andrgl

$10K is too much expensive for 99.9% of the people in this forum, if you are one of the two or three guys who has the money to buy it, good for you, probably is the camera you have been waiting all this time....for the rest of us is just another new toy for medium/big size productions or rich boys, we will never have the money to buy it, and in my case, I have plenty other options that I will choose before this camera, certainly this camera will have its market, that for sure, but for the indie/solo shooter is not going to be the first option.

Again, it is not a camera to be used by creative/artist people of the S16 world, can it be used for a very specific area as you said "wildlife doco's"?, probably, good for you if this is the ideal tool in your eyes, it is going to be a game changer for S16 glass?, not even close, the revolution that S16 glass had years ago was because of BMPCC cameras were very cheap and available for everybody, so you get this cheap camera, get the cheap S16 glass, and you are ready for what usually cost you two or three time that money. This camera is $10K, no more than two or three guys here are going to buy it, you most probably are not going to buy it, it is too expensive, sorry dude, this revolution is never going to happen, and you still can get good S16 glass at very good prices, just last year I bough three S16 canons very cheap. I have been using S16 film cameras since 2011, and the only S16 digital camera I was ever interested was the digital bolex, because of its MOJO.    

The original idea to use a S16 camera was the lower cost and the flexibility to perform shoots with a small camera, the French filmmakers take these cameras to the streets in places where  35mm camera were too much difficult to operate, and that was the spirit until the rise of the digital era, now we have very small cameras which can be used exactly like S16 cameras use to be in the past. The digital bolex keep that original intention, a small and very easy to use camera which can be used in extreme situations and places, where the only limit is filmmaker imagination. The BM is clearly not a good choice for a S16 camera, it's a bigger camera, heavier, will have a lot of limitations compared to a digital bolex, there is no a good reason to get this camera to do S16, the only reason I will use a camera so big like this to do S16 is because of it is a film camera, yes, an old and beautiful original film camera, which by the way I have, and I use to do some documentary, I only have like 12 minutes to shoot for each roll, but what you get for all the effort is worth. This new BM camera is oriented to be operated by a crew, to compite in that segment with RED, not for an independent creator, sure you will see some crazy guy running with this brick in his shoulders and telling to the world is the best camera for run and gun, but we all know the best performance for this kind of cameras can only be achieved with a crew, even a smaller crew will make a huge difference.
No need to try to justified this camera as the perfect tool for every scenario, it is what it is, it is too expensive for individuals, it is oriented for crew work to compite with RED cameras. It will find his place in the market for sure, if you have a small production company probably this camera is the perfect tool, I can see the point to get it for some people, but probably most companies will stay using RED and ALEXA just because of when the customer is on set he is expecting to see that kind of cameras filming his commercial. Time will tell. 

IDK.......
 
It may not work for YOU but it may be just the ticket for others.
 
I can see this being a great tool for wildlife doco's using S16 lenses. On a tripod in a hide sitting and waiting for days at a time for THE shot.  I have a very nice selection of S16 glass in PL, ......Angénieux , Canon.  Some of the S16 lenses have impressive reach for thier size - S16 lenses really help when you have to hump all that gear into the bush. 6K @120 fps down scaled to 4K. Whats not to love? A long S16 lens shot at 6K - this allows for re-framing and punching in with a 4K delivery - if I need that. I f I dont I can just down scale to 4K. If I need 220 fps I just shoot at 4K. I see this camera as an exciting enabler.
4/6K from an RGB digital sensor seems to give S16 glass a new lease on life. And those frame rates...where exactly do you get that on S16 other then here ???
OK so you have no use case.......good for you. But to exhibit such a small mind to say this is just no good for S16....hmmmm, ok then fella...if you say so. You keep believing that while the rest of us explore what we can do with our high end S16 glass and 220 fps @4K. A game changer I would say. A TRUE game changer. I can see the price of S16 glass going up because of this, much like the effect the BMPCC  had on S16 glass some years ago. Before the BMPCC, S16 glass could be had for little. Not now. Looks like history may repeat here.
Its going to be interesting to see how this pans out.

Every camera reviewer  has been saying the last eight years is that canon has to change, they can't go on being so conservative with their specs.   And finally they do it and everyone turns on them . Y'all just got what you wanted right? 
 

https://www.canonrumors.com/whats-next-for-the-canon-eos-r5-and-canon-eos-r6/
 
your report and this article. All seems to point to a recall / hardware fix.
They completely screwed the launch, but that’s good news. Because that means the camera which was going to be the perfect hybrid and that ended up being wasted due to overheating will indeed maybe become perfect if they fix it. 

Somewhere in an Indiana Jones end scene type warehouse are thousands and thousands of R5 / R6 cameras that will never ever see the light of day.

YouTube compression :   >1440 VP9   <1440 AC1
 
think that defined for me the resolution I need to upload ... as AC1 is very poor.
I routinely upload 2K to Vimeo ... always 4K to YouTube. Vimeo charges for space while YouTube does not charge 

A lot of it does come down to expense and time.
1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it.
Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. 
Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field.
Shooting slower and more deliberately means you don't have to shoot as much. 
People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. 
I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.

Maybe they should've tested that in the original video they released before saying it didn't? 🤔
 

It is quite dishonest, but he'll address the overheating issues in a future video to maximize hits / ad revenue. It's why he included BTS footage of them using a LEAF BLOWER to try and cool the camera down. 

Or house it to Komodo casing and rename it to Komodo LF 

Presumably Tilta have tested it before mass production. The problems I see with it are many. The layer of poorly conducting material between the CPU and copper heat spreader on the back of the Tilta fan. The power draw. The noise. It is 6200rpm! Obviously the onboard mic will be unusable with it attached even for syncing audio with a dual system mic. The fan spinning on set during recording is not what you want. Even with an external shotgun or boom mic. Then there is the ergonomic side. Those with beards who need to look through the EVF will get their hair caught in the blades. I think it's a publicity stunt to be honest. Even if it works to cool the camera, the noise and ergonomics of it are a joke professionally.

Take all the components out, put it in a PC case with 12 LED fans 😂
Wheel it around on a trolly, some dry ice on bottom shelf just in case!
You could get some really smooth tracking shots with the wheels.
 

This the first time I heard about the 33fps, is that 33fps slowdown to 24? 

I NEVER heard my fan start up in my S1H, it's that reliable. And I use it as my main camera everyday. I sometimes complain about the size of it, or the weight, oand most often the lack of good AF, but I rather have a big chunky camera  with an AF that's not as good as competitors, but still be able to shoot anytime and everytime I want, under any climatic conditions without having to bring some cooler to put the camera in every hour for 20mn. 
What a fucking joke !!

I’ll get the EOS R if this is true, maybe 

Yeah I highly doubt internal BRAW but external to a BM Video Assist remains a possibility.

BRAW on the EOS R5 is never going to happen. And EOS R6 doesn't even have Canon's own RAW!

Wow if this would come true, this would be the best news this year.

https://tilta.com/2020/07/tiltaing-camera-cage-for-canon-r5/?utm_source=newsletter&utm_medium=email&utm_campaign=canon&mc_cid=a126d63240&mc_eid=7e584396d7

Looks like tilta are literally strapping a fan to the back

DEALBREAKER ALERT. A 15000$ 2020 MAC PRO cannot play back in real time the R5 footage. Does not matter Premiere Pro Resolve, FCPX. Nothing works even 4K30p won’t play in a high end 2020 MacbookPro. 
The reason which he does not say in his video but I know is 422. HVEC is supported by latest hardware but not HVEC 422 so it’s like at the beginning of the HVEC codec when hardware acceleration was not supported. 
Your 15K computer cannot edit the footage, but within a year or 2 when computers support 10 bit 422 HVEC correctly a 1000$ laptop will edit it better than your MacPro. In the meantime, we are screwed. 
 
 

Lmao. Their own rep says they clearly wouldn't ship a camera that overheats in 24p. But canon's info says they did just that. 
Even their own reps can't believe their incompetence. And this is the guy who had the first hands on with the c300 mkiii in the UK. 
What a shitshow. 

Didn't a canon ambassador from the C5D comment section say that the r6 samples sent to the uk were all mistakenly body samples that weren't meant to shoot video? I think that could explain the reason why C5d's results are so different from dpreview's.

Make timeline and 
Timeline and output color space should be Rec. 709.
Data levels for web delivery should be set to video.
On the timeline make sure each clips data levels are set to FULL.
Use sharpening instead of superscale, superscale internally raises the resolution, when you try to use x3 superscale it raises the internal resolution to 8K which is why your constantly running out of video memory. Use x2 max before sharpening.