ntblowz

I agree with Django that feels like home video vibe, I really dont like the 50p/60p mode on youtube except for sports which i dont mind.
Good thing in PAL land is 25P still feel cinematicish vs 30p on NTSC

Look at ZV-1F... what a failure that one is, and dont get me started on the QX series!  Though still kudo for them to try something different, I just wish they could use a better sensor, the R6II's sensor seem to be pefect for E1 with FF 4K60P, enough res to crop anything and still have proper 4K.
Maybe Canon should do one out side the box vlogging camera too, they should really scratch that C50/R7C and make a E1 competitor, cause that where the money is

archaic motion? 24p is still the current cine standard. double frame rate output is literally what is called the soap opera effect:
Creating frames in-between the 24 original frames makes the movie (24FPS) look like a soap opera (30/60FPS), and this is something that many viewers don't like. 
 
Why does 60fps look like a soap opera?
It's due to motion. Soap Operas use cheaper cameras that shoot in 60 FPS rather than film that is 24 FPS. Basically, you've become accustomed to the dreamlike motion of 24 FPS being interpolated for 60 Hz TVs and now attribute higher frame-rates like 48 FPS to that of a lower quality production.
haven't we been through this before? not sure why you're getting so offended, you're the one throwing the word "cinematic" around. Sure takes more than a LUT to achieve the look. correct fps is a good place to start but hey keep ignoring this advice and do as you please. just don't get mad if people call out the videoish look of such motion, I'm far from being alone on this. in fact you are probably the only person I know around here or even on YT who consistently outputs 60p on a cine cam.

There aren't that many. Off the top of my head:
Sony F35 - Super35 Sony SRW-9000PL - Super35 Sony Genesis - Super35 Digital Bolex D16 - Super16 Ikonoskop A-Cam dII - Super16 And then you get into 2/3" CCDs, and there are a ton of those. Here's a good place to look for the Sony models. On the Panasonic side, there were the HPX and Varicam bodies. Toshiba, JVC, and Ikegami also had 2/3 CCD cameras, but they were mostly standard definition.
There were a handful of 1/2" CCD camcorders, mostly from Sony as I recall.
1/3" CCD sensors were mostly found in fixed zoom lens cameras like the HVX200, FX1, Z1U, DVX100, Canon XL/XH cameras, and some of the JVC GY cameras. But 1/3 sensors are pretty small.
Compared to today's mirrorless cameras, these cameras were mostly very large and meant to be operated on shoulder or tripods. The smallest and most manageable of the bunch was the Digital Bolex, which now goes for around $7K used.
The Sony F55 is a MOS sensor with global shutter, not a CCD camera.
If you'd like to have a small CCD camera to try out, I'd recommend the diminutive and inexpensive Lumix FZ47 (FZ48 in the UK). It's fixed lens and can't record in 24P or 25P, but it does shoot in 1080P and the 1/2.3" sensor is larger than any of the 1/3" cameras. And the image stabilization is surprisingly good, which is useful for the ~600mm equivalent zoom. Here's some footage I shot:
I personally love the camera, but I wouldn't say that the grain is good at all. If you freeze-frame the footage, you'll see a ton of temporal ghosting and macroblocking. But in motion, it's one of my favorites.
And here are some of my photos with it (JPEG only, the camera does not shoot RAW): https://distanceandelevation.com/blog/2021/8/9/bandontoportorford

I thought you said in a few posts back I was being too harsh regarding this release? 🤔😉

So I guess they gonna let this power sucking problem keep going? That is quite a disappointment. They really need to implant a serious power saving mode during standby.

Regarding IBIS I can confirm that with long lenses > 100mm (70-200, 100-500) the R5 sometimes jumps (kind of reset itself to the middle) and it is something that the R5c does not do.

I was filming in Alaska and the first day I opted for the R5 instead of the R5c due to the power consumption, in that environment I would not use and external battery, cables etc.. But I got a few shots ruined by IBIS so for day 2 I switched to the R5c and 6 batteries 😲 .

Is definitely a special use case mine where I do film a lot handheld at 300-500mm.... 

Still better than the how many firmware that A7SIII got for $3500 when it was released, A7SIII could really use the IBIS shift to make its MP much bigger for starter.  At least if I want really high resolution I have the option, rather than no option. Though I hope it will have RAW in the future like other brand do.
I kinda feel for A7SIII user, paying big money but the service that Sony provide is pretty skimpy.

Interesting is if you use it for external HDMI it can still overheat
I guess it is really for vlogging camera.

For pros FX30 is a much more reliable camera with the active cooling.
 
Sony should have priced this at $1500 to match the R8, at $2200 it is a bit overpriced with no evf, no mechanical shutter (have fun take photo under fluorescent or some odd light) , overheats in 4k60p, no crop mode 4k.

Interesting is if you use it for external HDMI it can still overheat
I guess it is really for vlogging camera.

And micro hdmi .. suddenly on Sony that is not a flaw.

Over-priced trash.
OK, it has some individual elements, but as a whole?
Nah.
FX30 easily. Or if you want a mechanical shutter (and other than Z9, I would), then S5ii, R6ii, R8, XH2/s and maybe even Nikon Z6ii…
Or Sony’s own A7iv.
This new Sony however seems to be one of those ‘paper spec cameras’ but in any real world use, is a bit shite.
I don’t like it. I had a ZV1 and I did like that. This doesn’t fix any of the (few) issues I had with the ZV1.
Neither did the other ‘in between’ one whose name I forget… ZVsomething else.
I’d rather they just have them girls names or something as it would be easier to remember…

Yes, Amazon bought it, and and finally had enough. Amazon has and had plenty of things they bought into that lost money - brick and mortar stores, hardware devices. Lots of stupid things. This was one. And Amazon bailed on those others too, like a good company should. They made a mistake. All those thousands of layoffs are due to their mistakes, including DPReview.
DPReview is a money loser, in which the leadership made no attempt to find revenue sources. Amazon is not to blame, the people running the site are.
The site is now filled with posters blaming Amazon, despite the fact that Amazon was subsidizing this no-revenue money pit for years. Not a single one these complainers spent a nickel towards the maintenance of the site. Some are saying they will never buy anything from Amazon again, as if they bought their Nikon Z9 from Amazon. Who the heck buys a serious camera (beside Instamax) from Amazon?

What REALLY happened to DPReview?

Archive Team appear to be on the case.
There are some other individual efforts to preserve the studio shot comparison content too apparently.
https://wiki.archiveteam.org/index.php/DPReview

Damn that is shocking indeed! But giving the current economy situation I can kinda see many corpo want to cut as much cost as possible.

Amazon told them in January, some left the very next week and got a new job.
During these last 3 months, it appears absolutely nobody in charge has made an effort to save the site or kick up a fuss, let alone sell what is a very valuable asset for certain other companies.
It's ridiculous that Amazon isn't considering a sale.
Jeff must be a bigger loser than even I imagine him to be.
Although not quite as big an idiot as that guy who wasted $44bn on Twitter, the likes of which can't seem to find even .00001% of that amount to preserve 25 years of photographic gear culture.

https://www.dpreview.com/news/5901145460/dpreview-com-to-close

New blahg post.
https://www.eoshd.com/news/whats-best-out-of-the-new-releases-comparing-the-canon-eos-r7-r10-fuji-x-h2-panasonic-s5-ii/

There is just... something about it...
https://www.eoshd.com/news/a-look-at-the-pentax-k-1-why-im-not-over-dslrs-for-photography/

Well in the places I am in they are selling 20% more than brand new.

My vote is to formally change the term ‘creator’ to that of ‘shitter’ from this point onwards.
But being serious for a moment and playing devils advocate, I think there is room…a need even, for ‘content creators’ alongside the more traditional titles of photographer, videographer, filmmaker etc.
Ultimately, we are defined by what we do/produce rather than the titles we give ourselves. 
Now I do have 2 creators that need to go for their morning walk in the woods… 

When our music turns rubbish and our language ugly we know there's trouble ahead. Filmmakers and photographers seem to be on the way out, to be replaced by something altogether more homogenous - the "content creator" or simply "creator". Why specialise when you can just "create stuff"?
New blog post:
https://www.eoshd.com/news/creator-replaces-filmmaker-meet-thy-creator

I have gotten to where I shoot almost exclusively with the R7 for events and hybrid photo/video work. For talking heads, long form content, concerts, etc. where the camera can be locked down and audio is more important then I use the C70. For commercial shoots and things like music videos I typically combine the C70 with the R7 as the b-cam.
For audio when running and gunning I typically use just a shotgun mic, the Canon EF 24-105mm F4.0 lens and get pretty close to the subject to try to reduce background noise. When I am working with an onscreen personality doing impromptu interviews at events then I use a Sennheiser handheld mic and G4 receiver. For talking head work I use a Sennheiser G4 transmitter and receiver combined with a mini-XLR shotgun mic into the C70.
Some of it is depending on budget as well. If the budget is pretty low I will just use the R7 simply because I don't see the point in bringing the C70 to a lower budget shoot unless it will drastically improve my workflow. If the budget is high enough then I will use the C70 even for shots that I would typically shoot with the R7 (i.e. I will rig up the C70 on a gimbal if the budget is high enough, and forgo the R7's IBIS for the C70's improved DR/IQ when shooting handheld). 
At the end of the day I definitely make my camera selections based on the project type. If the project is 90% photography and 10% video then I will probably use the R5. If its 50/50 photography/video then I will use the R7, if I need two cameras then I will pair the R7 with the C70, if its 100% video then the budget and audio requirements will make me choose the C70 or R7, etc. etc. 
The great thing about the R7, R5, and C70 is that none of them need much rigging to work and all of them will produce great quality with or without rigging/lighting. I know BM cameras tend to need more rigging/lighting to get the best results which is why with my setup I can use any camera for anything from run and gun to studio work.