jpfilmz

This is a great camera someone like me that operates quickly and with a small agile crew.  I can fit a R5C, R5, and EOSR all battery grips into one bag plus lenses and audio gear….break them out and attach to a lens and tripod super fast for multi camera/angle shoots.  R5C will be my new A camera.
R5,EOSR, and C100MK2

As much as I hate micro HDMI, it does work (especially with a cage offering lock support).
But I just don't think the R5C is going to be aimed at shooters with full crews ( focus pullers, directors etc ).
Most likely one-man run & gun that needs photo/video inside a single cam..

Keep the site. Look at what happened today....Facebook, IG, WhatsApp all down.  Decentralized content will make a comeback.

Keep the site. Look at what happened today....Facebook, IG, WhatsApp all down.  Decentralized content will make a comeback.

Keep the site. Look at what happened today....Facebook, IG, WhatsApp all down.  Decentralized content will make a comeback.

I've been using a FXLion 50wh and 150wh vmount battery interchangeably with power through a usbc cord with a usb adaptor to connect to the battery side to power it.  For some reason the usbc out from the FXLion battery would not supply power to the fan but the USB port did.

Picked one up last week and finally got to to test it out. It does indeed extend record times and keeps the camera cooler. With the fan set to high in a 75 degree interior I was able to record to a 512 GB CF Express card 3 times with a overheat shutdown but for stopping the test.  That's about 78 mins of 8k raw recording. The Temp icon came on about half way through the 2nd card recording and stays on but the camera doesn't shut down. 
 

 

 

 

 

Picked one up last week and finally got to to test it out. It does indeed extend record times and keeps the camera cooler. With the fan set to high in a 75 degree interior I was able to record to a 512 GB CF Express card 3 times with a overheat shutdown but for stopping the test.  That's about 78 mins of 8k raw recording. The Temp icon came on about half way through the 2nd card recording and stays on but the camera doesn't shut down. 
 

 

 

 

 

Picked one up last week and finally got to to test it out. It does indeed extend record times and keeps the camera cooler. With the fan set to high in a 75 degree interior I was able to record to a 512 GB CF Express card 3 times with a overheat shutdown but for stopping the test.  That's about 78 mins of 8k raw recording. The Temp icon came on about half way through the 2nd card recording and stays on but the camera doesn't shut down. 
 

 

 

 

 

Picked one up last week and finally got to to test it out. It does indeed extend record times and keeps the camera cooler. With the fan set to high in a 75 degree interior I was able to record to a 512 GB CF Express card 3 times with a overheat shutdown but for stopping the test.  That's about 78 mins of 8k raw recording. The Temp icon came on about half way through the 2nd card recording and stays on but the camera doesn't shut down. 
 

 

 

 

 

I have been shooting video and photo quite extensively with my R5 this summer and got some experience, but have in mind that I'm UncleBob and not a professional. I've been so happy with it I can easily end up sounding like a Canon-fanboy. I'll try not to repeat myself raving about the autofocus, but here are some new revelations:
- 256 GB CFExpress cards run out fast shooting 8K RAW or 4k 120. It's tempting to get a 512 GB card.
- I've mostly been shooting 4k HQ and 4k 120 and I can without a doubt say that the limitation in the image quality comes from the user (me) and not from the camera.
- I haven't seen the overheat warning once, but I do live in a cold country.
- The variable ND-adapter + clog 3 makes it easy to protect highlights and I haven't had any problems fitting the whole dynamic range within the histogram (unless I'm doing stupid stuff like filming the sun).
- I love the variable ND-adapter, but it works so well for video that it also gives me some annoyances. 1) I'm hesitant to get RF glass since it won't work with the new glass. 2) It's bad for photos (except long exposures) and since I've been too cheap to get the clear drop-in filter I have to constantly switch between the filterless adapter and the ND-adapter. I would recommend anyone who is planning to shoot video with EF-glass to get the variable-ND filter adapter and the clear drop-in filter even though it's stupidly overpriced.
- Although not perfect, the smartphone-app for the R5 is quite usable. It's miles ahead of the Sony app I used to use.
- The R5 works very well as a WebCam. I set it to 1080p when I use it as a webcam, and I've been using it for 8 hours a day for months without any hick-ups.
 

I would phrase it differently.  
I know a few people who do real research before making large purchases, and I think it's more like being able to read through the reviews to see the truth.  In that sense, we practically cover everything in salt rather than just a small amount of seasoning...
Basically, you want to know the strengths and weaknesses of the product.
The approach seems to be:
If a review is emotional, either good or bad, ignore them.  They obviously either have an axe to grind, or are euphoric, in either case they're not solely focused on seeing the truth, so although they might believe what they say, they won't be seeing clearly. Look for known reference points.  If someone has reviewed something you don't like positively, then that's a warning, or vice-versa.  It might be an issue with their bias, or a lack of intelligence, lack of thoroughness, or simply a misalignment of what they value compared to what you value.  Taste comes in here.  I look for music reviewers who share common taste - if you don't like the taste of whiskey then it doesn't matter if it's the best whiskey in the world, you still won't like it. Look for meaningful criticisms.  No product is perfect (you can't please all the people all the time), look for criticisms in a review, and only accept real ones, rather than token or BS ones.  If a review is level-headed and detailed, maybe you can take the criticisms as true, otherwise, get more opinions. Look for patterns.  If lots of reviewers, who all make it through the above criteria, say similar things about the products weaknesses then they're probably true. Smell out marketing.  If you're looking for the benefits or strengths of something and you've seen a pattern of positive comments from level-headed people who also made criticisms, then look for specificity.  If the pros of something are generic then it's more likely to be marketing talking-points, but if they're specific then that's more likely to be true.  Also, look for how people say things, and if there are patterns in the phrasing, or if they seem natural.  Even unconscious positive bias (be it to the brand, product, or just an agreeable personality) will be influenced by marketing, so a manufacturer can shape the way you think about something with their PR statements and framing, so that when you get the real product you 'see' it in those terms, regardless of how objective you actually want to be. It's a tricky thing.
I think that's why people like Gerald Undone are so useful.  
He's level-headed, speaks in specific terms rather than marketing fluff, and mentions things that others don't.  Does he have huge film-making pedigree?  Probably not.  But if he says that I can't film in 10-bit 4K at more than 30p then I am inclined to believe him.
It's also why I unsubscribed to Chris and Jordan.
After watching their savage review of the XC10, which was a flawed product to be sure, I realised something - they don't understand film-making.  Sure, they mentioned the weaknesses of that camera, which I had verified with other sources and the specs, but they also ripped into aspects of the camera that weren't weaknesses at all.  When I watched their review I was completely puzzled, because I was simultaneously watching videos on how people use cine cameras, which was saying the completely opposite to what they were saying and it was then that I realised that they might understand video, but not film-making.  Reviewing a cine camera and criticising aspects that all cine cameras share is just silly.  Unsub.
Having said all that, the whole thing is fraught with peril as I have ended up on many occasions with products that were poorly reviewed and yet worked great for me for years of real use, and also with products that I did the research on and were terrible in ways that no-one mentioned at all.  
I think of a small part of my budget as R&D purely for writing off stuff that doesn't work out, or for buying things that seem ok but I can't be sure of.  Sometimes things work out and other times they don't, but thinking about it like that makes me feel better about it.  Certainty is an illusion after all.

All the people you mention seem to be after one thing: our time, which on YouTube means money. Here's my experience:
I see a clickbait thumbnail. I click it. I sit through 5 seconds of Adobe slowware, thinking "not that sh*t again" I start watching the video (now they're getting paid by my view), admittedly some nice footage sometimes I watch some BS ad right in the middle of what they're trying to get to in their BS thumbnail. They're selling some BS service that no one needs (yes, they get a cut if you're dumb enough to sign up). I watch to the end. Now, they ask me to like and make a comment (more of my time) about their self-promoting BS video to enrich themselves. "Don't forget to click subscribe and click on the alert bell" so can also get spammed by YouTube. Let's not forget the Amazon affiliate links they so generously added in the description section. Finally, they pinned the the first comment (oh, what a surprise, it's they saying some more BS). Is anyone else tired of this over-produced, time-sucking, self-promoting crap? Is this what google meant when they said "Don't be evil"? At this point, I'm asking myself if I have anything better to do with my limited time on this planet.

After you make a sale immediately disconnect your banking info from ebay...never leave it connected perpetually.

I have an R5, too. After the firmware updates it has been a great camera. I use the 8K as a specialty mode for faking slider or other camera movement in 4K timeline or lower. CLOG3 improved the DR issue and I think it looks great compared to other Sony cameras. The 4KLQ mode is more than useable for YouTube long form content. It's better than EOS R and that was a great "YouTube" camera. I can edit everything (8K isn't completely smooth) off of a $1600 M1 13" MBP. Pretty good deal if you ask me.
Can't wait to see more from Canon. Sony has been crushing the technical side of things and their color science has improved a lot since A7III days.
 

After you make a sale immediately disconnect your banking info from ebay...never leave it connected perpetually.

I have one and can edit the 8k ipb and ipb lite files on a 16in macbook pro. Anything higher and its a struggle.

According to cineD, Alexa has a 1-stop increase in dynamic range over the c500ii or c300iii. 
What is everybody crying about? First, what are you doing, shooting the sun all day? 
Second, your audience almost certainly won’t see major differences between these cameras in properly shot scenes. If you see horrible clipping, that’s an exposure error. Or a poor creative decision. Somebody is getting fired.
Some of you think if you only had an Alexa, everything you shoot would look like roger deakins’ work. Sorry, a major reason why Alexa footage looks so good is that professionals know how to light and expose - for any camera. 
This is why we use dimmers on practicals, sheers on windows, and use lighting to control levels and contrast.
The differences among arri, red, and the best Sony and canon cameras are quite small on set. Yes, currently Arri’s highlight roll off is a bit nicer and has a bit more reach in the highlights, but nothing really changes the way we shoot with any of those cameras.
The truth is most of the current top cameras look very similar - properly exposed. Sure, you can stress test some cameras to show weaknesses - arri and red included, which would struggle in extreme low light. This is why these aren’t common for run-and-gun documentaries. 
If Canon produces new technologies (very possible) that ends up capturing more dynamic range than the Arri, I wouldn’t be surprised. Also, I wouldn’t consider the Arri trash for having a stop less of dynamic range. 
 
 

I've posted them quite a few times, but it seems like people aren't interested.  They don't follow the links or read the content, and after repeating myths that Steve easily demonstrates to be false, the people go back to talking about if 6K is enough resolution to film a wedding or a CEO talking about quarterly returns, or if they should get the UMP 12K.
I mentioned this in another thread recently, but it's been over a decade since the Alexa was first released and we have cameras that shoot RAW in 4, 9, and 16 times the resolution of the Alexa, but the Alexa still has obviously superior image quality, so I really wonder what the hell it is that we're even talking about here....

I bought an Atomos Ninja external recorder after reading a good deal on the internet, and watching a ton of YouTube videos that tell why 10-bit color depth is superior to 8-bit, how it makes a huge difference during color grading, etc. In theory, 10-bit gives each pixel the ability to pick from over 1 billion shades of color; compared to 16 million shades offered by 8-bit. This allows for smoother color gradations, avoids banding, etc. I got that part. But what about in reality? Does it make a noticeable difference?

I searched everywhere, for a side-by-side comparison of the same subject shot on 8-bit 4:2:0 internal vs 10-bit 4:2:2 external. I found none. Everybody explained why 10-bit is great, but offered no visual proof. At least nothing my eyes could spot.  

So I made these comparison tests myself, after getting the Atomos Ninja. Same test subject. Filmed using EOS-R. Three clips: 8-bit 4:2:0 internal H.264; 8-bit 4:2:2 ProRes external; 10-bit 4:2:2 ProRes external. All are 4K. All are CLOG.

On the first look, there's one obvious difference. 8-bit 4:2:0 CLOG internal footage looked noticeably flatter than the external CLOG footage (both 8-bit and 10-bit). I don't know if that's a good thing or bad. I'd expect CLOG to be quite flat. Why is the external recorded footage less flat? Is the ProRes codec used by Atomos Ninja playing with the contrast levels before recording it? Internal 8-bit CLOG recording, when viewed through waveform monitor, showed more room for brightness and darkness adjustments before clipping - compared to the external recordings! Isn't it supposed to be the other way!?! 

Other than that difference in flatness, I can't find anything else. 10-bit or 8-bit, both externally recorded clips didn't give me any additional leg room while color grading - compared to the 8-bit internal clip. 

What more, 8-bit and 10-bit external recordings looked exactly the same untouched, as well as after applying the same grades. No matter how hard I tried to look (zooming in, for instance), I can't find a difference. It may have to do with ProRes encoding everything as 10-bit 4:2:2 irrespective of the source bit depth. It is said that extreme color grading breaks apart 8-bit while 10-bit holds pretty good. This argument is backed by a strong theory. But if I can't see how much more better 10-bit is than 8-bit, what's the point with these external recorders? Is Atomos Nijna merely an overpriced monitor? (It does a good a job of that, for sure).
And, assuming 10-bit makes color graded videos have less artifacts, what happens when the edited video is exported using an 8-bit codec, and viewed on an 8-bit monitor?  

There may be rare cases where 10-bit is useful. But for most scenarios, I started to believe 10-bit isn't any better than 8-bit.  

What am I missing? I'd be glad if somebody could prove me wrong and confirm that 10-bit is worth it.

While a bold statement, its 8K RAW certainly can punch above its weight class, so to speak. Pretty good for a non-video 8K video camera that people aren't buying for video...🤔

My R5 arrived yesterday and I'll be doing some Anti YouTuber style test against a MAVO LF, EOS R and Pocket 4K.  Initial lowlight test the EOSR + speedbooster preforms better than the R5.   Also, I don't know why YouTubers aren't mentioning how good the 8k 8bit IPB is and how easy it is to work with.  smh....You DON'T have to shoot EVERYTHING in RAW, 10bit or Clog(8bit variant would be nice).  I can record 8k 8bit IPB to a Prograde Gold  SD card without issues.

Well they had it coming... WB did not kill anything... Nolan did. as well all the top actors and top director...Movie budget are getting completely out of hand.. Nolan took 20 million salary for tenet. How can that be justified? Top actor are paid tens of millions. Now, the last time I wanted to go to the cinema, probably 18 months ago, the tickets were £15.50 for their so called Imax experience... So 31 quid for my wife and me. imagine if we had the kids!! Well enough said... We simply didn't go. not because we can't afford it but because it's insane to spend such an amount to pay for a below par experience. the last few times I have been to the cinema in the last 5 years they were 10 to 15 people max in a 300 seat cinema... What experience is that? my suggestion... Bring actors and directors back down to earth, pay them decently.. make good film with good script and story for 25 million max, put the cinema ticket around £6-8, and I bet you that they will fill up again... or go on spending 200millions on some crap with high price ticket and the 20th century fox and the others will follow in the footstep of WB...

once people dig deep enough into the firmware we're gonna find cripplehammer.exe