herein2020

I wouldn't trust a pair of R6's for a wedding unless you are shooting photography only with them. The R6 does not have any modes where it does not overheat and they still have the 30min recording limit. That's why the R7 is so interesting to me, no recording limit and so far overheating seems to be somewhat under control. Now that I have moved back to the Canon ecosystem (not that I ever really left due to my collection of EF glass), I am thinking about picking up the R7 as an all-in-one travel photo/video camera and for personal use. Currently I use a Canon T6s for things like timelapses and when I travel for personal use. I pair the T6 with the FF Canon 24-105 F4.0 L lens but I never shot video with it since it only shoots in 1080p and is pretty terrible in low light. I have some trips coming up and I've been asked to shoot some travel content but don't feel like lugging around the R5 or the C70. The R7 might be the camera I was waiting for. I still don't understand Canon's decision to use 4:2:2 color sampling instead of 4:2:0 or why their cameras switch to H.265 when shooting in CLOG3. The combination of 4:2:2 and H.265 is impossible to HW accelerate on my editing workstation and I dislike making proxies (wastes time and no one mentions the power bill from leaving your editing workstation running all night). Based on the R7's detailed specs, this holds true for the R7 as well. The footage out of my C70 on the other hand is effortless to edit. I am also concerned about the quality of the camera body. I was very disappointed in the R6, my R5 still doesn't come close to the workhorse build of my 5DIV, so I can only imagine what the body of the R7 will feel like. Panasonic of course is still cranking out magnesium bodies like the S5 but even that felt like a step down from the GH5. According to the chart below, the R7 does have an uncropped 4K60FPS shooting mode, as long as that mode does not overheat, pairing this camera with a 24-105mm lens would give me a big upgrade over the Canon T6s for both photograhy and video.

I know nearly nothing about the S1R other than its the high resolution version of the S series but I did know they all shoot above 4K depending on the rigging. Even the S5 can output 5.9K over HDMI. Panasonic really didn't hold anything back with these cameras.

You actually do not have to shoot vertical to get vertical video, most of my content I post on YT and IG and the content fits perfectly on both platforms. I would much rather shoot landscape and have the option of posting a vertical version vs shooting vertical with no ability to post a landscape version. The trick is to set up the aspect ratios in Davinci Resolve, and when you are shooting, frame the content in a way where it will work in both orientations. One of my favorite features of the S5 was the ability to set up aspect ratio guides which I used to frame the social media content within the landscape orientation. This is also why I discovered the bug in the C70 which does not let you set a custom aspect ratio; so far Canon hasn't bothered to do anything about it. I've been shooting this way so long though that I mentally adjust the framing to accommodate both in post. Here is a sample video where it is in landscape: And here is the same video on Instagram: https://www.instagram.com/p/Cdq3QJtlyQs/

My point was that all the paper specs don't mean anything if the drone won't take off every time you need it to. I live in an area surrounded by airports, and I had nothing but problems flying DJI drones due to geofencing. So for me today, the best drone on the market for what I need is the Autel EVO II 6K. Sure on paper the latest DJI drones have better camera specs, but I am shooting commercial drone jobs nearly daily with the EVO II so it is the best drone to me. When it comes to drones and cameras in general, it is the whole ecosystem that makes one platform a better fit for your work flow vs another; paper specs are only a small part of it. Pretty much any modern drone or camera is overkill for most people, its the rest of the story that makes a difference.

So true, I have added many details and focused on subtle nuances when shooting and editing and none of them were visible on a cell phone nor could you really communicate the original intent within the few seconds you could keep people's attention span so why bother. That's why I am perfectly fine with my middle of the road Canon 24-105mm and EF mount lenses.....I am shooting for my clients, not for myself and if the final product is good enough for them then it is good enough for me. When I am shooting a creative passion project for myself that's when I tend to try to refine the details.

Very true, or you could just shoot with a regular lens then add the bars on the top and bottom and call it anamorphic, your average YT viewer won't know the difference especially not on a cell phone.

That lens does look really good, if I ever do decide to switch to RF that lens would be one of the first one's I would get. For now my current setup works for me. I believe in simplicity and a single lens mount for all of my cameras works best for me, that stabilization handheld though really looked good. The Sirui lens definitely transforms the look, although I can't tell how much is the color grade and how much is the lens. For a more locked down controlled environment where you could properly pull focus, that would definitely be a good lens to have.

I quit DJI a few years ago, they make fantastic drones but the horribly invasive geofencing was the last straw for me. The best drone in the world is the one that takes off each and every time you need it to. I now use an Autel EVO II 6K and it fits my needs perfectly. I use the LAANC system here in the USA to get flight auth, I don't need my drone demanding that I get approval from it as well.

True, I think a lot of testing will be needed to see how it performs in the real world. If it had dual native ISO like the S5 it would definitely put it on par with the S5. From what I have seen of the R7, I would also say the S5's body is definitely higher quality materials. Seems like everything is going to plastic these days.

The sharpness bothered me at first, until I realized it only bothered me because YT reviewers were telling me I should be bothered. I typically shoot in the fashion industry and sharpness is not necessarily a good thing for fashion shoots and event type work; models and fashion designers don't really want you to see every detail which would include the blemishes. I did notice that in Davinci Resolve it only takes seconds to add sharpness, but I stopped doing that early on. Not to mention the Canon 24-105mm lens is far from being a sharp lens at any focal length. My 50mm and any prime for that matter is way sharper. If I shot something like product videos or macro type shoots then I would definitely use a sharper lens and probably add sharpening in post. But with the content I shoot, I really like the footage with its current level of sharpness. I do wonder if adding sharpness in post compared to shooting with a sharper image like the one that comes out of the R6 could look identical. So for me personally, the softness of the image out of the C70 is not a disappointment. The C70 just has its own "look" in my book and that's not necessarily a bad thing. My R5 arrived today and I did some quick tests with the video out of it. I actually like the C70's "look" better, the R5's video looked a little too clinical for me not to mention Davinci Resolve immediately locked up trying to play the footage and I had to create proxies......the R5 and R6 really need the XF-AVC codec. Fortunately I only got the R5 for photography; the R7 looks like it would be a much better b-cam for the type of work I do. The speedbooster is bolted to the C70 and hasn't come off since the day the C70 arrived. With my investment in EF lenses I don't plan on getting any RF lenses anytime soon if ever not to mention I really like my extra stop of light since the C70 does not have dual native ISO. My current lens lineup works pretty well for me, I just need to do more testing with the 50mm handheld to see how bad it is without lens IS. The 50mm is fantastic when I can mount the C70 to a tripod or for short handheld interviews where I have time to put it on. I would like to start using it more for handheld detail shots at events, if I am stable enough to do that then that would be perfect. I agree. For me, the ability to correct the WB just isn't worth the extra hassle of dealing with RAW. As far as skin tones go, with 10bit footage as long as the WB is correct and the lighting isn't too horribly mixed I think even that can be easily fixed in post. Maybe not to the Hollywood level, but good enough for my typical client. I shoot a lot of runway fashion shows where the lighting is absolutely terrible and I have always managed to get something useable without needing raw.

I updated my link, I put V90 Prograde into Amazon but didn't notice it came back with V60 cards. Here is the right link as well. It does not have a CFExpress slot.

I have a pair of these for when I want to shoot at the higher bitrates.

I had to check, mine is not a Mark II. I actually purchased it in Jan of 2016 and the II came out in August of 2016 so that explains why I do not have focus speed control. For me and the type of things I shoot, the XF-AVC CODEC is all I need. My typical content ends up on websites and social media where the typical user is viewing it on their cell phone at 480P, so for me the extra storage, data rates, editing workflow, and the fact I would need faster cards to shoot at 4K60FPS isn't worth the small benefit of being able to change the WB. It is really nice though knowing I could shoot in RAW if I had a high enough paying commercial gig. That is probably because they added fewer photography grade lenses into their CinemaOS database vs their photography OS. Its a minor annoyance and I am almost always shooting in 4K60FPS anyway so I can slow down the focus speed by up to 50% if I choose to in post.

I haven't read much about the R7, but with the R7 and possibly the speedbooster that @Avenger 2.0 mentioned, the R7 could actually be the perfect camera for your needs. From what I have read about the R7 it is going to be a real video and photography powerhouse (32MP sensor, R3's AF capabilities, 7 stops of IBIS, no 30min video record limit, 7K oversampled 4K, dual card slots, etc), I might even get one and use it as a dedicated C70 b-cam at some point; of course paper specs mean nothing, overheating, DR, ISO performance, etc will determine if it is all paper specs or real specs. It is almost comical to me, Canon created the R5C a monstrosity that no one asked for (8K video, two complete operating systems, huge bulky fan, etc), when all we have ever asked for is clean useable 4K, dual card slots, great AF, their usual list of photography features......all of which they put into the R7. Exactly, I should be able to focus on things like lighting, composition, audio, the gimbal work, etc....not constantly hoping the footage is in focus. All of the gimbal follow focus systems I have seen looked clunky at best to me, the only thing that makes sense for my type of work is useable in body AF and the S5 just couldn't deliver that.

So, I have now used the C70 for approximately 4 months for fashion shows, car shows, weddings, modeling promo videos....a decent mixture of the type of content I typically get hired to create. I can say that the C70 is hands down the perfect fit for my type of work and I feel like a follow up was in order after using it quite a bit. The funny thing is, a lot of my initial observations I feel are still valid after using it for those projects, so the things that have stayed the same for me are: CONTINUED DISLIKES No electronic level - very annoying I find myself having to straighten the horizon in post quite a bit, with everything else going on especially outdoors it can be difficult keeping the horizon level Digital IS - It is still jittery at times, but surprisingly when digital IS is jittery, Davinci Resolve's stabilization can usually remove it, unlike the warping effect that happens with wide angle lenses and IBIS SURPRISES Stabilization - I know I made a big deal about no IBIS, and yes, I do still think with IBIS it would be easier to work with...but...Davinci Resolve is so good at stabilizing the footage in post that I feel like the C70 was the right decision. gaining useable AF for me was worth losing IBIS. Also, the new DJI Ronin RS2 is so much better than the previous model that I find myself using it as a gimbal more than I used to. Audio Settings - I always struggle with audio, at events things can get loud quickly or at an impromptu interview the person may suddenly talk too low or too loud so in run and gun scenarios audio is always tough for me. One of my surprise favorite features is the ability to record 3 separate audio tracks from a single XLR input. I set track one to where I think it should be, track 2 to 6dB below that, and track 3 is set to auto. Out of the 3 tracks I usually end up with something perfect. I use the Azden SGM-250MX shotgun mic with the built in Mini-XLR cable to plug directly into the C70 and the setup is perfect for what I need. Favorite Lens - My favorite lens of all time for video work is the Sigma 50mm EF mount F1.4 Art lens but it does not have lens IS and I shoot mostly handheld so another surprise for me was that the Canon EF 24-105mm F4 L lens has become my favorite video lens with the C70. Thanks to the speedbooster it drops down to F2.8 which is still no lowlight monster, but with a Falcon Eyes F7 mounted to the top handle it gets the job done as long as the subject is close enough. DISAPPOINTMENTS Sensor - Yes, believe it or not, I think the DGO sensor is a little overhyped. IMO the S5's sensor was on par or slightly better than the C70's DGO sensor. The S5 with its clean ISO4000 was more useful in more situations than the C70's DGO sensor. I would actually take the S5's FF sensor in the C70 body and with the C70's AF over the C70's sensor. Autofocus - This was another surprise to me. Canon's DPAF is pretty legendary, and I know the C70 got the cinema version of that which is not as good as say the R5's AF, but the C70's AF is downright unusable in strongly backlit scenarios and low light scenarios. By lowlight I mean late dusk, not completely dark at all. I had to switch to MF a few times during low light scenarios just to record something useable. NEW DISLIKES AF Racking Speed - I don't know why, but with all of the EF lenses I have tested so far, it is not possible to change the AF speed when racking from far to near or vice versa. The speed setting is there but it is greyed out. Not sure if it is the lenses, or maybe it doesn't work through the speedbooster, or maybe it needs RF lenses to work, but it is annoying sometimes to not be able to control that. NEW LIKES Storage - I can say with confidence that SanDisk 1TB Extreme PRO SD cards combined with the C70 is an awesome combination. I never even think about running out of space no matter how much I shoot in a day. I mainly shoot XF-AVC 4K 60FPS and for this, these cards can shoot all day without any buffer problems. I can even shoot Cinema Raw LT at 4K 30FPS with no problems. 120FPS, ALL-I, and Raw 60FPS are all not possible with these cards, but I don't shoot those formats anyway. OVERALL At the end of the day I am happy with the C70, it checks enough boxes for me and improves my workflow and shooting style enough that it was definitely worth it. Gaining a 95% solution for AF, integrated ND filters, and integrated XLR inputs while still being able to use all of my EF glass is exactly what I wanted. I hope to get at least 5yrs out of it. Here is a video I shot 100% handheld for a series on an upcoming runway show. All ground video work was done with the C70, handheld, and with a single lens; the Canon 24-105mm F4. I didn't have time to change lenses, and I didn't trust no lens IS with the 50mm so I stuck with the Canon 24-105mm EF mount F4 lens. I need to do more testing handheld with the 50mm before I will trust no lens IS for a project.

From everything I have read the R5C is practically unusable for both photos and video due to horrendous battery life. I wanted to like the R5C, I delayed my C70 purchase to give the R5C some more thought, but with no IBIS, the terrible battery life, and worse DR than the C70 or the S5 I decided to once and for all give up on trying to get the perfect hybrid camera. Also, the XLR adapter for the R5C came with its own long list of compromises and high price tag. Funny enough, if the R7 does not overheat, the R7 with FF lenses might actually be the perfect hybrid camera; to me it is very similar to the S5 but with way better AF but lacking all of the excellent S5 video assist tools. So after it is all said and done, I guess I went full circle and am now officially a Canon fanboy again. I am using the money from selling all of my gear to buy an R5 for photography and as a quick B-cam for the C70 and the C70 is my A-cam for all video work.

Well for me the S5's time has finally passed. The lack of useable AF for the type of work that I do finally became too much to deal with. The Canon C70 has managed to meet and exceed my expectations in every possible video related area. Its AF is certainly not perfect either, but it is leaps and bounds ahead of the S5 and GH5 not to mention the integrated XLR inputs and internal ND filters has helped me set up and tear down faster than any previous camera I have owned. For my fast moving run and gun type event work I gave up IBIS just to gain useable AF and so today I am getting rid of my C200, both S5's, and the GH5 since I haven't even turned on any of them since getting the C70. I have now shot multiple events and projects with the C70 and it has performed nearly flawlessly every time (hint: AF is terrible in lowlight/backlit scenarios). I still think if you can use MF for your work or if the AF is good enough for the type of projects that you shoot, the S5 is without a doubt the best hybrid photo/video camera out there for the price and offers the best of both photography and video, even audio is great with the XLR adapter, but for me the C70 is without a doubt a better fit. I still think the S5's greatest niche would be as a travel / mini doc hybrid photo/video camera. With the S5 I was simply throwing away too much soft footage and it was always stressful trying to ensure people at events were in focus or that I at least managed to capture the peak action moment in focus. Even simple handheld interviews I found myself using ISO4000 all the time just to increase the F stop to try to keep people in focus or I would use a wider lens. In the end I found myself making too many compromises and putting in too much extra effort just to keep the subjects in focus. Surprisingly, at least to me, I still find the VLOG out of the S5 about even or maybe even slightly better than the CLOG2 I am getting with the C70 when it comes to dynamic range and colors. I know Canon's colors are legendary, and the C70's DGO sensor is supposed to be the best you can get below $10K at the moment, but there's something about the image quality out of the S5 with the Sigma 50mm and VLOG that I can't quite match with the C70. I probably just haven't found the right CLOG2 to Rec709 LUT yet, but with the S5's VLOG I could grade it by hand without a LUT and get better results.

You will definitely want to look into the USB-C power options for that. Many options out there.....power bricks, vmount batteries, etc. The S5 is great because it uses so little power that you do not need a PD rated USB power source.

Welcome to the S5 family, the S5 IMO is definitely a big step up from the GH5 in terms of lowlight and even image quality. The dual native ISO alone puts it in a different class from the GH5. With my GH5 I was having to shoot with 0.95 lenses to try to overcome its lowlight shortcomings. I personally never use a battery grip when shooting video, I like to be able to quickly go from handheld to gimbal, and battery grips don't play well with gimbals (makes the camera top heavy and harder to balance). Also, your cage options are typically much more limited with a battery grip attached. What I found with the S5 was the Panasonic batteries lasted so long I rarely worried about battery life. For long form event work I used a V-Mount battery and the USB-C port, this setup gave me about 8hrs of filming time. In between shooting stationary I set up my rig to be able to quickly grab the camera off the V-Mount rig and go handheld with the internal battery. You can check out my different rigging setups here. I will admit I finally moved on to the C70 because the lack of CAF with the S5 and EF lenses finally got to me, but it is still a fantastic camera with an incredible feature list. I still miss the S5's IBIS, aspect ratio guide lines, and level guide. Even the VLOG was a real joy to grade.

That could definitely be an option, I guess I am used to Canon's integrated grips which always use a larger single battery vs two of the same smaller batteries. All of Canon's add-on grips use two of the smaller batteries. Not sure what Sony or Nikon does.

I think it would be cheaper for them to continue as they do now, body without a grip but offer an add on grip, Panasonic's camera division doesn't seem exactly flush with cash right now and not everyone wants a grip. To me offering an add-on grip is a perfectly acceptable compromise. Also, the main benefit of an integrated grip is the larger battery, which is also a downside; now you need multiple chargers and two battery systems if you have one with the grip and one without. With an add-on grip it uses the same batteries.

My vote is with @webrunner5 but for me a product can reach a point to where it is so undependable that it is actually unusable. Pulsing is impossible to get rid of in post and it was also impossible to predict ahead of time when it would happen so to me that's the definition of both unusable and undependable. TBH IMO most AF is somewhat undependable, but the GH5's and S5's CAF were at the point to where for me they were so undependable that they did fall into the unusable category. My C70 on the other hand its AF is also somewhat undependable (just like every other CAF system that I've tried), but it is predictable enough for me to still consider it usable.

I would still buy the one that I have now if I had to buy one tomorrow: the EVO II 6K. Yes the Nano is better in low-light, but where I live 10-20mph sustained winds are common and the smaller drones can't handle that kind of wind. I would rather a drone that I can fly back in the wind than one that is better at low light. I shot this video last year showcasing its abilities. I left DJI due to its very invasive data collection practices and geofencing.

That's my point, when shooting in FF mode with the S1 you are using the full 6K sensor's worth of photosites to create the 4K image so there would be less noise than when using the S35 mode on the S1 which drops the photosites in use to only an 8MP region of the sensor. With the C70 it is never oversampling, so the number of photosites per MP stays the same regardless of it is in S35 mode or S16 mode.

I think the way the S1 crops in explains why there is more noise.....the photosite to resolution ratio does change in the scenario you described. In FF mode it is using an oversampled 6K image and the full sensor to produce a 4K image so there are 6K worth of photosites being used to produce the smaller image which means the noise will be less than when you crop in where you are using less of the sensor but still creating a 4K image. In that scenario yes, I can definitely see where noise would increase. I wouldn't be surprised if the oversampling is turned off completely and only the S35 (8MP) worth of photosites is used. On the C70 it would be a different story because the photosite to resolution ration stays the same; in S35 mode the full 8MP sensor is being used and a 4K image is produced; in S16 mode the crop exactly matches 2K so a 2K image is produced. Now if the S16 mode let you record in 4K that's where the noise would increase because now the photosite to resolution ratio changed. Of course I could be completely wrong and the noise could still increase noticeably in the C70 in crop mode, but on paper at least it seems like it should remain constant when looking at the fact the photosite to resolution ratio does not change. The following video was a pretty interesting test of the S1 from a crop mode to noise relationship. That is a pretty fascinating analysis. Of course I was already aware of how important getting the exposure as perfect as possible in camera is, but their explanation of other sources of noise and the randomness of light itself definitely sheds more light on the issue. Maybe the oversampling process itself adds noise to the image. I think it all goes full circle...the only real way to know if the C70 specifically has more noise in S16 mode is to test it. At the moment I still think it is a 50:50 chance. Another question is....is there any camera out there that doesn't have increased noise in crop mode?