps is super clean and very impressive, but the camera in C-log simply lacks the DR of competitors like the S1H. Perhaps C-log 3 will help:

The G2 even does 300 fps in HD:

The 4k 120fps out of the URSA G2 should be added to that list.

This stuff just writes itself . . .

I love the URSA Mini Pro bodies and am delighted they chose to keep it. I never had the pleasure of owning one, but I would definitely purchase the shoulder mount and the EVF at some point. I hate shooting without an EVF in bright sunlight. Like the FS7, the UMP form factor reminds me of the days when we shot on film with 16mm cameras. All you get from RED/Kinefinity/ZCAM is a shoe box with an articulating screen on top. What am I supposed to do with that?

Even Lok got one on "First Lok." Here, he shows why it is Canon's best vlog cam . . . until it gets too warm and you have to switch hands. https://www.youtube.com/watch?v=vbqtkR_yyjM

I don't think it is going to win any DR contests, if that is what you mean. But if you keep the camera within its limits, it can generate some decent footage with no apparent noise: http://vimeo.com/428556668 http://www.youtube.com/watch?v=UskTIP40HTQ But, yes, overall the footage has been rather disappointing from a "filmic" perspective. Most of what we have seen demonstrates limited DR (around 10-11 stops) and a "thinning" of the color bit depth: Some of that poor quality probably has to do with user error or lack of proper grading options. Otherwise, it is Canon's way of telling us to buy the 1DX III for video.

There are many things to consider beyond image quality and spec sheets if you have never owned a BM camera. I believe you mentioned on another thread that you owned a RED Helium previously and that you shoot 8K for display manufacturers. Well, this is different. You are leaving the castle and joining the peasants. Since we are talking about your livelihood, I would not purchase a $10K BM camera without an extended warranty of 3-5 years. Now if you are selling stock footage at 8K RAW, you may have a problem with selling BRAW as it has not enjoyed the universal adoption of R3D files until very recently. I think BM released BRAW plugins for Adobe and Avid just last year. If you want to rent your camera out for the maximum fee, the RED is also a better choice in that regard. Many (non-technical) people in the industry have never heard of BM, but they all know and want RED. This is due to ignorance perhaps, but it is reality. The URSA 12K looks very impressive in J.B.'s controlled skin tone tests. Colors and skin tones are solid and the noise pattern is so finite that you can hardly see it. But the outdoor shots Grant showed in his presentation were nothing special in terms of DR or color. I would wait a few weeks until you get more test footage in challenging outdoor conditions.