Juank

Interesting technique
https://ymcinema.com/2022/08/17/shooting-anamorphic-on-vertical-sensor/
Get that "Passing" look on your 3:4 S1R 5K or S1H without cropping.

I had a go at this, complete with fake grain and narrow DOF but without such a photogenic subject, back in the mists of time. It was a 2x anamorphic on a 16:9 5D2 to give a square format. Would be perfect for Insta now!
 

Wow, you have some nice work on your Vimeo channel!  Did you shoot this with a 5d III in ML RAW?
https://vimeo.com/81609980

Thanks! I haven't updated my Vimeo in a good few years.
There certainly was a point where I was doing corporate work in 5D3 raw, but that video might have been h264 with the VisionColor picture style.

So I bet, many of you have heard or read of the Iscomorphot 8 1.5x anamorphic adapter, which is a tiny and single focus gem. It was built for Super 8 cameras and even works for S35 but with inherent flaws regarding resolution, since it was built for Super8. Here is a beautiful video in its own right and vertical use of the anamorhot, which means that camera was rotated by 90 degrees. Camera was a m43 Zcam, so the sensor was in a 3 to 4 format position after rotating it by 90 degrees. Taking lens was a 90mm Voigtlaender. This should give us a 3x1.5 to 4 format = 4.5 to 4 = 1.125 to 1 ratio! Enjoy and happy hunting for the Iscomorphot! 🙂
 
 

Ha ha! I had one of these to mess around with back in the midst of the anamorphic craze. Picked it up for peanuts, knowing nothing about it as I think there was almost no info online at the time.
It gave usable results for sure! Here it is on my 5D2.... 12 years ago now!
 

Got a OnePlus 9 Pro as well.
Put GCam on it and turn HDR+ on with RAW
Results are stunning.
I would like to get this next but seems somebody has destroyed it...
 

I was just going to respond to confirm that!
I am currently running about with 2-3 cameras most of the day and 4 at certain times.
I would like to get this to 1 most of the day (the Nikon/Tamron combo is currently by far and away the best option), 2 at times and 3 max.
I’m also looking to lose 1 tripod and a couple of lenses.
The losses (in kit) would make a significant difference.
The gains (in tech) would make a decent difference.
The combination would be worth it and it now comes down to a question of timing as in I cannot do anything this season, but probably will do something for next because as a business user, if it makes sense, then why not?!

https://www.cined.com/nikon-z-9-firmware-v2-10-released-n-raw-is-here-to-stay/

Yeah that's definitely an added bonus but not the main appeal to me when deciding in between those two. 
For me it is a balance of convenience & reliability during the shooting experience, and the final image output and workflow in post.
The C70 with its DPAF, NDs, battery life & XLRs in combination with DGO sensor and RAW capabilities really ticks a lot of boxes and for run & gun, corporate work, docu etc it is really a slam dunk of a camera for such usage. Which is why I had it at the top of my next camera purchase list.
The Komodo again is a sensor in a box. You will need to rig it although the dual hot swap batteries, PDAF, touch screen, iOS RED app & RF mount (that will allow Canons vari-ND adapter) are all great things to have on the field and are often missing on most cine cams. The simple yet effective traffic light exposure system also seems awesome. These are all features that have pushed me into considering the Komodo even for run & gun applications. 
And then of course the IQ from the footage. The file sizes of the compressed RAW. The global shutter. 
The image does feel 'just right' as you say. The 6K doesn't feel over sharp. The motion is beautiful. The CS, the noise. The R3D raw settings. The image also holds even under extreme grades which allows to get more subtle and creative I find, there is great nuance. The LUTs that RED provide are also great. Overall the whole experience just seems to take you closer to that high-end polished "ARRI" cine look. 
But that's just my reasoning and playing with files, not actual hands-on field experience. A lot of operators here or on YT that have both C70 & Komodo seem to favour the C70 for solo jobs and fast turnarounds. That is a major chunk of my work, I have to think practical too. But then again a lot of higher end clients keep asking for more cinematic look. They want the IQ they see in advertising on TV, Netflix etc. I'm also planning on getting back to music videos and more artistic projects with higher production value. So right now, I am really leaning towards Komodo. I also think working with that footage will excite me and that's also always a good thing!

Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice.
I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.

I don't think there is any phone that does Prores and Raw. The Apple iPhone 13 Pro does Prores at these rates.
 
All iPhone 13 Pro’s ProRes are 10-bitt with 4:2:2 chroma subsampling. These are maximum bitrates tested by FilMiC Pro at 4K 30fps.
iPhone 13 Pro’s ProRes variants:
ProRes Proxy: 170Mbps = 21MB/s = 1.3GB/m
ProRes LT: 360Mbps = 45MB/s = 2.7GB/m
ProRes 422: 540Mbps = 67.5MB/s = 4GB/m
ProRes 422 HQ: 735Mbps = 92MB/s = 5.5GB/m

Filmic Pro is bettered by mcpro24fps on Android in my opinion. But neither are the same proposition as Motion Cam as neither shoot raw video, which is its own thing entirely. The way the image looks, the way it bypasses the phone's processing, the way you grade it, is all totally unique to raw.

I also noticed blotches (compression artefacts?) on flat areas of 60p GH5 footage that I didn't find in the same shot taken on a GH6. It was most noticeable in the first couple of frames of clips shot in long GOP, and not as noticeable but still present in subsequent frames. So if you're flicking through unedited clips then it definitely looks worse on frame 1 of each clip.

Don, you are very old school, b4 and PL loving man.;) L mount is highly adaptable just like Canon RF, Nikon Z and what not mounts. Lumix S5 with full HDMI would have been my dream camera. So close. You can get them used for 1200 EUR, S1 for similar prices.
With the GH5 I discovered a nasty blotch issue in VLog again. I have almost forgotten about it. Pink large blotches on skintones f.i. It was a well exposed shot, daylight, cloudy summerday, which I did last year for a shortfilm. Yesterday I was grading some of my older stuff away and building some digital emulsions and bang, GH5 reminded me of an issue I had found years ago with caucasian skin. Had forgotten about it.

They did a comparison with the S1 and S5, both sharing the same sensor, pipeline and sofore image, being indeed the dynamic range and latitude champs with Canon getting close and Nikon Z9 equalling it with its N-Raw flavours. All tests for video of course.
Nevertheless GH6 image in DGO mode is very impressive. Too bad it still has a few things left out in comparison to the two GH5 models, such as 2xDigi zoom or 1.4 crop for S16 coverage. No 2x digizoom for my S1 neither btw.
S5 is a steal for the image you get. Even lower price than a S1. S series still needs some grading love. But with that any look is achieveable. Natural light being the most "videoish condition", needing more effort than in lit enviroments imho.

Yeah I'm still pretty upset the R6 didn't get any kind of overheating fix but at least R5 seems like a solid option now.
I'm in the US currently and there are some pretty good deals ($3,500) not to mention the second hand market. 
This makes the R5 a lot more appealing than the R5C now imo since you gain IBIS, battery life etc for at least a $1000 cheaper.
Kind of a game changer I guess. Its finally the killer hybrid spec camera it was meant to be and the price is getting appealing too.

Well since it is 35 degrees C in Berlin today I decided to do a quick test. Put it in 4K HQ mode (8K sensor readout) and record until card fills up. I'll let you know what happens.
(Don't expect any melting! The magic screw trick showed it could go for hours virtually non-stop shot after shot in 8K!)
Of course the client reviewers will all now be out praising Canon for fixing the non-existent problem they tried to cover up.

Does this mean I finally get to retire my Magic Screw?
https://www.eoshd.com/news/2-years-later-canon-quietly-removes-fake-overheating-limits-of-eos-r5-in-firmware-update/

It all goes to prove our original point that it was a purposeful software limitation, and that you were not allowed to use the full capabilities of the hardware you just paid £4000 for. It should have been a class action lawsuit and maybe Canon knows it, which is why this u-turn has happened.
At least we don't have to do the card trick now.
I currently have an EOS R5 because I'm a hypocrite. So I'll see if it can go the full 2 hours of 8K without the card pull, and report back.

I did shoot yesterday all day on 4k50p and some 100p, no overheating symbol once! Soo over the moon with this update! 
Man if they do that in the first place 2 years ago it will be way different market now.

...which put them to be ashamed for, to my book : )
On the other hand, no surprises here, the world is cruel anyway, as I've heard this week from someone who had no fear of dead people, only living ones.
It's mere waste of time, it is what it is... But people should call it what it is with no thrift.

So it was a fake timer then.

The big question is, how will this affect camera life? Once bought a second hand 70D with low shutter, that failed quickly with a faulty motherboard (was used a lot for video).

This. Do your own tests and trust your judgement, but here's my opinion.
 
If all you care about is how it looks on YouTube, 50 is perfectly fine. No one can tell the difference between a 50 and 100 source file on a 7" phone screen, or a 65" 4k screen 12' away with window glare across the front. I care more about how my content looks in Resolve than on YouTube. And even then, I use 100 mbps H265 (IPB). When I had an XT3, I shot a few full projects at 200 mbps and didn't see any improvement. I've done tests with my Z Cam and can't see benefits to >100. I'd be happy with 50 in most scenarios. It might be confirmation bias but I think I have been in scenarios where 100 looked better than 50, in particular when handheld.
Keep in my also, on most cameras, especially consumer cameras, the nominal rate is the upper limit (it would be a BIG problem the encoder went OVER its nominal rate because the SD card requirements would be a lie). So while I shoot at 100, the file size is usually closer to 70, so it might not even be as big a file size increase as you think. But for me, 100 mpbs is the sweet spot, when shooting H265 IPB.