TheRenaissanceMan

AF performance differs radically based on lighting. A flatly lit face will track much better than a moodily lit one. Contrasty lighting bit me hard on a C700 shoot, and wasted 5 minutes of valuable setup time wrestling with AF settings. I'm sure it works well for many people and many projects; personally, I'm not ready to give up the level of control I have with a wireless puller.

AF performance differs radically based on lighting. A flatly lit face will track much better than a moodily lit one. Contrasty lighting bit me hard on a C700 shoot, and wasted 5 minutes of valuable setup time wrestling with AF settings. I'm sure it works well for many people and many projects; personally, I'm not ready to give up the level of control I have with a wireless puller.

AF performance differs radically based on lighting. A flatly lit face will track much better than a moodily lit one. Contrasty lighting bit me hard on a C700 shoot, and wasted 5 minutes of valuable setup time wrestling with AF settings. I'm sure it works well for many people and many projects; personally, I'm not ready to give up the level of control I have with a wireless puller.

Do you know how many movies and dramas are shot in Korea every year? You mentioned two korean directors every redditor wanks off to. I just spoke to a Korean Producer who has a studio film in the korean theaters right now a couple of weeks ago about shooting long scenes with af lenses to keep track of the actors. I personally know dp's who have used sony and canon cameras the past year on all types of shoots using af. Why are there so many people on this site who think they know everything about what everyone is doing? And why are you interrogating me? But I'll play along.
No, I don't mean Bong joon ho or Park chan-wook.
They are using c300 mkii and fx9's and canon and sony lenses.
It's not for the whole production. Specific shots where they know they can save time and get the shot done. So yes most of the shoots are of course done with an ac/puller.
I personally know and have worked with these people. I have worked in the Korean film industry for over 12 years now and worked in film and tv in NYC since the early 90s. I am very aware of how productions work. I have done everything from tape dubbing to dping indie films to directing short films and theatrically released feature films.
And no I won't share people's names with you. Just deal with the fact the world is bigger than what your perspective might be.
Here's a rental house a few blocks away from me. A lot of productions in Seoul rent from houses like this. Go to the cine camera section and then the lens section and then draw your own conclusions.
https://www.slrrent.com/kr/

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. 

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? 

Those look great! Awesome setting.


Some from me, these are all Prores 422 LT

Thanks Penny. Looks like I'm in the clear for now.
This footage is all ProRes 422 recorded through the BMVA 5". Mostly short clips, 30 seconds on average.

Who puts test charts in their movie?
It's designed to show the malleability of information at low IRE values, which is useful data.

Ok so I guessed at how long I've had my 5DIV, I guess from now on I should go look at my purchase receipt and scan that in to ensure I am more precise.  We are talking about video here and until Canon provides CLOG3 for the R5 the DR statement is still accurate, but yes the context was video and the current R5's CLOG implementation. You are free to ignore whoever you want, it wouldn't affect me in the slightest either way.

Have a look at some of the Sony,Canon and Panasonic HD palmcorders as well as many of them have LANC controls which will make the simultaneous controlling easier and they are usually very cheap used.
The form factor is quite useful too as they all tend to be quite narrow which could be a benefit in placing them for overlapping coverage.
Good luck with it.

A few more for the road. Damn does the F3 grade well.

Sounds like a Sony PMW-F3 😉

If you're a low budget videographer, the OG Pocket still makes a lot of sense. 
Or if you are traveling, then OG Pocket is much more compact in you carry on bag than an URSA Mini
And with range finding tools too: 
 

Slightly overexposed while shooting with fill from reflector. ACES grade, Secondary corrector to soften the skin tones and sharpened the reflection in the glasses. 

He loved the C300 and literally released a video saying it was his favorite camera. 
3 weeks later he received a camera to try out that he preferred and instead placed an order for 3 of them. 
Not everything is a conspiracy. It's okay to disagree with his conclusions, but let's be real. 

The professional production world never stopped using MF. They just transitioned to wireless transmitters/follow focuses. 

The professional production world never stopped using MF. They just transitioned to wireless transmitters/follow focuses. 

two things really puzzle me when i read through these posts.
a: i don`t think anyone is forced to buy this camera but a lot of the posts read like people already did and now live in a constant nightmare.
b: from looking at the whole thing it does not seem like canon is trying to keep the issue under wraps, they gave pretty honest info about it, so where`s the scandal? of course they aimed for the middle ground like any other company would do.
canon took a big gamble to have 8k on the box just in time before the olympics. well, the olympics are called off and canon has to deal with quite a mess. question is, was it worth it?.
we all know that there is no "ultimate review" that is right about everything, answers all questions, and is totally unbiased.
and it should be common knowledge that you need to read a lot of them and then take home the pieces of info that concern you. and right now there are not enough reviews out to get a clear image.

Johnnie provides some info about how long he was filming for in his comments:
"Looking at my interview timeline, the max i could record was around 9 minutes. Saying that, I guess the camera “gathered heat” while filming some short clips before and when left on “standby” in order to arrange my framing and light."
"I did’t get near the 40 minutes benchmark Canon measured. I guess what they did, is taking a camera “out of the box” and let it run up until it overheats. In reality, we work a bit differently. We film short clips. We leave the camera “on” in standby mode for composing the shot and take care of other (Little) issues like lighting and sound. All this is building a certain heat inside the camera body, so it can be that by the time you need to film your main interview, the camera will shut off much earlier than the claimed 40 minutes."
 

You really think he would be that disappointed after 3 hours of straight use? I think not. 
Agree that the 'review' is not perfect, but it told me everything I needed to know. 

All those things you mentioned above.......they shouldn't matter in a video camera! It's really as simple as that. And while the r5 and R6 aren't primarily 'video cameras' they are promoted as video tools.
He was not able to create the piece he wanted to and the camera dictated how the shoot unfolded. To anyone who want's to use this camera more than just filming a few clips of the kids.....that is all you need to know.
 
I look forward to seeing your review sometime soon.

Except that isn't true.
Didn't provide real world shooting times, not even rough estimates.
Didn't talk about a real world shooting schedule, in terms of the amount of time the shoot lasted during the day.
Didn't mention the average length of a take.
Didn't say at what point during the shoot the overheating trouble began.
Didn't estimate the resting gaps in-between. Or whether the camera even remained turned on during this time.
Didn't say whether the indoor scenes had a lower temp than 28 degrees, due to air con, or other factors.
Did not say when the ice pack was applied, how long for roughly, or whether lower ambient temps even made a difference - seems they didn't.
But yes, praise away the "great job of providing real world information"!
Not reading too much into it at all. Final warning. Agitate me again and you can go and use the DPReview Video forums instead.

You’re reading waaaay too much into my comment Andrew. I didn’t mean to take “sides” with Drake.. was just clearing up the confusion that other members may have had concerning his on going présence here. I personally couldn’t care less either way lol..
I will try and do my best to not refer to any of your “foes” in the future though as it clearly seems to get you triggered..?!
 
 

We had one that contributed to the forum, he shared a ton of great information and got zero respect from users here so left. 
 
Just watched Behrini's video and I think he did a good job of confirming what I already knew. Out in the real world, this camera is useless for video. At least he produced a real world video...Peter Mckinnon zoomed around on quad bikes........as a motorcyclist myself, when you are moving out in the open at 40+kph , the wind chill factor really helps keep things cool!!No wonder his camera didn't overheat, it had constant airflow!
 While Gerald may have given some run times, did he say if these run times where on a tripod or in the hand? Judging by most users here,  people who want a camera with IBIS and AF are wanting a camera that they can use in the hand, nun n gun and to be inconspicuous. I think the camera in the hand will overheat faster than on a tripod. 
No-one has given the perfect review yet but at least Johnny did a good job of providing real world information and a finished product that gave the viewer a rough idea of how he used the camera. 
One thing I do find interesting is that people are more willing to make do with overheating vs poor battery life. As an example, The Pocket4K on release had (and still has!) poor battery life. But, after 45mins I can put in a fresh battery and keep shooting. The uproar from many forum members was way over the top and suggested that the camera was useless.
Now, imagine if your cameras battery died after 30mins but........you couldn't put a new battery in for at least 20mins and even then, the new battery was only going to last 3-4mins of shooting. THIS is what we are pretty much seeing in the R5/6. This is reason to get angry! Who want's a camera that could decide to shut down at ANY given moment and then can't be revived for 20+mins? 
Basically, for video, it's not fit for purpose.
 

I think the issue is that lighting design (and budget) is crucial for the look of that or any movie. I read an interview with the Hannah Grace DP somewhere where he said he had to baby the camera because of the 8-bit codec. In other words, get it right in-camera.
When I used to AC, I was on so many indy film shoots where the DP pushed the ISO of his/her RED or Alexa past their self-imposed limit (typically 1600) because their lights were too weak after being diffused.
So, I think that having a camera with the highest possible usable dynamic range and maximum ISO would probably help overcome some deficiencies of your lighting budget.