currensheldon

I would LOVE a small L Mount camera. Keep full frame, but can be bigger (under 500-600 grams) and then fill it out with a whole lineup of f2 primes like their 45mm f2.8. Especially 24mm f2.

Get an S1 or S1H. I've gone back and forth so many times. I love Fuji. Very much like Canon when it comes to the Cinema EOS line (especially the new ones) and love their IQ/color, but hate the EOS R lineup so far. Perhaps the R5 and R6 will change that. But the cameras that keep working and have the best IQ in the range of mirrorless/DSLR are the Panasonics, especially the S1 or S1H, but even GH5 and GH5s with correct lens choice. They never overheat. Battery life is fantastic. Timecode(!). Internal codecs galore. Will have 6k ProRres Raw soon if you want to have those data rates. But the internal codecs are fantastic. Panasonic's IBIS is leaps and bounds ahead of the others (I guess Canon's will be good too once it's released - god knows they're 5 years behind on it, so let's hope). Dual XLR adapter is fantastic. Lenses are amazing. They are a bit big, yes and the AF isn't great for video (photos it is fine), but I have had AF fail me on cameras like EOS R, C200, and Sony so many times that if I am getting paid for a shoot, I'm not using it. In my opinion, it's really not even close in terms of IQ, usage, ergonomics, features, etc etc - Panasonic makes the best cameras. And all of their files play friendly with others.

R6 is definitely starting to look pretty great. Will be an exciting launch, especially with all the new lenses as well. The R6 is definitely looking to be a better video buy than R5 - outside of the lack of 4K 120fps.

Definitely appears the R6 will be second in command to the R5 - a powerful camera but just without 8k and high megapixel count. It may ultimately be better for video shooters with lower megapixel, probably better noise performance, probably downsampling from 6k sensor to 4k, IBIS, 4k 60fps, 10-bit. Basically a 1DX III but without the 5.9k raw (which is fine to lose, really, for 90% of shoots). Might be a much better B-Cam to C300/C500/C200 than the R5 will be. I just hope they get their gunshot-loud shutter under control. Give me a Panasonic or Fuji sounding and feeling shutter, pleeeeaaaase.

Really hard to know without knowing final specs for R5 or R6. I have a feeling the R6 may be the best bet because it will give you all of the advantages of the mirrorless system but perhaps bypass all of the giant features that I'll rarely use (8k raw, 5.5 raw). I'm most interested in 10-bit 422, full-frame 4K (both in 400mbps All-I and 150mbps LongGOP). Would be great to get it in 60fps or 120fps as well, but up to 30fps in 10-bit is a must. Hoping the R6 is closer to a 1DX III but without the 5.5k raw. Either way, despite the fact that the 1DX III has great video specs, it is still their premier PHOTO camera - sports, wildlife, journalist, conflict zone camera. The R5 and R6 should both be more usable for video, I would think.

Unfortunately that was my problem with the C200 as well. Raw files were glorious, but the playback was horrible. And yea, you can do proxies, but when you have a souped up, brand new iMac, that's annoying. Compared to running 6k-8k redcode, it was awful. Whereas redcode played back like butter.

Yep - I was guessing somewhere in the $3699 - $3999 range and I'm guessing they will stick with that. I'd guess $3899 if I was a betting man. It could be a reason (along with C300 III and R6) to go back to using Canon full time after using Panasonic (EVA-1 and S1H) for the last couple of years. BUT, a lot of that will depend upon whether the R5 is actually enjoyable to use and not a total pain in the ass like the EOS R. The S1H is so fun to use, as our the Fujis for photography that I love so much. But, really hoping to unite my mounts for photo, cinema, and gimbal cam. The Komodo helps too as that can be the main video camera with the R5 as photos + video. Probably means sticking with the EF mount for awhile since I love that ND adapter, which is a bit of a bummer because the RF lenses are sweet as our Panasonic and Sigmas new mirrorless lenses.

Interesting. I have this lens, haven't used it a ton. I have the XT4 with some primes and am debating whether to keep it. If the AF is as solid as native glass, this could be a great combo. Other than the extra reach and a bit wider, do you see a big advantage of getting the adapter and using the Sigma rather than Fuji's own 18-55mm f2.8-f4? Those lenses are easy to find for $250-300 or cost the same in a kit.

Despite the monster. specs and the exciting features, I don't think they'll price this over $4,500 USD. I'd guess above the 5D range, but not in the 1DX range (something like $3899 USD would be my guess). While this has "better" specs than the 1DX Mark III, I think it is more in line with the 5D range and many people who buy the 1DX series do so because of the giant battery life, extreme durability, and tank-like size, not so much 5.5k Raw recording and megapixel count. While I'm sure the R5 will be durable and weather sealed, you'd probably still want a 1DX on the sideline of an NFL game or on safari if on assignment.

So why does Sony only have raw to external recorders and Panasonic doesn't have any internal raw?

I'm guessing Canon is more interested in selling lenses than anything else. Of course, they want to sell cameras, but it would make sense that the margins are WAY higher on lenses than on cameras. EF becoming the standard for so long definitely helped and if the RF-Mount becomes the new mirrorless mount that everyone without their own mount uses (Red, Z-Cam, Black Magic, etc), then I'm sure Canon would be very happy with that. So Canon gets compressed raw (though only to about 5:1) and Red gets mounts and sensor help. Wonder what else is going on.

I recently started a web series about Quarantine Life and shoot it mostly on the Panasonic S1H (some shot on the EOS R). Thought you'd like to see some real world footage of the S1H and maybe have a laugh as well. Like most of you, I had almost all of my work for 3-months canceled, so this is based on a very true story.

Hi All - Been a long time contributor and fan here. I had a bunch of work canceled due to Covid-19, but decided to create a web series based on the weird world of Quarantine Life. I've done 5 episodes so far and am putting out at least two a week for the foreseeable future, depending on when this all loosens up. Enjoy! If you like it, feel free to subscribe to see more every few days. Thanks!

Canon has seriously dropped the hammer with today's two major releases. Wow. Way above my expectations. I guess the cripple hammer is no more.

That fact that this thing has 10-bit in all 4K modes that are ALL using the full-width of the sensor is amazing. No other full-frame mirrorless can do full-width in 10-bit at 60fps, even. What Canon has packed into this camera is pretty amazing... Wowzers.

Holy crap. This is a monster. This makes four amazing releases in a row for Canon (C500 II, 1DX III, C300 III, R5) and makes all of those cameras way ahead of the competition at their price point. The FX9, outside of being full-frame, seems like a really silly purchase now compared to the C300 III and nothing in the DSLR/mirrorless world is even close to this R5 for video. I've been a stubborn Canon supporter (and flirted with Panasonic for a bit), but keeping all those EF lenses around and buying into their system is now really paying off. These two cameras (C300 III and R5) will be all I'll need for the next 3-5 years. Excited.

I think APS-C does have more headroom when it becomes a compact Super35 video camera, and that's what Fuji should do. Take the space of 10-bit 4k (60-120fps max) Super35 abandoned by Sony and Canon with no real updates to the C100 and FS5 in 5 - 7 years. I still think there is a HUGE gap here. Yes, mirrorless cameras are incredibly powerful and yes you could just get a C200/FS7, but I want the compact size of a C100 or XC-15 + things like internal NDs and XLRs. A compact $3k - $5k video camera from Fuji would be very successful I think. And then have the XT4 as a B-Cam. Sounds excellent.

I think Fuji would do really well if they made a mini cinema camera (XC-15 or a bit smaller than C100) with a Super35 sensor since they have so many lenses for APS-C, people love their color science, they produce a great image with X-H1/T3/T4, etc. And, since they have no upper cinema camera to protect, they could put whatever they want into it, even some things that other manufacturers won't do at this price range, like internal raw (outside of Black Magic) and IBIS (though I know "cinema people" will complain, many many many people want it, especially on the lower end of the market (under $5k). And it's gotta have NDs and some sort of dual-XLR solution. I'd be very intrigued then.

Yes, but in most fast-paced environments or observational documentary, an 11-20 is not a good range. And 36-105mm f4 equivalent isn't really either. And you often don't have a chance to change lenses. That's what is frustrating with Super35 on most cinema cameras. For set-up shoots, music videos, narrative ,etc - no big deal. But for fast-paced stuff, the lens options are pretty frustrating. Fuji is the only maker with a great range, but they don't make a dedicated video camera. Sony's range is OK (better with the 16-55mm f2.8, but NO stabilization?!), but not a fan of Sony's image. Oh well.

I think it will be closer to the FX9 and be priced around $12k. The lack of 6k, 6k 60fps, 6k raw, and a full-frame sensor is reason enough to drop it down $4-5k from C500 II. 120fps in 4K doesn't make up for all of those omissions for people who want those things, but is definitely the feature I want more compared to any of the others outside of a full-frame sensor. Would never use 6k raw due to file sizes and 4k is more than enough 99% of the time. Just hope the 120fps is included in the 4k 10-bit and not just raw. Really, really wish it were full-frame though. Working with full-frame lenses is just so much simpler and easier than trying to find decent, affordable (under $3k) Super35/APS-C lenses. The Sigma 18-35mm is really the only great, affordable lens in the range and doesn't have stabilization or near enough range for most doc-stuff.

Sony's IBIS was always OK for shooting stills and only OK for video where you didn't move - at all. But ANY movement (panning, moving around, walking, etc) was worse with Sony IBIS than just not having IBIS at all. It wasn't until I used the GH5 (and then the S1 and S1H) that I realized how amazing and useful IBIS could be. Not sure why it is so bad. As of now, Panasonic is the only manufacturer I would use IBIS with in a professional environment. But I am guessing Canon's will be on par.

I can confirm that their adapters are amazing - EF lenses work like native on EOS R. And brilliant move to add in variable ND and circular polarizers in the adapter space.

Nice to know what is coming out, but it does put a lot of potential upgrades on freeze knowing the R5, R6, and Komodo are on the horizon. Those three cameras alone (not to mention a Cinema EOS camera with RF Mount) are reason enough to invest in RF mount for the foreseeable future over L-Mount, E-Mount, MFT, etc. Hoping the R6 basically has the 1DX III specs, but without the 5.5k raw to get the price point down. - 10-bit 422 internal 4k up to 60fps - 10bit 422 internal 2k up to 120fps Add in IBIS, newer longer-lasting battery compared to EOS R, dual slots, and this would be an awesome camera. R5 will be for ruggedness, pro shooters, photographers who need 40 megapixels, and for those who need 8K, but the R6 may be the better video option for those who do mostly video. Will probably be better in low light and have no-crop in 4k, both things the R5 may struggle with a bit more. Despite my love for Panasonic's S1 and S1H, hard to argue with the RF Mount and once the R5, R6, and Komodo are announced, that's the direction I'll probably be going.

I’m really hoping for an RF Mount. i am really hoping for a full frame C300II that is basically a C500II but without the 6k and with the addition of an RF Mount and 120fps in 4k.

Fuji's IBIS looks pretty amazing. But that video also shows just how good Panasonic is at IBIS (by not being included). The GH5 and G9 are crazy impressive, but the IBIS and stabilization boost modes on the S1H are nothing short of remarkable for a full-frame camera. Truly amazing. But, Fuji definitely wins between Sony and Nikon.