ntblowz

At the weekend I bought the enigma that is the EOS R5 for myself. Foto-Meyer in Berlin were able to find me a rare unit. A huge thank you to them! What all EOS R5 owners have in common is that they have paid a lot of money for a professional video tool. We pay the money, we get to decide what happens next, and I'll be reaching out to Canon and making this clear. We need to ask them to work on a solution for overheating. It's worse than you can possibly imagine.
Just need to get something straight - my purchase is NOT an endorsement of the EOS R5. I bought it purely to cover the camera on EOSHD and to help work on fixes for the many issues this camera has. It is in no way a dependable tool for 8K, RAW, oversampled 4K, 4k 60p or 4K 120fps in the state that it's in. At the very maximum it is a pixel binned 4K 30p camera similar to the Sony A7R IV with the benefits of Canon's colour science, 10bit codec, top LCD and better ergonomics. Actually that doesn't sound so bad does it?! But this is not how it's sold to us - it is supposed to be a $4k all singing, all dancing, cutting edge 8K/4K video tool and that's how it should perform in the real world.
Read the full blog post:
https://www.eoshd.com/news/i-bought-a-canon-eos-r5-and-it-overheated-in-the-wifi-menu-also-a-look-at-potential-solutions/

To paraphrase you, @rawshooter
your defense of red is:
"Every other tech company has done illegal and/or bullying tactics before (including Olympus hiring the Yakuza) , so there is precedent for fraud and this makes it okay.  That is completely normalized behavior.
Here in America, in the 19th century, slavery was not just common, but built into the fabric of the Southern US economy.  It was the accepted form of the economic output of America.  And yet, slavery, I think we can all agree is not normalized today.  In fact, slavery is illegal today in the United States.
Therefore activists and journalists and filmmakers should exist to point out the problem of this, just as filmmakers in our cases exist to tell stories that empower and bring awareness to different conditions and issues facing our modern lives.  We should thanks filmmakers and journalists when they bring issues like this to the forefront.  For example, the filmmakers who made Black Fish, completely changed the public's understanding of Sea World.  So did Gasland, as it brought awareness to the danger of fracking.
One more thought from me about Red.  When Red started, they were a massive innovator.  They changed the face of digital cinema with the red one.  Before that, the closest digital cinematic cameras cost $400,000 or more. With the red one, as well as the Canon 5D, everything changed.  High end cinematography became within reach of many more people.
Now it is red that is trying to hold back innovation.  That alone makes the story of Red via Jinnitech, to those who remember the incredible story of Red even the more fascinating.

Whilst the latest instalment was largely focused on the administrative aspects and an implied interpretation of them, I think its worth remembering how this all started and what caused Jinnitech to go down this rabbit hole in the first place.
This is one of my own "Made In USA" 128g REDMAGs.

According to the Federal Trade Commission, for a product to qualify as "Made In USA" ....
"The product should contain no — or negligible — foreign content."
https://www.ftc.gov/tips-advice/business-center/guidance/complying-made-usa-standard
That Toshiba SSD being made in the Philippines and it representing far more than a "negligible" part of the product clearly suggests that it disqualifies it from being able to use that claim.
And thats before we get to the issue of the modern MiniMAGs having misleading definition of their actual capacity.
Everything else that has flowed or been explored about RED in the subsequent videos has stemmed from the revelations about the drives.
So, amongst the rest of it, don't lose sight of the fact that in the short term at least, the drives are the real story here because contravening the FTC regulations is actionable and the Lanham Act gives individuals and companies the right to sue anyone making such a false claim if they have been impacted by it.
How RED have conducted themselves regarding patents and corporate structures and so on are one thing but if anyone can explain why the use of "Made In USA" isn't anything but deceptive then I'm all ears.
Also, if any of you have your own opened REDMAGs that you can show pictures of to demonstrate that a claim of "Made In USA" is viable for your one then, of course, I'm all eyes.

Sure.
RED sued Jinnitech for their JinniMAG saying it was patent infringement (On a patent application filed days after RED sued him!) and several other bogus claims.
Turns out the judge threw out all the alleged charges against Jinni and the case was official closed.
He goes into detail about the company structure. Shows evidence that two corporate officers are lawyers, who apparently have almost no identity on the internet (their LinkedIn page is now deleted...their website is broken).
He shows evidence of him trying to get a minimag replaced and asking for a breakdown of the cost to fix it since they quoted him $1,600 dollars. He presses them on why he is basically told to shove off and that since he threatened them with legal action that they are refusing services to him (apparently illegal).
He shows evidence that REDs terms of service violates US UCC law which prohibits unconscionable contracts.
He goes into great detail about why they are...anyway the short of it is the terms are service are about as scummy as you can write them.
The bomb though is he says he filed suit against RED and the case will be held in December of this year.
He then goes on to say that days after the suit was filed against RED.com Inc that RED dissolved that entity, And filed a new business entity in Nevada under RED.com LLC and Jim Jannard is not listed as the corporate officer and in addition they listed the capital of this new company has having $0.
Dissolving you’re multimillion dollar company ahead of a potential class action lawsuit says something about how RED is run.

With download ready R3D files 
 

Considering a Ninja V would be cheaper than a few CFExpress cards and you get ProRes, this seems like hopeful conclusion to the heating debate. Now I just have to wait and start creating 🙏🏼

A comment on Hugh's YouTube video explains why the testing needs to be more thorough.
Most of the reviews were put out in a hurry and don't tell the whole story on the A7S III thermal limitations.
Hugh: I am an Electrical Engineer of 30+ years designing electronics for the automotive world which must maintain operation (NO shutdown) to 85C (185F) and without permanent damage over 100C (212F). The trunk of any car in Phoenix, Houston, or Florida (where I live) will easily exceed 140F for 6 months of the year. I contacted Dan and expressed my concerns with some test errors he made, his interpretations regarding heating/damaging of electronics in general, plus other variables reviewers continue to miss. It looks like you are trying to make some honest assessments here but there are a multitude of variables here that you (and others) are still missing. I don’t think Dan took my suggestions well so I will try you. As you noted, and I pointed out to Dan, internal heat generation (radiation) is outbound as well as thermal absorption (inbound). There are actually THREE thermal tests that must be made to determine if the camera is a net “source” or a “sink”; (1) standard room temp of 23C (73F), (2) outdoor/hi-temp under “sun-load”, but also CRITICAL is (3) which is simply outdoor/hi-temp in the shade! This shade reference is CRITICAL since this test will tell you if the thermal failure is absorption (inbound) vs. radiation (outbound) induced. You MUST do this third test or you cannot make ANY conclusions on thermal propagation of the camera. No reviewer is understanding this point since they are not Engineers. I get that but then they extrapolate conclusions which are simply wrong – some favoring Sony and Canon and some against both brands. Until you have a FLIR type camera showing thermal mapping of the body (AND the body/lens SYSTEM), you really don’t have any idea where the heat source/problem area is located. It is simply assumed to be worst on the back side since this is what Photographers look at all the time. It may be on the bottom or on the sides – no one knows until you look for it at least with some JK type thermocouples.

New accessory, attaches via hotshoe, produced by Tilta... 😄

Interesting comparison here (from that user):
 

Apparently you can extend the external recording life in the 4K HQ mode (30fps) if you remove any cards from within the R5:
 

Over at CR they are reporting an RF mount cinema camera is going to be announced this month. I also found an article from Sept reporting a Canon patent application for what looks like a similar form factor to the Red Komodo:
https://www.digitalcameraworld.com/news/move-over-red-canon-may-be-making-its-own-rf-mount-cinema-camera
Of course the codecs are not as good as the Red's but if these specs are true then Canon literally added every feature that I felt was missing from the Komodo (XLR, internal ND, better AF). As much as I wanted a true hybrid, this could be my GH5 replacement after all.
Same Super35 sensor as the Canon Cinema EOS C200 Internal ND filters (mechanical) up to 6 stops 2x Mini XLR inputs Full-size HDMI 4K 4:2:2 10bit in ALL-I and IPB up to 120p 1x CFexpress Type B Slot 2x SD UHS-II slots External RAW recording options up to 4K 120P 2x LP-E6NH batteries Camera size smaller than the EOS-1D X Mark III Price: $4499 USD

Might be planning to get one next year with my friend, we got a punch of Canon batteries (it share the same battery as c100), many ef lens, got RF VND adapter and Cfast cards so not going to cost us much except getting the sdi monitor. 

Sod the recall.
Canon can sell the EOS R5 to Icelandic elves and eskimos.

R is still a pretty good 1080p camera with good colour, i guess R5/R6/R are all 1080p cameras in heart, those fancy 4k/8k options are to be used very sparingly.

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. 

Maybe they did notice the bug or the overheating too late (after production began) but decided to release it anyway.
They were fairly quick to post those max record times before overheating. Maybe they thought they just could get away with it.
Going to buy myself a used EOS R. Low price, no overheating and perfect B-cam for my C100.

Did you watch the video? It’s pretty night and day when in motion.

More overheating 24p outdoors in sun. 

No camera is perfect. We all have different needs.
S1H is Netflix approved as it is one of the only large sensor hybrids that check marks their capture requirements ie. Timecode, high bitrate 10-bit 4:2:2 Log, DCI 4K, Anamorphic support. Of course the fact it has an active cooling system and won't overheat doesn't hurt. Narrative work rarely requires AF lenses so AF simply isn't an issue. It also has all the cine cam features like LUT assist, vector scopes etc.
But for hybrid shooters, solo video shooters, vloggers, youtubers etc. AutoFocus is crucial, especially in FF which rules out the Pannys.
R5 vs A7S3. Tough call. On paper, R5 should destroy A7S3. It has 45MP, 8K, DCI 4K, Better IBIS, better ergonomics, internal RAW.
..but in the real world, all that means nothing if your camera can't operate because it overheated.
so by default, it would seem A7S3 wins. However if you're an outdoor shooter in warm weather, A7S3 may overheat even faster than R5. 
and when A7S3 overheats, it completely shuts off while it appears R5 allows you to switch to pixel-binned 4K.. but HQ recovery times are long.
A7S3 does appear to be the safer bet if you're hard pressed for an upgrade. But if you already have an A73, is 12MP non-oversampled 4K really worth the 4200€ investment? Maybe for the HFR & 10-bit. I'll let you be the judge. Personally I'm not rushing in to buy either, hate being a beta-tester to first gen e-products.
 

The NFS tests are very interesting, especially Test #2 where 1500 photos were taken before switching the R5 to video mode & they still got over 17 minutes of 10-bit 8K recording.
That particular test seems to kinda contradict Gerald’s tweet about not having a single second of HQ video after shooting stills for an hour.  
Speaking of Gerald, he did a 3 hour live stream about R5/R6. I haven’t had time to watch it but just happened to skim through it and he addressed Dan Watson’s A7S3 vs R5 overheat results. He kinda cops out by saying their pre production Sony units may be different and then suggests to Dan to redo the test with the Sony camera -in the shade- as he admits direct sunlight may not dissipate heat correctly on the Sony.
Perhaps he should be the one to take the A7S3 out in the sunlight to corroborate or not Dans results.

Quite bold of BM to be releasing a new version of the ATEM Mini Pro when they have barely delivered any of the current one but here we are.
As the name suggests, this new one lets you do ISO recordings of each individual camera, audio track as well as the master tracks to a single USB drive.
It then saves your live cuts and all of those recordings (and other media such as overlays and titles etc) to a project that you import straight into DaVinci Resolve onto a timeline for further tweaking.
If you are using BM Pocket cameras then they can be recording BRAW internally at the same time and Resolve has a new function to swap these as the source tracks in that edit with a single click.
With the addition of the ISO tracks this is now some serious capability not just for straight live to air/net productions but also for anyone doing any multi-camera production that you would want to have post edit control of like a live performance recording, sports game, YouTube tutorial etc or even a low budget soap opera !
The developments that BM have been up to with the ATEM Mini series is probably not, on the surface, of that much interest to a lot of people on here but it is very innovative and is a real showcase of their end to end pipeline.
Using an ATEM Mini, the Pocket 4K/6K cameras are turned into fully fledged studio cameras with remote control of on board colour correction and automatic tally functions but without losing their ability to simultaneously still be recording BRAW cine formats internally.
So you can simultaneously do a live production in HD, use its built in encoder to stream live to the internet, hand off a USB stick with a video of the ready cut version to a client, record each individual track for easy post refinement of the mix and still retain the option to use 4K or 6K RAW master versions of those tracks to create a higher resolution finessed version with a single click.
A four camera system that can do all of that for a total of under £6K or £9K depending on whether you go with 4K or 6K is arguably as revolutionary as any of their camera releases.
I can also see it having a lot more applications in the "new normal" and offering some potential new opportunities to anyone who is already invested in Pocket4K/6K cameras.
The bonus is it is a new product launch that can be discussed without reference to thermometers and stop watches 😉 
 

https://petapixel.com/2020/07/30/canon-is-delaying-eos-r5-shipments-due-to-overheating-concerns-report/
PetaPixel picked it up. Others agreeing as well. All signs point to recall. Imagine they fix the overheating and suddenly a deluge of a7siii on the market lol. 

it is 1.6x so slightly less than eos r's 1.74x

For anyone interested, someone finally pointed me to a video showing the 1.6x crop mode footage.  To me it looks very sharp and detailed.   It is at around the 2:14 minute mark.  If  you look at the regular 4k mode before it there is a big difference in the pixelation of the street lights.    Canon's heat sheet claims this mode does not overheat.  So unlike the R you get IBIS and 10 bit internal, and maybe a little bit better autofocus in this mode.   Not ideal for the price, but at least there is a decent 4k mode for longer record times.