Juank

I think Z9 is close to perfect really.
Much better codec than R3 in all respects, both the RAW codec and the 10bit codec.
I never use WFM, false color, all it really does is distract from the composition. You don't even need to nail exposure with Prores RAW. As for focus, with AF as good as the Z9 offers you don't need any of the focus aids, and with manual focus I don't even use peaking any more because EVFs are such high res these days.
I don't see what the EOS R5C offers over the Z9 apart from some camcorder gimmicks and a big frustrating delay between modes, not to mention a worse codec and no IBIS!
I'd take the Z9 over it any day for stills as well.
 

It's almost impossible to tell that review apart from a marketing video.

That's a fascinating video, but probably for all the wrong reasons.
I spent over a dozen hours when it was released with a range of shots from it, adjusting them in post to be a more equal match.  By the time you take the Alexa Mini shots and adjust the vignette, barrel distortion, contrast, colour, diffusion, sharpening, and cropping to make the frames much more comparable, the differences are greatly diminished between the s35 and LF sensors.
I HIGHLY HIGHLY HIGHLY recommend that everyone downloads the video, pulls it into Resolve and tries to adjust the images to be more similar.  I learned an incredible amount about imaging from this exercise.  It really gave me an appreciation for how much better the colour science is on the 65 than the Mini - despite the Mini being spectacular in its own right to begin with.  ARRI truly did an incredible job in its development.
It's a difficult thing to match them as the vignetting is very non-linear and so all I could do was approximate it.  I went the full-way and spent hours adjusting one image while it was on top of the other with a "difference" blending mode so I was only seeing the mathematical difference between the images, trying to line up everything perfectly to minimise the errors.  I performed individual colour grades on different parts of the image in this mode, eliminating tints and shifts in the colour science, etc etc.  Most of the adjustments were non-linear in this sense.
Unfortunately I couldn't get them to match closely enough to "see through" the various optical differences and answer the question if there was a difference between the sensors.
It's a great test to demonstrate the difference between the two cameras, but a terrible test to show the effects of only the sensor size.  As great as an Alexa Mini is, the 65 is a far superior image, so in a way it's like comparing a GH1 kit-lens combo with a Sony Venice Masterprime combo and saying the difference is due to the sensor sizes.

I love and enjoy to get to know about interesting things and to get and share feedback as well. Threads that inspire action to create and to dream and fantasize about it before. I have enjoyed many threads with that quality. They have topics like 8bit Black and White, 2500hour Pmw F3 Hd marvel, EosM hacked digital Super8, Roger Coreman and Jim Wynorski, matching 5d3 raw with Gh5. There are many vintage masterpieces and, thank Gosh, lovely oddities in the Eoshd archive.
I would love people to contribute more again in that manner. I will post in the 8bit BW thread again soon.
5rc thread has great info now. Thanks to all of you. But it's starting to get uber bloated. Thanks to lack of own experience and own results with the cam.
Let's contribute more to interesting content and honour writing, creating topics for ouselves as an audience and keep up good manners.
Here is the video from a classy thread I just mentioned. Matching Gh5 with 5D3 Raw. The powergrade could still be in the original thread. Thread and video created by @hyalinejim
Quality writing and work.

The C70 is a great image. In the right setting, it definitely looks great. Arri beat it in skin texture, color detail in the shadows, over exposure, color separation, etc.
I’ve shot very consistently with the Canon C300 Mk2 for the last 5 years. The C70 is such a close image. I’m sure the OG C300ii would feel very close to the Alexa as well. The DGO sensor is great and all, but the C300 Mk3 / C70 is also 5 years newer than the C300 Mk2. I’m honestly a bit underwhelmed if anything.  It’s just so similar. Cleaner... but again, it’s 5 years newer.
Things like false color, better auto focus, long GOP, cleaner C-Log2, 4K/60p are all things that impress me more than the DGO sensor. I’ve shot projects where I used the C70 and C300ii next to each other for interviews. For better or for worse, I very much doubt anyone could tell the difference, even when looking at the raw source material. 

The highlights are great on the C70, but anything pointed into the sun sucks. You get the clipping blob in really bright sources or the sun. Once you see it, you know what to look for and it is always there. Pocket 6K probably does it worse.  Komodo a little better. Film handles it by far the best.
Ive said this before... but the Long GOP 4k codec on the C70 is so great. You get a cleaner, sharper image than the older generation Canon cameras and it looks really great. The files are also almost 3x as small.
I’m interested to see what effect the CRL files will have on the image. If the files are even a little sharper and just a bit noisier / textured, that would be great.

In their promo video at the cued up point here, they dedicate a whole section of it to the "hey, switch to stills....hey, lets do video...hey, back to stills".
 
They make it appear to be seamless and pretty much instant when the reality is they should have shown this between each switch.

So whether you need it or not isn't the point for me, more that there's no need for such blatantly misleading bollocks from Canon in their promo video.
Mind you, its probably fixable in firmware as we know what they are like when it comes to timers don't we ?

I don't like to be forced into this split personality way of working really.
Imagine if you're on location in some beautiful place and want to capture stills at the same time as video, quickly before the moment's gone. You can't ask nature or streets to pause like a video game whilst you reboot into Video OS 2000.
It's one of these things that you just can't justify being forced into.
Even things like separate GUI or exposure settings between video and stills mode should be a matter of choice.
Quickest way to shoot both is to have an all-purpose stills mode, with PSAM and then a video button.
Samsung NX1 got it right. Tap a button to instantly get 16:9 frame in stills mode and to shoot video.
No matter how technically interesting it is to have a Cinema EOS OS and Stills EOS OS on one camera.... the benefits don't outweigh the amount of missed shots there will be.
If you want an identical shot in video mode and in stills mode, and nothing has changed in the light from one second to the next why would I want to change exposure or have to set the same exposure twice for two modes?
I could be snapping merrily away in stills mode, nailing the exposure and all other settings, then switch to video mode and it will be completely off because it had been set earlier for a completely different scene?
Who wants that?
Does the EOS R5 C actually offer all of that or is it a crippled subset?
Assist tools, shutter angle, etc. is on the GH5 since like 4 years ago?
S1H and Blackmagic have LUT support, and so on.
So how about adding all that to the EOS R5 C in a normal way?... there is no need to hive it off into a Cinema EOS operating system that takes ages to boot up.
This thing is targeted at them!
EOS R5 C is a hybrid cam!
I completely accept it may be ok for you.
I can only say that from my point of view it's a pretty big flaw!

this is still a discussion on the hybrid camera with the 8 second delay right

On the other hand, we have the shills, not exactly here but spread nowadays on YouTube who kill all the valuable information we are used to find on a few places like a brand agnostic voice as EOSHD still is. I believe that's why this discussion is yet possible between both sides and you're not exactly flooded with the customary paid BS. At least here.
That said, I don't see anything wrong on taking ARRI ALEXA as parameter : ) Just committed with a couple of feature films shot along 1x Classic and 2x Mini for some good reason. Even though, in one of them, basically RED Dragon as preferred capture device other than the ALEXA Mini, mainly used for low light but not because the RED was not able to perform well as actualy was. Factually for narrative exigence, the circumstances were restricted to low light footage during the night time.

Your assumption is faulty because you are basing yourself on 5D3, a 2013 camera that had very soft FHD as it used pixel binning (resolution was closer to 720p) and on top of that had 8-bit compressed files with no log option. The IQ jump from that to 14-bit ML RAW was colossal.
Now the R5/R5C is light-years away from that. The compressed files have super chunky bitrates, downsample from 8K and we have 10-bit 4:2:2 Clog3.
Pop those files in Resolve, and grade your heart away. The image holds. Beautiful skin tones can be achieved.
Use "neutral" instead of default "Eos cinema" in the Log color matrix options and you've got Canon's ARRI emulation. Pop an ARRI lut and with minor tweaks you are almost there. 
Now of course going RAW unlocks the full IQ potential. No doubt about that.
But again the 10-bit compressed files a more than usable and imo have more mojo than Sony as you can turn off NR unlike A7S3/FX3.
In any case you have every option in R5C, shoot RAW or compressed with many bitrate/codec/resolution options.
I agree with most of your points but the thing is, we're not all the same types of shooters. Which is why indeed there is no perfect camera... for everyone or every situation. Hence the lack of consensus on a forum like this.
Obviously some people can't live without IBIS. Others can't without a decent PDAF system. etc
We can also talk aesthetics all day but its such a subjective/endless topic. 
In the end this R5C is either for you or it isn't. Many other options out there.
Not many options when it comes to 8K RAW on a hybrid though. 
Either this or Z9. Problem with Z9 is Zero effort seems to be done on the video OS side.
The brilliant thing about R5C imo is that its two camera systems in one.
R line and C line fused (or rather split) together. That is something new and unique that sort of redefines hybrid shooting.
 
 

Olympus/Panasonic IBIS, Canon's AF, etc., pity we cannot have all them altogether and some tend to close up the perspective on the tree rather than the forest, but choices are part of this business : )
As above-posted, price point is IMHO much determinant than this or that feature, at least to me handling budget matters in a daily basis : )
Let alone in a pandemic year.
Extras never hurt though and I think competition and sales from a typical market economy is what contributes more to this or that feature and thanks to it makes the things evolve.

 
 

Maybe it has to do with the high resolution / noise reduction / skin softening. I just get iPhone vibes with the whole color pallet and texture.

Checking Gordon's preview of R5C it definitely fixed the annoy thing I had with R5 when shooting interior archiecture walk through, the oversampling 4K50/60P fixed the annoy aliasing issue on some details, and IBIS wobble when paired with UW lens.
 
Though handheld shoot R5 will still be better due to IBIS, but sadly most of my shoot is on gimbal 99% of the time so kinda make IBIS moot.
 
Anyway I got company to preorder one.. hopefully to get one in march, it should pair up nicely with the existing C300III/C70/R5.
 
My 20,000mAh 45A Powerbank should support 8K60P without problem.

Sdi, timecode, internal nds,  a Super35 sensor with full VLog and Varicam color, an Oplf filter plus the announced specs, all that in a robust body with the outstanding battery life of the Lumix GH series! Percect dream (camera:).
The Gh4 could be coupled with a sdi and xlr extension. Why not offer something like that for the Gh6, just (much) smaller with a much more elegant power solution.

Correction: According to Canon, C70 Cinema RAW Light recording will be internal to the SD card:
https://www.canon.co.uk/video-cameras/eos-c70/?fbclid=IwAR2nBNoajqaNaIfH_u0du_JtTESFDUEEjCauYmzFwG1wGoxkgLjGc00TtY4
Cinema RAW light
The EOS C70 now offers users the ability to capture Cinema RAW Light internally to SD cards*. RAW provides you with greater image quality and flexibility in post-production.
On-top of the existing 10-bit XF-AVC currently found in the EOS C70, 12-bit Cinema RAW Light LT features data rates up to 645Mbps, offering much more manageable/efficient file sizes to streamline your workflow, while retaining the same benefits of RAW. Simultaneous recording of Cinema RAW Light and XF-AVC Proxies is also supported.
 
* firmware available in March 2022

Hello to everyone on the forum!
A Merry Christmas from me!
I hope you're looking forward to having a good break over the holidays and are ready to welcome in 2022. Talking of holidays - I have been having a break from EOSHD for a few months. I went and sat on a hill and finally had time to reflect on my work which is this blog and the community around it. The last video had a lot of support, it's made me really appreciate what I have in a more positive light. I'm mega appreciative of the people who took the time to say how EOSHD has helped them over the years and that they want it to continue.
So that's what we'll do! EOSHD is back.
Read the full blog post here

Hopefully build in eND now there is no physical shutter

I think the only thing not making the new Z9 my ‘perfect’ camera.

I have no clue regarding most of what you said, but just looking at the images, wouldn't this enable higher resolution sensors for a given sensor size and potentially higher color sensitivity in all sensors since with this architecture 100% of the sensor real estate is dedicated towards light gathering (I am assuming based on the graphic that current sensors lose 50%  of their real estate to the sensor transistor circuitry) since they sit side-by-side in current sensors?
This DPReview article kind of says the same thing but they are looking at it from a light gathering standpoint vs sensor resolution. Like I said, I know nothing about how sensors work but a graphic that shows me something is doubling in its ability to perform some task while taking up the same real estate as a previous version seems like a good thing in my mind.
 
The Canon DGO sensor already does this by using dual gain circuits but still tops out around 16 stops. When I first heard about the DGO sensor I thought it was going to be some unheard of breakthrough but as usual it was mostly marketing.

Sorry thats not how it works. All these developments are about increasing the full well capacity, which is very low in small sensors, and decrease noise, which is relatively high in small sensors, to extend the DR, maybe 1/3 of a stop. 
Here is the formula: 20*log(full well capacity÷noise). You can play with this to estimate how much room to improve is still there. Capacity is already capped at 3500 electron per one um². And noise is already very low. A1 is at 1.8e now.
 
The only way to extend DR by several stops in conventional CMOS sensor is multi exposure solutions. Nikon is playing with a dual layer idea, but its on photo diode section, not electronics. They want to place a CMY layer on top of RGB layer, then set the upper layer exposure differently from the lower layer exposure. 
 

So, I recently picked up a Pixel 5a on sale and gave the Motion Cam app a go on it. I've been having some fun and finding some fairly consistent results with the full sensor (4032X3024) @ 12FPS. I think the sensor size comes close to super 8mm sizing and the results definitely have an 8mm vibe.
The screen grab below is from a cinemaDNG sequence dropped into Resolve on a 1080p/ rec709/ linear timeline -> color space transform (which I didn't even know you could use in the free version) ARRI LogC output gamma -> ARRI Alexa LogC to rec709 LUT -> bumped up the saturation a bit and brought the shadows down with the log wheels
Be gentle; what I know of a RAW workflow has been learned in about 2 hours this week.
There's no noise reduction applied, but it seems like the downscale helped clean things up and give a more film like quality.
The app is a bit clunky, but is obviously in beta and can't be fully criticized yet. Manual focus would be amazing and there were some exposure shifts that may or may not have been my fault. If someone sold this technology with a MFT lens mount on it as a modern 8mm camera I would for sure buy one. It's been fun and I'm enjoying learning about RAW correction/ grading.
There seems to be a few people catching on to the app on YouTube. People with more powerful phones seem to be having better luck with things. Hopefully development continues with success and RED doesn't interfere!

Some DR tests on rare sunny winter days - raw images vs. native camera app video recording. No detail enhancements for raw (no NR, sharpening, dehazing and such), just shadows/highlights and gamma curve adjustments in ACR to get the better idea of what's going on. All shots are in native resolution, 1:1, no scaling.
I'm still not confident about exposure settings because of live feed high contrast. I tend to check the overall image with AE on and then dial manual settings to nearly same looking picture. Native video is shot in auto mode. It actually represents well in terms of contrast the image you see in live view shooting raw.
So, as you can see there is no big difference in DR (like you may expect comparing raw and "baked-in r709" footage from cinema camera). "Bridge" scene got a bit overexposed in video compared to raw, I have a feeling that it was possible to bring back overexposed building in the back without killing shadows with minor exposure shift. What makes the difference for me is highlight rolloff - it is natural and color consistent, just look at snow in front in "hotel" shot and sun spots on the top of "bridge" shot. Shadows are more manageable for me, too. Yes, there is a lot of chroma noise but it's easily controlled by native ACR/Resolve tools, luma noise is very thin and even, so you can balance between shadow details and noise suppression up to your taste.
But the most prominent difference is due to zero sharpening. Just check small details like branches, especially on contrast background. It's not DR related, but I can't avoid mentioning it.
Is raw a necessity for such result? Dunno. Maybe no postprocessing, log profile and 10bit 400Mbps h26x instead 8bit 40Mbps will give comparable results. If you have a phone that is capable of such recording modes I would love to see the compare. 

My GH5 says....