Juank

Not to self promote but I think this is an underrated video on the quality standpoint. For whatever reason it didn't get many views for us. The Inspire 2/Zenmuse X7 with the 50mm lens combo is just...crazy. The parralax creates a look that's closing in on full size helicopter stuff. 
This was for a company to see how Inspire 2 footage upscales to 8K using AI for both resolution and framerates. 
 

No it's the 12 Pro Max that has the most improved camera and 5 axis IBIS
The 12 Pro and standard 12 are just very incremental improvements with small sensors.

Video of the DJI ToF focus in action
 

What good news! Really excited about : ) Best Panny AF performance ever to my eyes... WOW Need to check not under direct/key light now :- )
Wondering how AF will match or not under low light...

But then how will you put your photos on Instagram? What's the point in taking them if you can't get loads of likes.

Possible answer, Dolby paid them. I'm someone who thinks the Dolby Vision workflow is incredible, doing HDR and SDR in single grading pass is witchcraft but their system pulls it off,  only problem with it is it is proprietary and expensive. 

Pretty amazing
https://www.eoshd.com/news/iphone-12-pro-max-marches-into-enthusiast-and-pro-photography-territory-with-new-apple-proraw-lidar-dolby-vision-and-large-sensor/

I already mentioned this in another thread, but without checking myself in Premiere, I believe it's just importing the raw as gamma 1.0 whereas when you are monitoring on the Ninja V, it's converting it to Slog3. Unless you are working in Resolve, Nuke or Scratch then you need to transform from raw to log to be able to use the footage correctly in Premiere because it doesn't have a robust colour management pipeline that allows for wide gamut or floating point images.

And, indeed, whether any external recording (eg BM Video Assist prores) also prevents it... 
Don’t mind the Sony eating Canon, Nikon et al for breakfast but stars?

I haven't tried the 24/25/30p so can't comment, theoretically it should give less heat than 4KHQ
 
Well here is my thought on the R5 after the race day
 
1. AF   The most reliable method for me is the Zone AF, tracking AF on cars can get lost when I also do the panning or when the car is down to certain area on screen or if there is a lot of cars which can block the view. Expand AF can get OoF once the car goes past and I have to use manual to get back in focus quickly otherwise it is really really slow to get back to focus. (with telephoto lens), There is still occasional focus hunt when I panning across to follow the car (from forward to sideway)
2. Custom Video Mode Major advantage over R6 is the custom video mode, currently I have set to FHD/4K50P/4K100P, so when I want to change I just press the mode and change. I can totally feel the pain for R6 user which currently doesn't have this, Canon should really update R6 for this feature.
3. Movie Crop Mode You can't set the movie crop mode to a custom key which is super dumb, I have to go to menu each time i want to do crop mode, on Sony and Panasonic you can set key for much faster access.  If you shoot in crop mode and change to your custom mode it will still shoot in crop mode (unless in 4K100/120/8K).
4. NTSC/PAL Selector  Much better done on Canon than Sony or Panasonic, just change the frequency and shoot, no need to format card (Sony) or restart camera (Panasonic), so if I need more slowmo I just change to NTSC and keep on shooting.
5. Battery Issue  I had problem where it just suddenly give me error when using EF Lens on the adapter on the genuine LP-E6N battery, I have to use LP-E6NH to make the problem go away. I will need to investigate this more. Though I feel I might get more LP-E6NH at end and sell the old LP-E6N.
6. No CLOG on H.264 This is probably the most dumbest move on Canon, we get that HEVC offer twice the efficiency but the bitrate is quite healthy on the H.264, there is absolute no technical issue for clog not on H.264! Hope Canon can really fix this as X.265 is so awful to edit.  There is HDR PQ to increase DR on H.264 if you dont want X.265 or Andrew's EOSHD Clog to emulate Clog on H.264, I used cinestyle as it matches up with the 1DX2 which also use cinestyle to help with edit in post as the video is due next day.  My editor have no problem editing the 4K50P on H.264, though 4K100P is still lag feast on Ryzen 7 4800H.
 
Other than that the editor say the video quality is definitely better than the C100MKII I shot on previous race, unfortunately we can't share our video as it belongs to the TV station (for subscriber only) but here is the  video from the team's media team  (some of my R5 footage is from 4:36 onwards)
 
 
 

I don't think you should be banned, but I hope that you really did learn a lesson. 
You're not a bad person, just insecure. We all seek validation to some extent, but don't try and create it artificially. In doing so you not only lied to us, but more importantly you lied to yourself. Have some pride, man.

The places where cinema cameras tend to differentiate themselves well from lower end cameras is dynamic range and highlight roll-off.  Obviously these are somewhat related, but it occurs to me that while the C70 seems to have big advantages over say, the C200, in shadow detail, it seems (from the limited footage available so far) to be less capable in the highlights.
That's what I'm seeing in the side-by-side tests (CVP and Giannis Saroukos tests).  Also, the highlight rendition in the footage so far is not stellar.  But it's hard to judge because most footage is either not very highlight rich, or has deliberate stylistic overexposure (Saroukos), which looks pretty but makes it hard for me to work out how well the camera is handling that range.  
There is also a significant (though probably not problematic) reduction in sharpness compared to the C200 RAW (and obviously the C300III RAW).
I'll be watching this quite closely because if I'm going to be spending £5K on a camera, and at this point it still seems quite likely, then it needs to have an image that elevates above the mirrorless cameras below it.  We'll see.

Exactly, I always laugh at people who say IBIS is useless or real cameramen don't need IBIS. The reality is its great when its needed and the best part is it can be turned off when its not needed. When I am shooting real estate videos with wide angle lenses on a gimbal the last thing you want is IBIS on. It is much better to stabilize in post than to try to stabilize wobbly IBIS footage (i.e. impossible).
 
On the other hand when I am in the middle of a big event and need to hand hold some b roll footage  with a tiny GH5 then for me at least the footage would be unusable without IBIS. Even with IBIS, proper technique, a cage, top handle, and mic, my GH5 is simply not heavy enough to get rid of my shakiness.  The C200 is a different story, I love hand holding it with the cage, top monitor, top handle, V mount battery,  Canon battery, Canon grip and I added a second grip to the left side.  After I tuck that battery under my arm I feel like I can shoot anything handheld.
 
I think IBIS and AF are both very overrated for video but both are great tools in scenarios where they work well. I always like having more options (as long as I can also turn them off) then not having an option that would make my life easier in a certain scenario.

Yeah, and for those who put videography first and only needed very casual stills uses out of their hybrid (some party shots on holiday, perhaps portraits of a friend as a favor, etc) then the Panasonic GH5S is perfectly capable! 10 megapixels is heaps for casual sharing on social media. Heck, heaps of major ad campaigns have even been done in the past with cameras that are around the 12 megapixel mark!
  
Yup, once again Panasonic was being a leader!

That should come as ZERO surprise to anybody, because early adopters always pay the price, no matter what it is we're discussing. 

It looks great! I like the colors. The A7s3 is too much for me and my needs. What are you going to do with it? Are you going to put this video on your website, maybe as a video background of sorts? Where was that taken? It looks like there are some good trails and photo/video opportunities.

Hey John, here is the updated video with the 5 different video settings in camera (as it should have been the first time, lol)  
https://vimeo.com/464041748
 

Wow, no love for IBIS today?
I couldn't go back to a non-IBIS camera. I shoot lots of B roll of people who've never been on camera before and will be gone away in a minute, doing things. IBIS means I can shoot handheld and get three different steady shots from different angles while directing the person(s) in the same amount of time it would take me to get one shot on a tripod.
I don't use it as a substitute for a dolly, slider or gimbal. I still remember my horror at the shaky jello of my first handheld shots on the 5D Mk 2!

Yes, density of a negative increases with exposure. It's measured with a densitometer. 
That's where the dense/thick terminology comes from, where it is an observable quantity. 
For digital, it's a qualitative assessment and its meaning might vary from one person to the next.

Yeah the devil is in the detail!  R6 dont have reliable long session 4k is a huge bummer, the C70's AF apparently is just slightly better than C300 III but nowhere near the same as DPAF II on the R5/R6/1DXIII.
This race I was shooting in cinestyle instead of clog because of fast turnaround we need (due next morning), editor have no problem editing 4k50p on H.264, 4k100p is still quite laggy but we do not using too many of those as our is for TV segment while the main media team is the artsy stuff.
S5 should be really good for your use,  I got S5 myself cause it is quite good for the price you pay for the features and more for my side jobs (with anamorphic and stuff).  R5 is mainly for company work and some photography.  The main video guy for this race team is still on GH5.
 
Here is photo I took on R5 with the RF 600mm, the 600mm is pretty good for the price/size/weight.

Because they want to keep the price low and target a large audience in need of quality webcam, remote video, streaming, live event.
If you look at the specs with a GH6 replacement in mind it's confusing. But as a new product to cover Covid19 streaming demand, it could be a "smart" product. A GH5s sensor in a box to keep R&D low and that's it !!!
Target is not C70 or Komodo users.

Well it is official for me, I'm going to return it. I probably won't even keep it past the weekend. The countdown timer is completely unbearable; shooting video with this camera feels like one of those outdoor shoots where it can rain any minute and ruin the shoot; except this is how it will be every time I use it. It can't replace my GH5, 5D4, or C200, and it can't even be a reliable C cam so it has no place in my gear bag. Just shooting BTS footage today with a mixture of clips and photos and I managed to get the overheat timer down to 5min. I tried changing the date and pulling the battery but the time remaining didn't change. To my touch the body was barely warm and the ambient temp was around 78F.

The only good news is that the overheat timer did seem to recover pretty quickly after the camera was turned off, it went back up to 10min within a few min of being turned off. This is with FW 1.1.1.  I think calling the R6 a hybrid is generous when its video features are less reliable than my 4yr old 5DIV.  Basically for me this camera will never pay for itself, and I will always need to bring something else as a backup if it is a true hybrid session so there's no point in keeping it.
 
I know this thread is supposed to be about the user experience and not the overheating but in real world hybrid use the overheating ruined the user experience for me.

Frame grab from today's interview. Just made basic adjustments to balance the RGB parade, nothing else. WB needs a little tweaking and I feel like I never add enough contrast...
Shot at 4k24p roughly 50mm and f/4 or 5.6, can't remember which one as it was getting brighter and my ND only went to 5-stops, so I had to stop down to prevent hotspots on the boats in the BG.
Chris

So far, I have not seen any magenta in my S-Log3 or 16bit RAW workflow, I have not seen that magenta cast thankfully.  The little bit that needs correcting seems to be corrected with the Leeming S-Log3 corrective LUT.
I'm loving the internal 4:2:2 10bit All Intra so far, with marginal benefits with RAW for what I do.  Been working with Sony's 8bit for so long, it's a nice change.  Especially paired with properly exposed and corrected S-Log3.  

Not just the S1H but the GH5S as well!
 
https://www.youtube.com/watch?v=Rg-dPBmY1rc