maxmizer

I'm not sure: they're marketing this camera mainly to cinematographers, most of whom aren't interested in full-frame as it's still not used much (relative to Super-35) in cinema, but agree that it would be more versatile and could appeal more to people working in other genres.

The bill is wrong ... if the price in the USA is 3000 dollar , in Europe in euros it will be 4000 euro ...

The bill is wrong ... if the price in the USA is 3000 dollar , in Europe in euros it will be 4000 euro ...

But what you're saying in this topic is that you'd like a 3rd party to make an HDMI recorder, putting you in their hands for recording format instead of the camera's. Unless you're envisioning the external recorder space getting large enough that there is legitimate competition with a variety of different options. Why not wish for camera companies to allow for more flexibility in choosing codec, and higher quality instead of adding a whole extra layer of compatibility, accessories, and specs.
Remember when Panasonic added 10 bit to the G9 years later via firmware? Remember when hackers added compressed raw recording to the 5D3? Or when Blackmagic made a pocket camera that shot ProRes and Raw at a fraction of the price of contemporary DSLR's, without fans and heatsinks? My sarcasm in this topic is because, in my opinion, wishing for small external recorders is a roundabout solution that would also encourage the implementation of bad internal video. I'd rather pay $100 for firmware that unlocks pro video formats, than $600 + batteries for a recorder even if it's the size of a battery grip.
This is the exact reason I hope for the Octopus cinema camera to turn into a real product, or why I'd like to see cameras running vanilla android or Linux OS's. Getting on my soap box here, but the migration away from standardized computers (both hardware and software) to dozens of different devices running proprietary firmwares is a harmful trend.

2014, eh?  So what's happening with Bill Cosby?  We ever find that Malaysian airliner?

I recommend to wait for December, the new windows will come out in combination with the new intel processors.

I remember vividly this epic Canon marketing moment. It must have been so hard for those canon fanboys to accept their beloved camera specs didn't match reality. The potential of a timer and not a real heat sensor making decisions on whether a camera turns off or continues to operate was so unacceptable, even for fanboys. Canon wasn't even acknowledging the problem. The pent-up frustration had to be released. On top of that, Philip Bloom said: "hey look, this guy said something bad about Canon and my cats" - let's go after him! This is probably what it felt like for the king's messenger in the middle ages.
Personally, I'm an animal lover and that includes humans too. It would appear some animal "lovers" exclude humans from their love. Instead, they run them over on purpose to make an example of them- Don't f*ck with cat lovers.
Anyway, that's how I see it.

I don't know if you noticed @Lux Shots but there's banding in your picture? A big grey bar right through the centre. Or should that be gray and center? Anyway, I spotted it.

Probably just interpret as PQ/LINEAR in fcpx or Premiere. Dynamic range is exactly the same in ProRes Raw/Braw vs internal.
Only benefits are:
- no chroma denoising
- 12 bit 444
 
 
 
 
 
 
 
 

No.

Sony has a 'look' but the sensor is only a small part of it. As others mention, the color science, image processing, picture profiles, codecs/resolution, lenses etc have a much stronger impact on final IQ.
For the most part, Sony makes damn good sensors which is why other manufacturers that can't do better in-house buy them.

I think I will wait until it comes out on streaming services...and then avoid it.

I'm actually not so sure about DR anymore.  I compared the HLG mode vs Cine-D (709 equivalent) modes on my GH5 and the HLG has a couple of stops more DR (IIRC) than the Cine-D, but in real-life the differences weren't that much, even in extreme situations.  The only time I missed some DR in my comparison shots was when the sun was in the shot, but even then it wasn't much.
I used to shoot and think about DR in terms of making sure nothing was clipped, and then grading it to control everything.  Now I realise that I don't care about things with that much DR.  If I'm shooting inside and the outside is blown out then I can choose which thing I expose on, and if I care about the relationship between both then typically I can get a silhouette, and times when a face is important on the person inside (maybe they're looking out) then their face will be much better exposed and I can get the outside and their face.  
I'm not saying there are no situations where extra DR matters, but I'm saying that with, say, the 9-10 stops of DR that most cameras have now in 709 modes, that's enough for most situations.
Also, the situations where 12 stops isn't enough, you might find that the 15 stops of high-end cameras is also not enough.  Things with high DR that are common like fire, welding, the sun, any night scene where there is no ambient artificial light (eg, moonlight with torches, or moonlight with headlights) etc will be more than 15 stops of DR, so there's no point lusting after an Alexa in those situations either.
In terms of lighting, I think maybe you're underestimating how much skill is involved in getting the highest quality shots that top-end shows and movies have.  Give someone who is clueless an unlimited lighting budget (and an Alexa and great cine glass) and you'll still get something that looks awful.  Lighting budgets only make a difference after you have someone with the skill to know what to do with them.

In terms of combining the bits together, you would only add the bit depths if they didn't overlap in DR.
For example, if I took two 14-bit readouts, one a stop below the other, then 13 of the 14 bits from each read-out would be duplicate data, and my effective bit-depth is really only 15-bits.  So in order to understand the total bit-depth you'll need to know the overlap range in the sensor.  That would also be further complicated if they weren't offset by a whole number of stops, which would place the values of one readout between the values of the other, providing more bit-depth but less increase in DR.
If you really want to understand this, try modelling things in excel and graphing them.  That should give you a more intuitive sense of what is going on.
In terms of there being a certain quality in the older sensors, this guy has done lots of tests comparing the older BM cameras to the P4K and Ursa.
https://www.youtube.com/user/joelduarte27/videos
My overall impression is that most people don't utilise anything like the potential of their cameras, and that the difference between what images most people get and the images that you see from an Alexa or RED is more down to user skill (in terms of lighting, composition, camera operating, and the complete image pipeline in post) than it is about any camera limitations that might exist.

Well it would be a mistake to include h265 in a pro camera, that every editor has problems with. If they would include prores or any other pro codec on the R5(besides the cripple hammer overheating limit), the sales on the Canon cinema series would take a big hit. 

HUGE media blitz with glowing reviews...remember me the launches of certain images devices that we are used here... 🙂

Looks like the new Macs are really good, but if I was looking to buy one, would wait until some real world users put it to their paces (and maybe the Rosetta caches becomes full).

The 16Gb ram (not expandable) max and the restriction of having only one external monitor could be deal breakers to some video editing setups.

(and with the "Apple dollar" here in Brazil, you could buy a top last gen Ryzen with 32 gb ram, top video card and 2TB SSD with the local price of the new Mac Mini, and have some money to spare...)

Don't buy Mac, you are really wasting money to go with the brake on 😅

Don't buy Mac, you are really wasting money to go with the brake on 😅

Here is the way I see it:

All DSLR mounts: headed the way of the dodo. Buy this if you see some amazing secondhand bargains, but be very careful not to do anything that leaves you "locked into" the mount. (such as buying electronic EF mount lenses! No, no, no)

MFT Mount: the widest range of options, with the widest range of brand/manufacturer support. Some people look down at 4/3" sensors as being "too small", when in reality they're only marginally smaller than the classic standard of Super 35mm that has ruled Oscars / Golden Globe / Emmy Awards etc for many years. 

Sony E Mount: 2nd best behind MFT Mount when it comes to wide ranging choices to pick from, and E Mount is especially strong when it comes to having many choices of camera bodies on both the stills side (the a7 & a6xxx series) and the cinema side (VENICE/FX9/FS7/FS5/etc) of things too. There is a reasonable fear that Sony is "turning into the next Canon" (in a bad way). That Sony might be resting on their laurels and not pushing ahead with innovation like they used to do when they were the new kid on the block and hungry for success. 

Canon EOS-M: the writing is on the wall, they're going the way of the dodo too. Canon will eventually ditch EOS-M and focus exclusively on their RF Mount. 

Pentax Q / Nikon 1: huh, what?

Fujifilm X / Nikon Z: great stills cameras that have taken great leaps forward in recent years with their video capabilities, but nothing higher end if you wish to upgrade later on to a cinema body instead of just using a stills/hybrid camera. 

Canon RF: what to get if you're a Canon fanboy with stockholm syndrome, instead of using your switch to mirrorless as an opportunity to free yourself from your Canon chains of bondage! (however, like any other ruling tyrant, Canon does hang out a carrot in front of you as a faint glimmer of hope that "the future will be different, and all your patience through the abuse will be worth it in the end". As the Canon C70 in particular is an impressive new release, will the C70 live up to its hype? Does the release of the C70 mark a future change for new camera releases from Canon? Or will Canon quickly back slide into their bad old ways?)

Okay but he's shooting too high ... He just needs a used gh5 ... to start ... lots of objectives and accessories out there cheap ...
Fx6 or c90 will not be cheap and not very far from 10k!

I am very positive towards ARM CPUs. My biggest question mark is whether they are able to get graphic solutions that compete with nVidia. ARM's earlier graphic solutions have been power-efficient, but not really comparable with the Geforce series. I hope the new relationship between nVidia and ARM means they will end up with nVidia GPUs as well. I have only had bad experiences with Radeon/AMD gpus.

So all three Macs share the same M1 chip...wouldn't they all perform roughly the same? 
Also, sad to see the Mac Mini top out at only 16GB of ram and drop the 10-bit gigabit ethernet. 

Okay but he's shooting too high ... He just needs a used gh5 ... to start ... lots of objectives and accessories out there cheap ...
Fx6 or c90 will not be cheap and not very far from 10k!

Okay but he's shooting too high ... He just needs a used gh5 ... to start ... lots of objectives and accessories out there cheap ...
Fx6 or c90 will not be cheap and not very far from 10k!

Don’t waste it on a system. 
You’ll only be mad with yourself later on for choosing that system.
Buy a body with 1 native lens (that way when it is time to ditch and move on to another system it isn’t hard to let go...)
Invest in PL lenses and learn to manual focus. You won’t regret it!!! Trust me.
My current suggestions:
Either get two Panasonic S5s or two Fuji X-T4s. With a workhorse lens for both cameras.
Go for the Ironglass 3 lens set. 
Bonus: Get a Blackmagic 2.5K camera with mft mount from EBay.
Also, buy a bunch of LED lights. Six 900 LED would be pretty decent. 
You might want to get cages, matte box, external monitor, tripods, slider, gimbal.... anything I’m missing?