currensheldon

Been on a lot of doc shoots, some small, some big. I’ve never seen AF used and it has failed me so many times during personal projects or tests that I would never use it on a shoot someone was paying me for. A shot slightly out of focus and then finding focus (like manual focusing) looks totally fine. A shot where the focus suddenly goes to the background or kicks off and starts searching is 100% totally ruined - this “unnatural” AF behavior is too common still. That has happened with Canon and Sony AF too often. I’d rather just hit it myself manually which, honestly, isn’t that difficult.

So excited for this camera. I love my S1H but use Fuji for photos because the S1H is just too heavy to use as my primary photo camera. But can't stand having multiple mounts and duplicate lenses and using adapters. This camera will become my main photo camera and it looks like it will be a great b-cam and gimbal camera to boot! Hopefully the Panasonic f1.8 primes are announced alongside it. I really thought they'd cripple this video-wise to leave room for the S1, but this has everything the S1 has and a bit more on the video side! A micro-hdmi is a bummer, but I don't like recording externally anyway and that 10-bit 422 150mbps on the S1 is incredible, so glad to see it here. All in all, at nearly 40% the size and weight of the S1, this will be a great addition to the lineup. -- Now, they really need to figure out a way to update the S1H with 120fps in 4k and keep refining the AF to compete with R5 and A7s3. 8k at GIANT file sizes is not that interesting and the 6k ProRes Raw on the S1H is amazing, so it's already there IQ-wise (and still way nicer than the A7s3 in that regard to my eyes). But 120fps in 4k is useful and should be implemented on the S1H. Even if it has a APS-C crop.

It's really true. Or just charge an extra $1000 and put in a fan and have unlimited recording times. People would have bought it. I would have bought it and then probably would have bought a Canon cinema camera (the ones they are trying to protect) to go along with it once the RF versions are released. Instead, I think I'll stick with Panasonic for awhile.

I'm going to assume that this will be much more of a photo-centered camera. This is fine with me as that's what I'm actually hoping for: a smaller L-Mount camera (550-650 grams) with at least 24-megapixels that can be my main photo camera, and then leave the S1H (and/or S1) as the main videocamera. BUT, if they can get me at least 10-bit 422 4k up to 30fps, it would be GREAT as a b-cam to the S1H. Hope it takes the same batteries as well, but that may be hard with a smaller size. Also hoping this will be a GX8 style rangefinder camera. --- Pretty crazy that we went from the Panasonic S1 being the ONLY 10-bit 4k full-frame camera and ONLY 60fps 4k full-frame camera in the mirrorless world, and now with R5, R6, and A7sIII, that has become commonplace. Which leaves me hoping that this may outshine the S1 in video specs (or at least match it), as Panasonic can't afford to lag behind in specs as that is where they have historically been better than the competition (along with reliability, build quality, colors, IQ, features (timecode, waveforms, etc), and so much more).

Wow. Those are amazing rolling shutter results. If they can get the overheating situation even somewhat figured out, I'd buy this camera in a heartbeat, especially if they start putting out RF cinema cameras.

I'd guess that the EF Mount production will slow dramatically. For high-end stuff, I think the 1DX III, C500 II, and C300 III will be the last true-professional tools in the EF Mount, outside of maybe another 5D or something similar. Since those four cameras tend to have a 4-5 year life-cycle, I doubt we'll see EF successors. With the new Cinema EOS R lineup being announced soon, the next big upgrade in 4-5 years will be for the RF Mount, which by that time will have tons of lenses and a full lineup of cinema lenses to choose from. I wouldn't be surprised if you saw a full frame RF cinema camera (and upgrade to C500) in a shorter time frame - perhaps 2 years. The M-Mount was never really alive, so it's pretty dead already. Fine for carrying around to take some photos, but no way I would use one of those to shoot any professional video work while the GH5, XT3/4, used EOS Rs, used 5D IVs, etc are laying around.

The R300 looks amazing and, with those specs, is a great buy, especially if Canon also puts out a dedicated speedbooster. All you lose is raw internal (and even that may be included at a later date) from the C300 III? The R200 on the other hand is CLOSE, but has to have a 10-bit codec at least up to 30p to be useful. Too many people ask for 10-bit now to spend any true money on an 8-bit camera in 2020. All the new mid-tier and higher-end mirrorless cameras have 10-bit internal now, so it would seem a bit crazy to have a $3500 VIDEO camera that doesn't.

These specs do seem to be too good to be true. But then again, so did the C500 II and C300 III (as well as 1DX III and R5, but those did sort of turn out to be too good to be true, functional-wise). Don't know how this wouldn't severely undercut C300 III sales if the only thing missing was raw internal (especially if this camera can do raw output). I guess other things like full XLRs, timecode, and a few other professional tools would differentiate the two, but there are definitely work-arounds for a camera that is 1/3 or 1/2 the cost. Hoping this is true, but we'll see.

Exactly. I hate Sony cameras. Zero fun to use. Panasonic's S1 and S1H are my favorite cameras to actually hold, navigate, use, and shoot with. Buttons are where I want them to be, easily programmable, easy to change WB, ISO, etc. They're just brilliant tools. Fuji is the same. Canon is a close third outside of the EOS R, which I thought was an ergonomic disaster (like a Sony, consumer camera). R5/R6 look to be better but won't know until I have them in hand. But when it comes to cinema cameras, Canon is the best. C100s, C200, and C300 III are all brilliant to use. Again, Sony's FS7 is a total pain in the ass.

Sony's IQ continues to struggle, in my opinion. The FX9 looks better than anything else they've done (outside of the Venice), but from samples, the A7sIII seems to look similar to the A7sII, FS5, etc. Skintones are meh, image feels thin, and in general just doesn't have a very pleasing look. Also, this will have internal NDs, won't overheat, has two XLRs, etc - so not sure how it won't be much more usable than the A7sIII.

This is basically EXACTLY what I've been asking for for 3-4 years. If this happens, I'd be back in Canon's camp. The C300 III is amazing. The R5 and R6 deliver on specs, but fail in real-world use. The Komodo is interesting, but have not been impressed with footage I've seen and the giant crop in 4k raw is super annoying, as well as the lack of 120fps in 4k. But this - this could be the perfect small documentary and journalism cam, as well as a great commercial and small-crew camera. The C200 has a gorgeous image, but the lack of 10-bit is a dealbreaker. I'd much rather have 10-bit recording internal in multiple flavors (as this reportedly has) and have raw external for when it is needed. Still wish they would at least allow raw up to 30p or 60p in 4k. The C200 is over three years old now and they have two new cameras with EF mount. I say cannibalize it with this RF Mount and people like me will be a Canon user again for some time. Then having the R5 has a photography camera or as an occasional B-Cam to this and the C300 III makes a lot more sense. Curious - how does this not satisfy people who want an RF-mount camera for video? These rumors, outside of not having full-frame, are near-perfect for a camera in this price range ($4-$6k).

Buy an S1H. It's actually a bummer to see so many youtubers/bloggers/influences/blah supporting Canon and Sony as they continue to under-deliver. And here is Panasonic, who for 4-5 years now has been on an absolute roll (GH5 > GH5s > EVA-1 > S1 > S1H), giving us super reliable products with the best IQ and specs on the market with things we ask for (dual XRL, timecode, video tools). Please, everyone buy Panasonic. I don't want to use a Sony in the future. And while I love the C200/C300III/C500II, I don't want a mirrorless camera that craps out after a few minutes.

GAS is the worst. Gear can sometimes be fun, but often it’s a huge waste of time to go through these cycles, read about rumors, and care about every release. You really only need to poke your head out of a hole every four years and see what’s new and if any real advancements have been made. Then do a bit of research, but what you need, go back to work for four years. might start doing that next week. Bye for now.

I have long been waiting for a solid mirrorless release from Canon. And was hoping maybe Sony would get their act together with colors and IQ. Looks like neither will happen for another 3-4 years. The Sony A7sIII specs are pretty much perfect, IMO - focusing on great 4k and great frame rates and not worried about 6k and 8k. But from what footage I've seen, zombie skin tones seem to persist. And the R5, though tempting, just seems too unreliable. So, after using Panasonic as my stopgap for almost 4 years now (GH5, S1, and now S1H), I think it's just time to admit that I'm a Panasonic Man. Once those f1.8 primes come out, Sigma releases more compact primes, and they release a smaller (500-600 gram) full-frame camera I can use for stills, then it will have everything I need. Panasonic just makes the most reliable and robust cameras with all the specs you need and have leapfrogged Canon in color and IQ with the S1 and S1H. Sure, having great AF is helpful sometimes, but it has failed me enough with the C200 and EOS R that I would never trust it on a professional shoot. Looking forward to just being happy with the S1H (especially now with 6k and 4k ProRes Raw!) for the next 2-3 years.

Woah. That Gerald Undone tweet pretty much finished the R5 for me. Huge bummer. The 20 or 30 minute record limits are usable if they are predictable. But overheating just after the camera has been ON (not even recording) or taking 30 photos in an hour (which is basically nothing) is INSANE. That makes me concerned for photos too. What if I'm a in a hot place for photography? If it gets to that overheat point and then want to shoot off that 12fps in photo mode, will that be affected? If the camera is already that hot? It's crazy to think so, but now I'm not sure. With the S1H being a reliable workhorse and the A7sIII surely fixing Sony's overheating problem (if rumors are to be believed), Canon has really blown it here. -- What Canon don't understand about filmmakers/videographers is that people like PACKAGES: a C300 with a gimbal B-Cam - OR An EVA-1 (or hopefully soon 2) with an S1(H)/GH5 B-Cam - OR A Sony FS7/X9 with A7sIII B-Cam. If they don't have a good or reliable B-Cam, then my package is ruined. Therefore I'll stick with Panasonic. And if Sony can fix their color and general image issues, I'll try that out too. Geeesh, Canon. We've been waiting five years for what thee R5/R6 promised and they blew it in the bottom of the 9th.

It is disappointing, though not a lawsuit-inducing problem. I have a shoot next week where I have a B-Cam on a car mount for the duration of the shoot while I operate the A-Cam (a C300 III). I use Canon's C-Series most often for my work and like to have a B-Cam with the same mount (EF with adapter is fine) and color and from the same manufacturer. It just makes things easy. Even if the R5 was released before the shoot, I wouldn't dare use the R5 or R6 for such a shoot because it may record for 30-minutes straight and then have to keep going (which those two cameras obviously won't do). At this point, The S1H or the GH5 are the only mirrorless cameras I would trust with such a job. When the EVA-2 comes out with an L-Mount, I'd much rather have that and the S1H as a pair than the C300 III/R5. But the S1H has such a nice image, it makes buying an $11k cinema camera not such a big deal. Wish it was a bit lighter and smaller for gimbal usage, but at least I know it's going to work.

If you want what Canon gives you the best of (in my opinion: color, general IQ in terms of a pleasing image (not necessarily sharpness), autofocus, variable ND adapter, lens selection, b-cam to their cinema cameras), then I think the R5's workarounds aren't awful. As I view it, as a b-cam to C300 III to always have on a gimbal, I can use 8k raw, 120fps, or downsampled 4k when I need the supreme IQ or on commercial shoots where I'll mostly just be firing off 15-30 second shots. But if I really must use it for long takes, then I'm perfectly OK with 5.1k oversampled, APS-C crop 4k. I'm sure it will be beautiful, not pixel-binned, and won't have to worry about heat. Maybe because I have plenty of APS-C lenses (Sigma's f1.8 lenses, Canon's 17-55mm f2.8), I don't mind using those lenses on doc-style, long-take shoots. Sure, it would be better if it didn't overheat, but keeping the body small to always have on a Ronin-S on standby is a decent tradeoff.

Very true. We're seeing it everywhere, unfortunately. Every Netflix trailer is exactly the same, especially in the doc and doc-series space. Subjects of docs are executive producers of their films and pretty much any celebrity doc has become a long commercial for that particular celebrity. But Youtube especially is just giant advertisements over and over and over again - useful now and again when you are trying to make a purchasing decision, but if people actually view it as real content, pretty damaging. Not to mention that you're basically watching someone like McKinnon (and soooooo many others) and he gets paid so you can watch HIM buy and receive all sorts of new toys and live an awesome life and go on free trips. There is a reason that more digital time, social media time, phone time, etc is directly correlated with rates of depression.

The only way the overheating is a big issue is if it consistently overheats in 4K 24-60fps in 10-bit 422. Otherwise, it's a non-issue as it's a tiny body for 8k raw or 4k 120fps. Who is shooting 4k 120fps for longer than a few minutes (and even that seems insanely long)? Only Ang Lee and nobody liked that. We like to think camera companies cripple their cameras to spite us or something, but there are obviously some technical limitations to processing power, resolution, and frame rates. Panasonic gave us all sorts of internal codecs, 6k, good frame rates, amazing IBIS, good battery life, no record limits, and NO overheating and we all cry "It's TOO BIG!!" or "The video AF SUCKS!" Canon tries to stuff all of their best tech into a smaller body, gives us the MAIN big things we ask for (10-bit 4k up to 60fps with great AF and amazing IBIS), and then threw in some serious goodies like 8k raw and 120fps in 4k but mentions "hey, might overheat because we didn't want tot make a 1200 gram camera like Panasonic," and we LOSE OUR MINDS!! How. Dare. They?

Will wait to see more tests on both overheating and rolling shutter before writing the camera off completely. The record limits are the same as every other manufacturer besides Panasonic. For paid video work, I'd definitely only incorporate R5 as a B-Cam to another Canon C-series camera, so for 20-30 second gimbal shots or low-key b-roll shots, it will certainly be up to the task. Wonder if the R6 will have any overheating issues. Still a few more weeks/months before we have all the answers.

Why are we bashing Canon for including 8k raw INTERNALLY? They also could have just left it at that, but also included All-I and IPB in 8K - a pretty amazing inclusion. Add on to that that they do give you all of the great internal 10-bit codecs (All-I and IPB) in 4K and HD and up to 120fps in 4K, why are we complaining? If you don't want the giant file sizes, just use one of the other modes. Solved AND you still get 10-bit 422. If you want the highest quality and don't care about thousands of dollars of storage, use raw and All-I. Or use every other camera manufacturer (outside of Panasonic) and just shoot in 8-bit 420 up to 30fps or to an external recorder. What Canon has done with these two cameras is pretty mind-blowing. I thought the S1H would be king (and in some ways it still is) for another year or two, but these cameras are close to top of the heap. Yes, I would have preferred the Canon R6 to have 4k raw at much smaller file sizes, but hard to complain when they have given us so much in a seriously compact form factor. I love the S1H, but it won't ever be my photo camera due to size and weight, so the R5 could easily become both video and photo for me (or the R6).

Seems like the R6 will have 10-bit video, but only in IPB and not ALL-I as well like the R5 and 1DX III. That's a bummer, because for 4K, the All-I, 10-bit codec on a 20-megapixel camera sounds better than one on a 45-megapixel camera for low-light and downsampling. On the price front, $3899 seems like a great deal for the R5 - basically has the speed of an A9 (12fps/20fps), with the megapixel count of an A7r (40+), the codecs (and then some) of an S1H, with what may be the best IBIS in the business (perhaps outside of Panasonic). Don't know that last one for sure yet, but Canon tends to be late to certain technology because they don't rush it and tend to be more robust than Sony or Nikon, whose IBIS is shaky at best.

Also hoping that the C-Log is also C-Log 2 and/or C-Log 3. Regular C-Log just doesn't have the DR that the others allow.

Getting pretty exciting! I gotta say, despite my belief that the EOS R had just awful UI, these cameras are looking very exciting and maybe (finally) everything in one package. Sony has tried to pour lots into their mirrorless cameras, but never got 10-bit and their color is dreadful compared to Canon/Fuji/Panasonic. Panasonic S1(H) is close to being perfect but they are large and don't have good AF at all. With the R5 and R6, we get Canon's color and IQ (perhaps both best in class), Canon's AF (seemingly updated), internal Raw, 10-bit codecs, high frame rates, option to have a variable ND "in-camera" (see: adapter), IBIS, and all in a pretty compact mirrorless package. Not to mention 40+ megapixel stills and Canon's amazing RF glass. Frankly, anything at or around $4k for the R5 seems like a pretty darn good deal. It's a very, very impressive list. I love my S1H as I think it has IQ that rivals cameras double (or triple) its price point and has the dual XLR adapter. And I love Fuji for photos due to their compactness, but perhaps the R5 could replace both those systems and match better with the cinema cameras I usually use (Canon C series). Pretty impressive and excited to see what tomorrow brings.

Agreed. Love Sigma, both what they make and sell as well as their philosophy. Really hoping they can get those APS-C lenses onto Fuji X. Also would love if they continue with F2 (in the vein of the 45mm f2.8, but faster) primes for the L-Mount and other mirrorless mounts. Love their quality and price, but most of their primes and zooms are insanely large and heavy. And more cameras too, of course.