noone

Those awards seem a bit like every player wins a prize to me!

As RF Mount has a long future, and M Mount a (at best!) "murky" future, then the choice is clear for Canon: send them to RF Mount. 

Canon doesn't want to risk M Mount users (when they have to move on) choosing a non-Canon brand when they upgrade. Canon already has the risk of customer leakage as we transition away from EF, they don't want to go through that cycle all over again in a few years time! (when M Mount dies)
Initially, for the Canon Rebel buyers, all they need to initially do is put out an APS-C Kit Zoom Lens at the same time as an APS-C RF Mount camera is released. 
 
Exactly.
You just described my sister, and many many others. 
 
Am inclined to agree, at the very least it will take many decades. 

Those awards seem a bit like every player wins a prize to me!

looks like the cripple hammer makes it to adapters as well. You can have infinity focus or a tight fit but not both 🙄
finished paying of the mortgage last week. So now i can get really serious on getting some lenses. Looks like some moderns coming right up 😉

I’m pretty sure Neewer stuff is a re-branded collection of gear from several manufacturers, including some Godox stuff, like the SL-60. Or they are just total copies. 

Godox is your friend. 

look for a cheap adapter that has an inner ring that is held in position with a couple of set screws you can turn the inner ring until the lens is orientated the way you like, then tighten the set screws.

No joke, but when I saw the title of this thread that is what I came here to write!

Sunlight is best. 

Thus light modifiers can be the best investment, to shape what you've already got. 

You're right, assuming you're talking about using these things as intermediaries, but if you've got a camera that doesn't have Prores (like most prosumer cameras) then you don't have that choice.  
OR, you do have that choice, but the option involves adding an external recorder for many hundreds of dollars, plus all the extra size, weight, and complexity of additional battery types, chargers, etc.
With things like the P4K/P6K and others making Prores more affordable now, I suspect that many will be tempted towards one camera or other because "Prores is a professional format and h26x is a consumer / delivery format" but I wanted to test if that really did matter.
After all, the only comparisons I could find were that h265 was 100x better than Prores 4444, which is obviously ridiculous.
I'm about to update my ageing MBP and am looking forward to the better h265 support that will come with a new OSX and latest Resolve (I can't upgrade Resolve until I update OSX and there's a limit to how new your OSX version can be on a given hardware setup, so I'm kind of stuck in the mud until I upgrade my hardware).
I just uploaded a test file to YT right now.  H264 10-bit All-I.  Worked just fine.
ffprobe reports:
I've found YT to be pretty good with input file formats.
Absolutely.  I wouldn't advocate for h264/h265 as intermediaries at all.  
DON'T DO IT KIDS!! 😂😂😂
No worries.  Personally, I find that doing a few hours / days of testing is far more effective than doing hours / days googling (which often does not lead to the truth) or, worse still, is hanging out online and hearing from people that just repeat misinformation and you end up making a bad decision that either wastes many hundreds / thousands of dollars or means you have to deal with lower quality footage for months / years until you realise that you were mislead.
I've wasted thousands on equipment I don't use and also spent years shooting with bad settings or flat-out with the wrong equipment because of misinformation gathered online - even from EOSHD, although it's definitely been better than average for camera forums.  
I also finding that posting the results forces me to do everything properly as I will be explaining it, and it's a bit embarrassing if you get something wrong, so that's motivating too!
Of course, I stuffed up my reference file above, and am re-rendering and re-evaluating all the modes again...  such is life and learning 🙂
I'd really like to be doing perceptual quality testing, as we look at our footage with our eyes and brain, not our statistical analysis software, but typically this involves having massive double-blind tests, which are beyond my ability to perform, so I leverage off of metrics like SSIM, which are reliable and repeatable and comparable.  
Does Prores at a given SSIM have a different feel than h264 at the same SSIM - you'd imagine so.  
At this point I'm still very satisfied with my testing though, as at least I have some idea now of what is what.
I would imagine that cameras would increasingly offer h265 10-bit ALL-I codecs, and I think that's a good move.
h265 is better than h264 (more efficient, giving either better quality at identical bitrates or same quality at lower bitrates) and ALL-I formats render movement nicer and are dramatically easier to deal with in post.
One thing I am very conscious of is that you can go two routes for your workflow.
The first is to render high quality intermediaries and abandon your SOOC files.  For this you'll typically choose a friendly ALL-I codec, which trades decoding load for high data volumes, requiring an investment in large and fast storage.
You will edit and grade and render from these intermediaries.
The second is to render low quality intermediaries, which you can use for editing, but then revert back to the SOOC files for grading and rendering.  
This is my workflow and I use 720p "Prores Proxy" which cuts like butter on my ageing MBP and also fits neatly on the internal SSD for editing on the go.
The challenge with the second workflow is that you can't really grade on the proxy files, and you definitely can't do things like post-stabilisation or even smooth tracking of power windows.  This means that you're back to the SOOC files for grading and which means that you can't play the graded footage in real-time.
This compromise is acceptable for me, but not for professional people who will have a client attend a grading session where they will ask for changes to be made and won't want to wait for a clip to be re-rendered before being able to view it.
Having SOOC footage that's ALL-I significantly helps with performance of grading from SOOC footage, but it's why professional colourists have five-figure (or even six-figure) computer setups in a sound-proof cupboard and run looooong USB and HDMI cables out to their grading suite.
Anyone who balks at the cost of the Mac Pro for example has never seen someone do complex colour grades with many tracked windows on 8K footage live in front of a client.
Anything that cannot be explained simply isn't sufficiently understood.
I'll get there, I promise 🙂 

Lighting is pretty much the most important thing for what we do. It’s what makes your images sing. 
Here’s a bunch of lights I highly recommend:
1. Falcon Eyes F7
Ridiculously awesome light for the price. Everyone should have at least one.  Super bright for a small light. Very useful. Essential. Possibly my favourite right now. 
 
2. Falcon Eyes 24TDX II 
Flex lights are expensive. Not this. Build quality is great. Super useful. Waterproof.  Put anywhere! 
 
3. Luxli Taiko 
In my opinion, better than the Arri Skypanel which is 3-4 times the price. Best colour accuracy I’ve ever seen and very easy to use. Only downside is the power unit. Feels a bit cheap and not long enough. 

4. Godox S30
I think this makes the $3k Dedolight equivalent almost obsolete. For 10% of the price? Super optics for the projection attachment. Downsides are the power goes down to 10w from 30w when using batteries.

5. Colorspike
The light pattern customisation is immense and looks way more organic than preset effects from other lights. An incredible tool. Only downsides is the carry case is a bit “meh” and diffuser is fiddly. 
 
6. Astera Titan Tubes 
These are way more expensive than other mentioned lights. They share some ideas with the Colorspike’s but on a much higher level. These things are insane and worth every penny. I don’t own them but what they can do.... wow!! Downsides... 8 tube case is very very heavy. They are expensive. 
 
What are your current favourite lights? 

Hot damn!
I knew you were smart, but wow.....   
Hmmm, I wonder if my wife hates space travel.

My wife hates opera so I make her happy by not taking her.
Then I use the savings made on the tickets to buy more lenses.

It looks like some are 4:2:0 and some are 4:2:2, however.

10-bit in all profiles.

Well... if they release this lower-end camera, then they better start releasing their less expensive (f/1.8) lenses to go along with it.
I don't know which market they are going to target with it though. Primarily a stills camera? A true hybrid?  A vlogging camera?

I think there are about two or three different 135 1.8s but they do go under multiple brand names.    
I can never be sure which one is which.
I will see what I can do once my new adapter gets here though it will not be pretty (both image quality and my "competence").

This is a page I saw years ago.
https://www.pentaxforums.com/userreviews/porst-135mm-f1-8-tele-mc.html

I can understand that but put it this way.
It IS just a tool for photography and video, the video side is being crippled (either by lie or by stuff up or both).
IF the aim is to make the best video you can, surely you would want the best equipment you can get and IF that best equipment was from a company that lied to protect their OTHER equipment, should they turn around an fix the lie so people DO get the best equipment doing what it was sold to do, what you are saying is you think people should not get it and buy second best?
Who is that going to hurt?   You, or them (or both)?    Human nature says a few will not buy it on principle but plenty of others will and that will include people who would never have considered the camera before.
Personally, I would still prefer the Sony A7siii but that is because it suits what I want but I can appreciate what Canon has done in building the R5 while reviling them for crippling it.

Rolling shutter times are in and they are impressive.
 

How about we turn the camera on, do nothing with it, leave it in the menus.
Put it in the freezer.
After 1 hour, see if the timer has ticked down to 0 mins of 8K.
Who wants to see an OVERHEATED! SHUTTING DOWN! screen with frost on it?

Shame on you Canon!
 
I still hope they will come to try fixing this embarrassing mess.
Brand value is definitely higher than the sale of a few C line units.

I think it is more likely a combination of massive cock up (and maybe more than one) as well as a bit of cripple hammer.
Truth is they might just have made TOO good a camera for video and thought that it might kill some of their "proper" video cameras and the premium those bring.
 

That's whats I was thinking. Nobody (more even youtubers) will care if the camera "had issues".

The thing is, if they DO fix this and own up it will be a fantastic camera and many many people will instantly forgive them.

Andrew's point is still valid though : )
Thanks you two @Andrew Reid @BTM_Pix for your guts and service to filmmaking, keep going your focus and hard work :- )