A_Urquhart

Haha, yeah but nah........ I'm done with Canon's hybrid/mirrorless line... whatever you want to call them. I just can't support a company like Canon when there are so many other great options out there. There really is no need to deal with Canon's bullshit.

Yep, there are so many great cameras out there ...there really is no need to be dealing with Canon's BS.

But if the 'overheat' issue is nothing more than a timer of such and no actual overheating occurs as Andrews seems to suggest, then why would they need to recall any units? Surely Canon could save face by putting their hands up saying that there is an issue with the firmware and issue a prompt firmware fix? If they took this approach, most people would forget about this whole saga in a matter of weeks or months. None of this makes any sense but Canon's silence on the whole saga is what most concerns me. After the lies and silence, I for one, will never buy a Canon DSLR again.

Great job on this BTM_Pix. This time of flight sensor with distance readout could come in very handy for focus pullers . Any chance the TOF sensor could be seperate to the display? Ideally I would mount the TOF sensor above the lens and have the display on the side of the camera for the Focus Puller to see. Like a CineTape setup. Or alternatively, you could have it in an all in one box like you have done but have the display on the side? Also eagerly awaiting the option to use it on manual cine lenses via the motor based option you previously mentioned. If these two features were implemented, you'd have my money. Keep up the amazing work!

So much time being waisted on this camera. Yep, it overheats! Yep, it's not fit for purpose! Yep, you knew this and still gave Canon your money. Be disappointed in yourself, rather than Canon. Canon made a huge cock up, but you decided to buy into it rather than avoiding it.

All they need to do is adopt the protocol and maybe add an extra Ethernet port so you have a dedicated ATEM control port and a network port, although one should be able to do both. Then, to add extra NDI inputs or outputs, just add a router. ANY NDI source connected via Ethernet or Wifi can then be seen. As NDI supports Alpha Channel, it's a very easy way to add graphics as well as many other sources. No special hardware required but the software must support it.

This looks great but BMD really need to start implementing NDI and SRT. Especially in times like we are in now, more and more productions need remote contributors. NDI and SRT would really open up a world of possibilities.

What's more, people bang on and on about colour science, but then want a camera that can see in the dark at ISO10,000+ and expect great colour. Don't get me wrong, colour science is a thing (I use Fuji for stills and love the SOOC Jpegs) but a slight colour cast can easily be rectified in post, or even in camera if you know what you're doing....which, if you are going to spend this much money on a mirrorless camera, I would assume you do. I'll reserve judgment on any cameras colour until I see the Camera originals myself.

That 'Japan Mode' is a shocker! To be honest, Sony have NEVER done themselves any justice in the videos they produce to promote their Alpha line. I don't know who or where they get made, but we will see so much better examples once the camera is out. But then yeah, I see your point for people who just want files SOOC, the Sony may not be the fastest or easiest to deal with.

Aaaaand that's what it all comes down to! How can anyone here judge the colour performance of a camera based on some YouTube videos? The only way to judge is to take the camera original files and put them into Resolve yourself! And even then, as we are not dealing with RAW files, the lighting will play a big part. Sure, in the hands of someone who doesn't know what they're doing, a certain cameras charachteristic may be too dominant ( and I see this a lot in Sony videos) but now that we have a decent, robust 10bit codec, these issues are much easier to deal with.

Nothing wrong with the colour. If you can't make great images with it, blame yourself not the camera's colour.

This! Why are people so desperate to turn their gear over so quickly when the tool they have is perfectly fine? I was seriously considering the A7SIII as a B-Cam for the many shoots I do on the FX9 which until now, I have used a Pocket4K for. I haven't read anything other than what's on this thread until know but this camera overheats as well? Really? So, Sony spend three years on this camera making it a video powerhouse and they confine it to a mirrorless body that overheats? Crazy! I don't know about anyone else here, but I almost never shoot in the rain and when I do, it's easy for me to fashion up a little plastic rain cover over my Pocket4k, FX9, or whatever other camera I'm using.... I do however, shoot in sun and warm temperatures especially when shooting sports stories. I'll take a few ventilation ports and even a small fan over a tiny weather sealed mirrorless body any day of the week, any season of the year!! I can see when it's going to rain and prepare for it, I can't constantly try to keep a camera from overheating when I'm shooting outside. Also, I'f you are using a small external monitor, they are not weather sealed anyway so what's the point for us video shooters? So, I guess I'll stick to the Pocket4K for now. None of the producers I work for seem to have any issues with the colour difference between the FX9 and P4k........no reason to change.

Why do you need ProRes? Don't get me wrong, ProRes is a great format, but so is Sony's XAVC.

Yeah, I highly doubt you would need the extension unit for the A7SIII. That would make no sense at all.

Such a terrible 'solution' to record the 16bit RAW. You need the extension unit AND the Atomos recorder. Remember when you could record the 12bit RAW output of the FS700 just by using an Odyssey7Q. That camera with the 7Q was so far ahead of its time. You could record CinemaDNG or do a RAW to ProRes conversion (which looked fantastic!) at 4K60p or 2k 240p. You could even do 4K120p in burst mode using an end trigger. Had internal ND filter wheel........I still have mine and it holds it's own against most cameras today!

Otherwise you can still render out to 10bit codecs despite the GFX card.

Not all 10bit is created equal......even among the 4:2:2 flavours. I have no issues working with 10bit ProRes files or XAVC files from the FX9 and FS7 but the crap that comes out of the GH5 has given me grief in the past. That's purely for display purposes. You can still edit 4:2:2 on a machine with an RTX card just fine. GTX cards don't support it either and I edit 4:2:2 material often on a laptop with a GTX1660 card. If you need 10bit 4:2:2 output to a monitor, use a cheap Blackmagic Ultrastudio Mini monitor to get 10bit to your supported monitor.

80% of my work is commercials and 10% music videos. On a normal shoot day, the camera is only ever powered down for battery changes, lunch break and location changes that require loading back into a van for travel. All other times, cameras are kept on. "For professional use......" Surely if what we are seeing now ends up being the case for the final release, no professional would risk their career on a camera like this?

There is surely no way that any self respecting camera manufacturer would get people excited about 8K AND purposely cripple the camera by allowing it to overheat. This would just give people the idea that you don't know how to engineer a product. Cripple it by leaving out the high end features, don't cripple it by making yourself look incompetent! I think a cock up of epic proportions has happened somewhere along the way at Canon, this surely can't be deliberate.

What I mean is that for people who want to use this as a serious video tool, which I think is C5D's target audience, he's basically saying "don't bother". The run times indoors, outdoors etc that you wanted listed, while yes, they would have been interesting info to have, are not things anyone interested in video production should have to worry about in 2020. I'm eager to see what the Sony A7SIII is like but no matter how great the features are, if it overheats at all, it's a non starter. What good is the best AF and IBIS (Not the reasons I'll be buying the camera) if the camera is shut down for 20mins and you can't shoot?

You really think he would be that disappointed after 3 hours of straight use? I think not. Agree that the 'review' is not perfect, but it told me everything I needed to know.

All those things you mentioned above.......they shouldn't matter in a video camera! It's really as simple as that. And while the r5 and R6 aren't primarily 'video cameras' they are promoted as video tools. He was not able to create the piece he wanted to and the camera dictated how the shoot unfolded. To anyone who want's to use this camera more than just filming a few clips of the kids.....that is all you need to know. I look forward to seeing your review sometime soon.

We had one that contributed to the forum, he shared a ton of great information and got zero respect from users here so left. Just watched Behrini's video and I think he did a good job of confirming what I already knew. Out in the real world, this camera is useless for video. At least he produced a real world video...Peter Mckinnon zoomed around on quad bikes........as a motorcyclist myself, when you are moving out in the open at 40+kph , the wind chill factor really helps keep things cool!!No wonder his camera didn't overheat, it had constant airflow! While Gerald may have given some run times, did he say if these run times where on a tripod or in the hand? Judging by most users here, people who want a camera with IBIS and AF are wanting a camera that they can use in the hand, nun n gun and to be inconspicuous. I think the camera in the hand will overheat faster than on a tripod. No-one has given the perfect review yet but at least Johnny did a good job of providing real world information and a finished product that gave the viewer a rough idea of how he used the camera. One thing I do find interesting is that people are more willing to make do with overheating vs poor battery life. As an example, The Pocket4K on release had (and still has!) poor battery life. But, after 45mins I can put in a fresh battery and keep shooting. The uproar from many forum members was way over the top and suggested that the camera was useless. Now, imagine if your cameras battery died after 30mins but........you couldn't put a new battery in for at least 20mins and even then, the new battery was only going to last 3-4mins of shooting. THIS is what we are pretty much seeing in the R5/6. This is reason to get angry! Who want's a camera that could decide to shut down at ANY given moment and then can't be revived for 20+mins? Basically, for video, it's not fit for purpose.

If what we are seeing is true, this camera looks fantastic! Let's hope it doesn't have ANY overheating issues. I do a lot of shoots with the FX9 and until now, have been using the P4K as a B Cam on a gimbal for smaller shoots. Having a small full frame camera like this, with hopefully the same colour science to the FX9 would be a great match. FX9 image is so nice, I don't really need RAW for the most part as long as I have a good 10bit codec.

I've had to deal with BMD a few times over the last 5 years. All my dealings in Australia have been great. You speak to a local who generally knows their stuff and seem genuinely happy to help. In the USA however, a completely different story!