JR Lipartito

Here's an example of the issue.

These YouTuber's switch cameras faster than I change my underpants.
It took him 2 weeks to go C300 Mark III -> A7S III
And now A1!

Who cares!! The more unique and customised my camera is, the better. Who wants to use whatever everyone else does?

yeah I hope they could get them even smaller now with tech these days. Prores RAW doesnt do it for me, as Resolve doesnt support it and at this point I dont think they will implement it anymore.

at fairly equal compression I think you’d be hard pressed to find much difference in quality between BRAW and Prores Raw.
BRAW’s advantage is having several lower-bitrate options, with the lowest 12:1 @4K compression lightweight enough to be recorded to fast SD cards. Some people might have got higher modes to work with certain cards too. And 12:1 still holds up very well to post-production abuse, even chroma key.
The real problem for BRAW though, are the BM Video Assists themselves. To the built-in SD card slots you’ll only be able to record that lowest bit rate option (as far as I know). For anything better you’ll have to connect an SSD to the Video Assist over USB c...that’s just one too many points of contact where things can go wrong.
So I wouldn’t get too excited about this update until BM puts out a View Assist with better internal recording media.
 
 

Yeah, I think that is a hard pass for me right now. Media is cheap (1 TB WD Blue SSD cost $100), and the Ninja V is cheaper than the BM Assist, not to mention the need for a USB-C hard drive feels janky as hell. For the life of me, I don't know why they didn't simply add M2 slots at best or the old reliable 2.5 " SSD drives.

Anyone know how BRAW support is in Premiere Pro?

Don't forget raw, 6K, EVF, weather sealing, and the ability to toggle between Full-frame and APS-C at the push of a button rather than needing to swap out an adapter...overall I think the S1H speaks to different needs so it can still effectively compete with both the c70 and a7s III. In fact the only other camera that can offer all of the above features is Panasonic's own S5 (not going to count the R5 because it's such a mess...) 
The one extra thing I think Panasonic should have done to make the S1H a true "video-first" hybrid would be to replace the mechanical shutter with an ND filter. Hopefully enough people are asking for that and they'll deliver for the S1H mark II. Unlike Canon and Sony, Panasonic seems to listen to user feedback!
Also there was a wild rumor some time ago that Panasonic was developing an "S1V" which would basically be a Sony A7S III-alike with a 12mp sensor and 4K 120fps. What is interesting though is that this rumor preceded any leaks of the a7S III specs, so now I really wonder if it may have had some substance... But on the other hand, Panasonic might be happy enough with their resolution advantage for now. 

I was using a 6 year old analogy to explain the current attitude to shooting RAW today... sorry if that was confusing... 🙄
And low/mid budget are often using external recorders...  to circumvent the internal codec.  
Actually I came across a small video shoot in my home town of Reading.  They were using Pocket 6Ks....  and shooting RAW, so not all low/mid budget shooters are avoiding it.

Don't forget raw, 6K, EVF, weather sealing, and the ability to toggle between Full-frame and APS-C at the push of a button rather than needing to swap out an adapter...overall I think the S1H speaks to different needs so it can still effectively compete with both the c70 and a7s III. In fact the only other camera that can offer all of the above features is Panasonic's own S5 (not going to count the R5 because it's such a mess...) 
The one extra thing I think Panasonic should have done to make the S1H a true "video-first" hybrid would be to replace the mechanical shutter with an ND filter. Hopefully enough people are asking for that and they'll deliver for the S1H mark II. Unlike Canon and Sony, Panasonic seems to listen to user feedback!
Also there was a wild rumor some time ago that Panasonic was developing an "S1V" which would basically be a Sony A7S III-alike with a 12mp sensor and 4K 120fps. What is interesting though is that this rumor preceded any leaks of the a7S III specs, so now I really wonder if it may have had some substance... But on the other hand, Panasonic might be happy enough with their resolution advantage for now. 

You're over generalising consumers.  Many here on this forum were looking at the R5, Professionals included and those same people will look at the C70.  I am one of them.  I would argue that 8K is a feature more for a hybrid as Photographers will use it for short bursts to get stills.  Features like the upcoming RAWlite upgrade is however less an R5 feature and more what I would expect on the C70 and it makes no sense for a hybrid to have it and a dedicated video camera not to.  I don't care if its a low budget, mid budget or high budget, its laughable to even defend a company that offers Video RAW on a hybrid that is crippled by overheating, but passes on it on a dedicated cinema camera.  
This lottery of specs that Canon seems to dip in and out of for their cameras is perhaps the most frustrating aspect of their company.  C200 gets RAW but not a 10 bit codec.  Buy a C300 if you want both or the R5, except that overheats, so people say, if you want long recordings, you should buy a video camera, except when you do, you're not getting the same features the R5 has.  

6 years ago many would say they neither needed or wanted 4K, or 10 bit...  if we keep to that attitude of what is, nothing would change or improve in the Industry at all.  Why do Photographers make such good use of RAW and Videographers are stuck shooting H264.  If Videographers need and want H264 and H265, why do they transcode or use proxys.....? 
A Professional Cinema camera should look to have at least one codec that wasn't a deliverable codec.  H264 and H265 are what you use to deliver video files to YouTube.  Its not ideal for editing, whatever spin is given on it. 

It is when a photography camera gets it and in 8K....
Its not so much about heavy grades as giving a codec that plays well in editing suites even after grading.  H264 and H265 are deliverable codecs not editing codec  despite many believing them to be so.  
Its a great camera otherwise let down by a few things.  

What is the intended use?  Even as a Wedding Videpgraoher, I have benefitted from BRAW for improve workflow and handling of colour grading.  When the R5 is due RAWlite, this is an omission and shouldn't be glossed over simply because of the C70s other more positive attributes.   It offers some of what I need, but not all.  Give this camera Cinema RAWlite and this would be a perfect camera for me. Maybe 4K downsampled from a 6K one would be a nice addition too.

Green screen/vfx. Unpredictable lighting. "Artists." R3d users. Me and my R5

I am wondering why the put the best chip and image in the stills camera.
Full frame.
8K.
RAW.
So why not put that in the more expensive model as well?

Wouldn't it be just like Canon for this camera to have the DGO sensor and all the great 10 bit codecs but no raw, while the C50 gets internal raw, but with the old C200 sensor and no 10bit codecs? 😅

F4 Dof is plenty for that lens and docu work. The light gathering is the important part as it means you can leave the lens on day into night and have that amazing range for run and gun.  

What impresses me the most is how 5.9K ProRes RAW cuts like butter on my 2013 Mac Pro! All the 10bit internal codecs required transcoding, so please excuse the cliche, but this is a game changer. I don't have to upgrade my editing rig as long as this reliable little trashcan keeps sputtering along.

Here's a very boring test shot of my kitchen at ISO 12800, Sigma 24-70 f/2.8 @ f/2.8 (ungraded). The light is coming in from another room and was quite dark to the eye. If you zoom into the image there is definitely noise, but it's totally usable even without noise reduction added.

Crazy indeed. Look closely at 0:51. The AF cannot distinguish an eye from a butthole.

 
 

Guys....Canon never intended the R5 to "not" overheat. Overheating was known by Canon a long time ago in development. They "specifically" did "not" try to fix this problem early in R&D. Canon was and is perfectly fine with its recording capabilities.
My Canon rep friend told me "Cliff, the R5 will have strong recording restrictions"...over two months ago. And....he knew about this LONG before that. Again, Canon did not want the R5 to "not" have "recording restrictions".
By the way...Canon's camcorder division is perfectly happy with the fact that you can't use the R5 for long form event recording. This was part of the R5 plan from day 1 decelopment. You cannot use the R5 in place of a "camcorder".
Sorry....

They could have made the R6 the video flagship with internal 5.5K raw (Like the 1DX mkIII) and marketed the R5 primarily as a stills camera that happens to be capable of short clips at 8K raw—more for frame grabs than making movies. If that were 8K’s purpose then the heat would be a non-issue and they could still keep the 8K badge on the box. Filmmakers would flock to the R6 in droves, and I’m sure a few would also pick up the R5 for the better stills and occasional 8K beauty shot. The R6 would have been a major threat to threat to the S1H and whatever the A7SIII works out to be. But Canon doesn’t think in that big picture kind of way. They just want to set the entry point for raw video at >$4,000, whether or not it actually works. 

My understanding is that the big kicker is not so much the overheating but the time you need to wait to get the same initial recording limit. Maybe you can cool it down with a cold beer strapped to the side; when it overheats, you can drink it and put another cold one next to to get it to cool down faster. No harm in that.

And what Canon EOS R6? Is there any overheating issue too? Today I watched one Youtube video and R6 has overheating issue too. 😞
 

Yeah, regarding Prores Raw licencing, I read somewhere about implementation of PRORES RAW internally in MAVO edge 8K camera, whether there were any issues regarding patents. Kinefinity replied that "Patents are restricted to US but not in other countries and we don't sell any products in US."