jpfilmz

Eh, the more people that get this camera in their hands and then have it shit the bed and piss all over your project shoot will find out eventually that its “all a matter of perspective”. Not so sure they will be happy they wasted their own time and money, and hopefully not their clients time and money (although extremely likely if they are naive; many are!).

Bottom line:
Canon wants this camera to be used only in certain ways for specific applications. So, they design the R5 for that and that only.
We, however want to use the R5 "our" way. We want it to "fit" into the way "we" work. We pretty much all want to use the R5 "our" way and we are getting pissed that its not working.
The problem is "us". We expect too much from the R5 but we eventually need to learn how to accept it for the limited application it was designwd for.
The R5 is not a pro camcorder. Its not for paid video work. Its made to capture your kids in your backyard in 8k or your cats playing with a laser pointer. Its made for casual home shooting and nothing more.
Its failure us our fault, no Cannon's
CT

My beloved Canon 5dmk 3 was stolen in January, and I held on to the insurance money to see what new cameras would come out by the time I started getting regular gigs again (winter in Canada is always slow, and then we had a pandemic).  I use a Sony a7iii as my main workhorse, with all Nikon lenses adapted to ef (and then ef-e for Sony) but the Canon was a wonderful B-Cam, or A-Cam when I had the time to use Magic Lantern. 
Everything Canon has made since the 5d3 has been a huge step backwards (first losing ML in the 5d4 and then the ridiculous 4k crop in that and the R).  Now it looks like the R5 is too risky to be used professionally, so I won't be buying it either, and that saddens me as the specs looked beautiful and I know that with a heatsink it could have really performed better than any other camera.  But I just can't risk it overheating, especially with those ghastly recovery times.

Sony's new camera will still have the severe flaw that has plagued them for ten years now: unchangeable file names.  In a multi-cam situation it is incredibly easy to make major mistakes, and that problem is compounded when you add proxies to your workflow.  Also, B&H says they won't begin shipping the a7siii until late September, so we're looking at waiting until at least October for that camera anyways.

The Panasonic S1H is great (a friend of mine uses it) but would be a huge investment not only in body costs, but also for lenses (L-Mount adapters cost way too much).

So given all of that, I recently rented the Nikon z6, and found it to be pretty equal to the Sony a7iii for video, minus a couple cool but unnecessary features (digital zoom, in-body proxies), and absolutely fabulous for photography (see photos below).  It's a solid professional, dependable camera that's about half the price of the Panasonic S1H, so I'm going to buy it tomorrow.  Using Andrew Reid's Z-Log on the Nikon and his Pro Log on the Sony matched perfectly for video.  Maybe in 5 years I'll give Canon's next camera a chance, but no professional can work with a camera that can brick at any moment, and then stay cooked for the rest of the day.

Cancelled my R5 preorder too and jumped over to the a7s3 right as it went live with B&H. I'll have a couple months to sort that one out since it doesn't ship until late Sept. The way the R5 prevents you from shooting anything other than line skipped video if the camera is hot - and the fact just shooting stills can trigger the thermal shutdown is just a deal breaker for me.
The a7s3 has about 1.5 stops better DR according to Undone (the potatojet EV lift compared to the OG EOS R, wow), sharper 60/120p along with 24p that's better than the R5's standard and just a smidge behind the HQ for detail, smaller file sizes, equally good AF (which works with external recorders), cheaper cards, nice looking color, much longer battery life, and so on. You would need at least 2 bodies to shoot all day with the R5 and if its hot you're stuck with no high frame rates or HQ, so if that's the case I'm fine with one of the other a7 bodies with the Z battery and the a7s3. I'd rather have the better DR and more detailed 60/120p.
Glad the s3 was announced today and not next Tuesday LOL!
Chris

Just seeing more real world testing. Its just really absurd.  Um not paying $5k for a kit that overheats due to menu usage, stills taking and cripples my high res shooting options.  
Im outdoors shooting a soccer game wanting a mix of photos and videos.  If i snap for 45 mins then decide now let me grab some 8k raw or 4k 120 here and there for the remainder of the game and ransomware starts flashing telling me I only have 10 mins before detonation....thats USELESS to me. It then becomes an EOS R...granted with no crop...but still thats a poor user experience.

You're deflecting. Indeed they aren't all the same, but there's also a hell of a lot of difference between PLASTIC and MAGNESIUM ALLOY, and you made it real clear that you had no idea what the camera was even made out of before critiquing it for being "plastic" and suggesting they add $5000 to the price. So yeah, "dude," you were clearly talking out of your ass and won't even admit it. 
 

"Dude" you literally called it plastic multiple times and didn't know the camera was metal. You've been talking out of your ass. 

Holy shit, are we really complaining about how it looks now? It's not going to win any awards, but it looks fine. All the buttons are easily accessible and it's easily rigged up. 
Are we really gonna pretend that RED cameras are good looking? They're boxes with a mid 2000s gun anesthetic. 

Same here.  Preordered on Adorama!

Preorders are open at B&H. Just placed my order. Most expensive camera purchase for me, by far. No tax, free overnight shipping.
Chris
 

Actually I find it easy on the eye and reads better when browsing it on my phone, when compared to the old font.  Everyone's a critic these days.

Is the 18-135 the stm version?  when the lighting conditions are good its my favorite handheld run and gun lens for the c100 due its light weight and stabilization.  It also can use the face tracking autofocus. see 1min mark below.
 

Yep, churches, sports club programs, universities, and fitness clubs.  Looking at possibly a blackmagic setup.

Mine arrived early today.  So far its great.  In premiere 2020 i can multicam edit non choppy 4 streams on a 4k sequence.  c100mk 2 upscaled, uhd braw converted prores, xc10 4k, and bmpcc original up scaled.  Before on the 2018 560x this would choke up after a few secs of multicam editing.  All smooth now.

Full speced but only 1 terabyte hard drive. Trading in my 2018 6 core 32gig Radeon Pro 560x for it after not be allowed to trade for the vega 20 when it came out months after.  
 

Yeah but after me bigging that route up, I've just been transcoding some footage on my cheap MacBook Air and...

Full speced but only 1 terabyte hard drive. Trading in my 2018 6 core 32gig Radeon Pro 560x for it after not be allowed to trade for the vega 20 when it came out months after.  
 

Got one coming in on the 11th.

I've said it before, delivery in 8K doesn't appeal to me as a consumer. I don't want to sit that close to my TV to appreciate 8K. I don't have room for a TV any bigger than 65 inches without dedicating an entire wall to a single screen. I really am satisfied watching 4K on a 55 inch set from 10 feet away. 
As a creator, I can't think of many times when I've told myself "I really wish I had more resolution to play with." That might change, but the bulk of my work is still exported at 1080p. There really isn't much demand for 4K, from my experience, and most people still watch 1080p video on their 4K TVs because there's a limited amount of 4K channels / content available. 
This push for 8K this quickly really seems silly and little more than a marketing move to sell people TVs they don't really need. 

Really dig this adapter. Fixes the EOS R in my book. Here is my video test first look
 

FF Photo 
Canon 24-70mm f/2.8


HD FF video @ 24mm

HD FF video @70mm

@jpfilmz Thank you!!

 
This is a quick attempt at laying an accurate 16x9 1.33x crop on top. It's gonna be cutting it close but I think it could work

FF Photo 
Canon 24-70mm f/2.8


HD FF video @ 24mm

HD FF video @70mm

Field of view differences below. Same distance.
 
4K
iso 200
Canon 50mm f1.8
Standard Canon EF Adaptor f1.8 

 
4K
iso 200
Canon 50mm f1.8
Metabones Canon EF Adaptor f1.2

Field of view differences below. Same distance.
 
4K
iso 200
Canon 50mm f1.8
Standard Canon EF Adaptor f1.8 

 
4K
iso 200
Canon 50mm f1.8
Metabones Canon EF Adaptor f1.2