gt3rs

Not sure what you want to do but If I have enable both LCD and the external HDMI screen I can use the touch screen of the LCD for focusing, Q menu etc.. it does not work when you are in the menu but who cares about it.... R5

Biggest issue of the R6 is that it does not have any non overheating modes right?

Big fan of insta360.... I have two one R (360, 1”). The quality of 360 reframed is not there yet but is so much fun.... and finally I can have some selfie too: I have a mini 2 also, big improvement over mini 1 in wind resistance and even more important video signal / range but is missing 10bit log or at list a more flat profile.

I want a mini 250 g with 1'' sensor, not interested in bigger drone as is now just a pita especially here if you need/wants to fly over people. Would be already good 10bit with log in the current mini 2

A 24 1.8 compact similar to 35 1.8 would be really cool, is apparently rumored. A wireless audio standard would be super cool so camera manufacturer could implement receivers directly in the camera.... it will never happen but it will be super cool. Fully agree, here people complain about the work needed on RAW to get more DR by applying NR, on the Sony thread people are complaining that you cannot turn off NR...... wired...

From real works test max seems to be around 900 MB/s: https://petapixel.com/2020/09/22/cfexpress-a-real-world-performance-comparison/

Thunderbolt3 or USB-C will not make any difference as the bottleneck is the CFExpress. EOS Utility is a pita for transferring videos...

correct.

I tested clog3 4k60, 8k 30 and 8k 30 raw with zebra 1+2 and 55+-5 and 95 and it always work. Bump iso to 25k to a bright source and 95 pattern should show up and then dial iso down until it changes to 55...

This is what I'm saying since a long time Canon RAW and the new RAW Light is fast and easy to edit on a good PC in Resolve on a 4k timeline, 8k timeline you need more than 8GB VRAM.....

Really cool that they listened to feedback, with the new firmware you can use the transmitter as standalone recorder: 'Always' recording mode: When this mode is activated, the transmitter will start recording audio as soon as it is switched on. It will continue recording until it is switched off, regardless of whether is it connected to the receiver. This means that you will have a continuous recording from the moment the transmitter is switched on, making this mode suitable for using the Wireless GO II as a standalone field recorder. Note that in this mode, the ‘mute’ function will not affect the on-board recording (although it will still mute the wireless transmission).

IPB Low with Clog enabled is still h265 10bit 4:2:2. My high end gaming notebook can play back 4k 60fps in real time on a 4k DCI 60p timeline with couple of nodes LUT + sharpening + basic color correction but is all done in CPU (ca 70% cpu usage), ALL-I cannot playback at 60fps in realtime.

This is truly surprising as the compression ratio is more than any C camera from Canon. 8k RAW at 1.3 Gbits/s is very very good is basically in the same ballpark as 8:1 RED 8k RAW

I agree it would have been cool to have a 10bit 4:2:0 option

Quick test both Zebra 1 and 2 shows up and I have it set at 60 +-5 and 95 in CLog3 (100 does not work in log)

Why not in RAW? I think most people that use RAW they then deliver in 4k anyway so you get the same benefits but you can control how much NR is applied compared to CLog that has some NR going on. Depending if I punch in or not I do apply more or less NR.....

It is interesting as they said in their test: https://www.slashcam.de/artikel/Test/Der-Dynamikumfang-von-Canon-EOS-R5---R6--Panasonic-S5-und-Sony-A7SIII-im-Vergleich.html that the R5 is actually on pair or even a tad better than the A7S III even before the CLog3..... "Im besten Fall sehen wir den Vorsprung der Panasonic S5 gegenüber dem restlichen Feld (Sony A7SIII, Canon EOS R5 und R6) bei maximal einer nutzbaren Blendenstufe. Sony nimmt den den Marketing-Mund mit 15 Blendenstufen am vollsten und landet dennoch in unserer Einschätzung auf dem letzten Platz, was auf den ungünstigen Mix aus Rauschunterdrückung und Kompressionsartefakten zurückzuführen ist. Es handelte sich bei unserer Betrachtung jedoch noch ausdrücklich um ein Vorserienmodell. Wir warten bereits sehnsüchtig auf ein Serienmodell der A7SIII, um dieses Verhalten noch mit mehr Messungen untersuchen zu können. Auch lässt sich mit dem gewonnenen Eindruck eventuell noch an den internen Parametern der Kamera einiges "drehen". Die von Canon genannten 12 Blendenstufen scheinen uns dagegen eher etwas untertrieben. Sowohl die R5 als auch die R6 können in der Dynamik gut mit den aktuellen 14+-Spitzenreitern von Panasonic mithalten." It is so hard to measure DR that is not really worth to look at numbers imo. In RAW R5 DR is more than fine if Clog3 brings it there (as I expect) then I really don't see why people would complain....

From where does it comes this number?

1:18 min "continues" 8k raw..... impressive..... probably under the sun will be different but from where we started with this camera is a huge improvements

Just did the upgrade. The big news for me is RAW Light as I shoot mostly RAW. RAW Light files open in Resolve 17.1 whiteout any issue and editing speed seems to be similar to the normal RAW. I need to do some more testing but the size saving is big ca 40% in >=25fps and 50% in 24fps, this is very welcomed.

28-70 the biggest issue are NDs..... I'm going back and forth if to buy it or not, currently using EF 24-70 II with vND adapter..... Is also quite heavy so on gimbal is a bit of a drawback. Quality seems to be top notch but could never test one....

Seems like a logic step to make a R5c with active cooling, hopefully not too much more expensive I may sell the 1Dx III and have my R5 + R5c..... let see in 7-8 months. C70 to me it does not really compete with the R5 (c) as is really a cinema camera and not on hybrid with internal NDs, more DR, a lot of customization, TC, serious audio and so on..... but then with ND adapter and unlimited recording R5c would be almost a perfect hybrid. Happy to have CLog3 and more edit friendly codec especially for 4k 120fps..... rest I mostly shoot RAW. I really wish they would make 4k 120fps not conformed with audio, it make no sense not to offer it. Now I use the Rode GO II internal recording for this but synching is a pain.

h265 10bit 4:2:0 would be welcomed for broader hw decoding support. Canon Raw Light if we go by c500 ii datarate it will not be smaller.... r5 8k 2.6 Gbts c500 ii 6k 2.1 Gbts CLog3 was just about time let see....

Even in IPB not sure you would really see a difference

25p at 1/50 or 50p 1/50 with dropping frame in nle should look the same, assuming ALL-I and that the camera 50p vs 25p quality is the same. For the R6 should be exactly the same as also the bandwidth is basically almost the double in ALL-I.