Ty Harper

Canon are absolutely the worst in my experience for the flimsy ports, thin circuitboards, cheap connectors and brittle ribbon cables (FPCs). Not seen how the R5C is built but usually the port is secured not even with a screw but sandwiched between two bits of plastic and the case, then the flex of the joint on the mainboard where it's soldered cracks the solder over time, you'd have to take the mainboard out and put it in the oven, risky business. To do a proper HDMI mod you would have to completely disconnect the port from the mainboard and reconnect it with a flexible ribbon cable. Then the cable would take the brunt of any flex over time, rather than the solder.
The camera companies are too dumb to do that, and they don't leave enough space between the mainboard and edge of the case to fit a small FPC.
With the IR cut filter over the sensor, I've never needed to replace it with clear glass of equal thickness, no focus issues so far.

Leica M Typ 240... 2012, this was before Panasonic got more involved with making Leica's stuff.
I'll give this a 10/10. The whole motherboard slides out really easily. I baked it in the oven to bring it back to life from completely dead. The solder needed a reflow apparently. 200 degrees C at 7 minutes did the trick. Custom chips all over the place. Utterly beautiful mechanically and in terms of the quality of connectors, cables, lots of metal parts and brilliantly designed internals.



Next up another older camera, Nikon D700.
Very impressive motherboard with separate analogue to digital converters.
Probably why the colour science still has the edge on the newer sensor designs with their inline on-chip A/D.
Nikon own branded chips.

By contrast in the newer Leica Q...
It's actually a Samsung.

And the lens relies on a LOT of digital correction, so it's certainly not in same league as a Leica M when it comes to the quality of parts or optics.
End result in terms of the images is very nice though.
We'll call it the Samsung Q.
Onto Fuji now and I have fixed an X-Pro3 and the old X-Pro1. The original had a lot of Fujifilm's own CPUs inside.

It's very well made but has a lot of traditionally soldered wires on the mainboard, old-school style. This continues with some of the newer models too.
X-Pro3 was an easy fix, a ribbon cable (FPC) had come loose where the sensor plugs into the mainboard. Some tape over the socket had shrunk in the heat and pulled it ajar.
Pictured above is the X-Pro1 circuitboard, it's more proprietary whereas X-Pro3 looks a bit more generic on the inside.
Here is an oven bake of a Panasonic LX15 mainboard...

The components can withstand very high-heat and usually cold solder joints are responsible for a wide range of issues.
Unfortunately in this case I made a mistake with the stop watch and the card slot fell off 🙂

Here is a sensor with hot mirror... the IR cut filter glows pink in this shot.
If you remove it you get an IR capable camera and can also shoot normally if you add the IR cut filter to the front of the lens instead.
I think this sensor is from my Lumix LX100 II or could be Sony RX100, I forget 🙂

Now onto Sony and their smaller cameras are too tightly packed.
FPC cables develop cracking over time as some of the metal is folded and bent too tightly to fit the smaller bodies.
This is an RX100 and it's very common to see these fail on the cable that connects the lens.
A relatively easy fix actually and replacement FPCs are $5 on Aliexpress.
But I don't rate Sony's quality as highly as Fuji or Panasonic so far.
Onto Canon and I have had a very bad experience so far with their modern cameras. The DSLRs were much better made (i.e. 5D Mark III which was easy to tear down and remove the OLPF back in the day!)
They use extremely fragile FPC connection sockets and the ribbon cables themselves are brittle and cheap. Sometimes a few bends and they tear. Doesn't make for a stress free repair that's for sure.
In contrast to Panasonic, with the lovely GX80 it's in a different league and take a bit of extra abuse by an amateur repairer.
I've done a lot more than what I have time to post today but probably will do a deeper look at stuff for YouTube or the blog.
I rate as follows the brands then...
1. Leica (the extra cost is noticeable on the inside)
2. Panasonic (they know how to sensibly build a camera and logically lay out stuff, and they don't scrimp on component quality)
3. Fujifilm (high repairability score and robust, sensible designs)
4. Nikon (high repairability but many of the newer cameras not up to high-standards they set during DSLR era)
5. Sony (they try to pack in too much)
6. Canon (really quite terrible, cheap cost cut components, and badly laid out)
Stay tuned for more. I do this just for fun, and really enjoy it. Plus now I have a oven baked Leica 240 to play with 🙂

No indication C50 can do this either but they should definitely consider it if not already. I also hear they are releasing a bunch of "stylised" LUTs including day-to-night for the C50. 
As for open gate, if the R5C (or even the R5 II) sensor could actually handle full-height 3:2 video readout, Canon would have probably leaned on that already.. either through firmware or at launch. Instead, they built a brand-new lower MP sensor for the C50. That tells me the older 45MP architecture just isn’t optimized for it (whether it’s readout speed, heat, or the processing pipeline).
So while open gate on the R5C would be fantastic, the fact Canon didn’t already enable it when they had the chance is probably the clearest sign it’s not coming. Also for product segment reasons. But you never know.. 

Yeah but I imagine Smallrig/Tilta could maaybe make a special cage that has the right compatibility with those screws? I shot Smallrig a quick email just to see what they say. So much of their stuff is inspired by custie requests and I love them for that! Just looking at my R5C right now, it technically might be doable. The tradeoff would be reduced access to the power switch and top facing LCD panel on either side of the hot shoe. But of course that's all provided that the hot shoe is even compatible 🤷🏾‍♂️ 

An important question for me is whether the C50 top handle/audio mixer is compatible with the R5C?
Looks like it's secured with two screws on either side - but maybe Smallrig or Tilta can make a modified cage that allows the top handle to be bolted down that way? 🤷🏾‍♂️
If it is compatible I wouldn't need to be pinning for that Tascam Fr-AV2 anymore. But if it isn't it would be another head scratcher bcuz between the C400's detachable monitor and now this top handle/audio mixer, I feel like Canon is missing these really big opportunities to open the door for Canon made essential accessories that are compatible across/within their cam/cinema lines which would further strengthsn their ecosystem.   
Either way, seems like a great piece of kit!

FYI, CVP discusses batt life in their review. Seems like it might actually be less time than the R5C tho 😳. This link goes straight to that section of the review:
 

Canon Should try any current Lumix camera for hand held IBIS work. They are very good and there is a good portion of what I shoot now where I don't have to be on a gimbal!

Honestly, I tried IBIS with the R5 and was underwhelmed. I ended up buying a second R5C and the Digital IS along with lens IS is perfect for my needs. But also, has Canon ever put IBIS in any of their C-line cams?

As with all rumor mills take this with a grain of salt, instant-buy if this is verdict :
 
Canon EOS C50 Sensor and Image Processing
32MP Full-Frame BSI CMOS Sensor: Adapted from R5-series tech but at a reduced 32MP resolution for better heat management and faster readouts in video modes. (~6936 x 4624 pixels in 3:2 aspect ratio for stills; supports Open Gate full-sensor readout for video). Features Dual Gain Output (DGO) for enhanced dynamic range (15+ stops), borrowed from C300/C70 technology.  Analysis: With the help of the BSI CMOS sensor, the low-light performance of the camera improves, as well as heat management issues become much better due to the lower resolution sensor compared to the R5 Mark II with 45 megapixels. So, the lower resolution choice makes it an ideal sensor for cinema workflow, making it highly efficient for solo professionals.
DIGIC Accelerator + DIGIC X: Dual-processor setup added with AI DIGIC Accelerator, the Canon 32MP sensor has fast sensor readout, despite being a non-stacked CMOS sensor, and reduced rolling shutter.  Analysis: The image processor is responsible for the overall performance of the camera. Paired up with Canon’s homegrown AI image processor known as DIGIC Accelerator, it boosts the AF performance of the camera. The Accelerated Capture system reduces rolling shutter distortion, ensuring smooth footage during fast action. Advanced Dual Pixel Intelligent AF, powered by the DIGIC Accelerator, offers precise subject tracking.
Canon EOS C50 Video Capabilities
Resolution and Frame Rates: Canon C50 is available to capture 6K RAW at 60 FPS (full-sensor readout; oversampled from 7K / 32MP for high detail). 4K at 120 FPS (uncropped or minimal crop, 10-bit 4:2:2 internal). Additional modes include 4K 60 FPS oversampled (from 7K-equivalent downsample for superior quality, no line-skipping) and Full HD at 240 FPS. Analysis: The core video specifications actually outperform the Sony FX3 4K 120 limit in resolution flexibility, focusing more on cleaner capture by oversampling from 7K. The Canon C50 camera also has an active full cooling fan inside, so no recording limit.
Codecs and Log Profiles: Canon RAW Light (LT/STD/HQ), Canon Log 2/3, HDR-PQ, XF-AVC, MP4 (H.265/H.264). Features internal ND filters (up to 10 stops), timecode I/O, proxy recording.  Analysis: The above codecs, resolution, and frame rates all qualify for high-end production needs, and it will very easily make its space in top Netflix-recommended cameras.
Canon EOS C50 Autofocus and Stabilisation
Dual Pixel CMOS AF II: AI subject detection for people, animals, vehicles; up to 1,053 AF zones; face/eye tracking with registration for up to 10 subjects. Analysis: The need to track 3D moving subjects even in complex scenes makes it very ideal for documentary-style or event shooting. At the same time, with the AI enhancement, users will experience a major shift in autofocus performance compared to the Canon R5C.
In-Body Image Stabilisation (IBIS): Up to 8 stops, with electronic IS coordination for video.  Analysis: The Canon C50 allows you to shoot handheld videos due to the presence of its sensor-shift image stabilisation system. Further, you can also use gimbals or external stabilisers to enhance performance. Canon R5C and FX3 — neither of them had IBIS.
Canon EOS C50 Build and Connectivity
Compact Box-Style Design: Aluminium alloy body construction, weather-sealed; active cooling fan for unlimited recording; weight ~650g (body only); RF mount with EF adapter support. TBA: Optional electronic viewfinder (EVF) attachment (5.76M-dot OLED); 3.2-inch vari-angle touchscreen LCD (2.1M-dot).  Analysis: The new Canon C50 is a rig-ready camera, a mix with the Sony FX3 design. You can easily mount several accessories on the mounting threads all around the body.
Ports and Storage: Dual card slots (CFexpress Type B + SD UHS-II); full-size HDMI 2.1; USB-C 3.2; XLR audio inputs via optional top handle; Wi-Fi 6E, Bluetooth 5.3; Ethernet via adapter.  Analysis: Lots of upgrades in the new C50 body — starting with a full-size HDMI port (HDMI 2.1) and timecode I/O support for multi-cam setups, positioning it above consumer hybrids.
Battery & Power: LP-E6P battery (2+ hours of 4K recording); power delivery via USB-C; optional battery grip or V-mount compatibility.
Other Features
The Canon C50 will be Canon’s first cinema camera to offer Open Gate recording for flexible aspect ratios. Waveform/vectorscope monitoring will also be there, along with false color. A new feature is anamorphic de-squeeze functionality, and AI upscaling to 8K is proposed (not available in the initial version of the camera).
 
Canon C50 Pricing [Expected] and Value Proposition
Canon C50 Price: $3,499–$3,999 body only [Approx]. Analysis: At this level, the C50 enters the higher-end cinema EOS lineup, positioned below the C70 ($5,499). It offers more than the FX3 ($3,899), but the C70 was less popular due to its price point and limited Canon’s RF lens ecosystem (lenses start at $300+). Hopefully, this year, third-party makers will release a massive range of full-frame RF autofocus lenses. For indie filmmakers, the C50 represents excellent value for money—delivering 6K capabilities at half the cost of a RED Komodo ($5,995). However, if Canon opts for a higher tag (e.g., $4,799), it risks alienating budget-conscious creators.
https://thenewcamera.com/canon-c50-rumored-specs-price-release-date-and-in-depth-analysis/

The form factor of the Tascam FR-AV2 and Zoom F3 make that less of an issue nowadays, imo - have you tried either of those options?

The form factor of the Tascam FR-AV2 and Zoom F3 make that less of an issue nowadays, imo - have you tried either of those options?

I hope they offer an attachable EVF as an additional accessorie. Also USB-C protocol that makes it compatible with the C400s detachable monitor. It's actually wild to me that Canon hasn't already done this with that monitor bcuz the touch screen AF would make it an amazing monitor option for gimbal work.

Sept 9th premiere launch date. 
https://www.instagram.com/reel/DOD3vIsDRuK/?igsh=MW1xc2cxcTMyanM3bw==

Sony rumors claim from a "rock-solid" source it's the C50, a full frame FX3 killer with R5ii sensor. If true that would basically be the R5C mk2 in an FX type body. Also Nikon is supposed to drop Nikon ZR the following day. What a time to be alive!

Sorry if it was already mentioned but the Canon R50V ($699USD) seems like a no brainer. But also depending on when you need to squeeze the trigger, Canon is rumored to be announcing a new Cinema cam with the R50V compact form-factor next month: https://www.canonrumors.com/canon-to-announce-new-compact-cinema-eos-camera/

Sorry if it was already mentioned but the Canon R50V ($699USD) seems like a no brainer. But also depending on when you need to squeeze the trigger, Canon is rumored to be announcing a new Cinema cam with the R50V compact form-factor next month: https://www.canonrumors.com/canon-to-announce-new-compact-cinema-eos-camera/

You're absolutely right, but the creator of the future will likely be wired differently than us. Specifically when it comes to how we perceive/capture/synthesize/translate the real world into different visual/audio mediums for the purpose of telling/expressing a story/POV. So it is understandably hard for us to fathom how AI will change things. 
But that could be the "difference" you're sensing. But that doesn't mean the core thing(s) that drive humans to create will change. But I could also be completely wrong too, so there's that, lol.

Yes, AI is a real wildcard.
I see that there are really three fundamentally different groups when it comes to generative content.
The first is professionals who create material for the general public, or various niches of the public.  This is where AI will have incredible impacts.
The second is professionals who create for their clients directly.  This is people like wedding photographers etc, where the client is the audience.  This has been debated, but I think that there will still be a market here.  If I did something and wanted a record of it, I would want the final images to be of me, not AI generated content that looks like the people I know might have looked during the thing that actually happened.
The third is people creating for themselves, where there is no client or money changing hands.  This is every amateur, every personal project from professionals, etc.  The goal is to have a final result that this person created.  Amateur photographers take photos and print and hang the best ones, not because they're the best photos ever taken, but because they were taken themselves.
Personally, I'm in the last category and I am completely resigned to the fact that my videos will never be great, will never attract a significant audience, will never be regarded as important, etc, but that's not why I do it so in that sense AI is no threat to me at all.  I do understand that people are all in different segments of the industry and have very different perspectives for very good reasons..

I could be wrong that I feel like we've arrived at a place where video quality is technically pretty solid across the board in new gen mirrorless cams. But if we're talking about R50V vs 5D MKIII ML RAW, it's less about better and more about 'different'. The 5D MKIII ML RAW definitely offers something aesthetically different than the R50V, but all things considered, I don't know that it offers better video quality, overall. 

I agree 100%, it is technically perfect for a beginner to grow into the system, both in photo and video terms. 
Now about the AI stuff I don't know. I have my reservations for it as a tool for human expression. As of this moment there is a stark difference between going out into the world and shooting with your own hands and eyes and soul vs. prompting lines into a machine.

Yes, there has always been those who gravitate to a piece of kit for other reasons than the prudent ones that revolve around basic specs and price point - but if you're a beginner looking for an affordable/pocketable cam that will let you tell stories by capturing photos/videos with reasonably solid IQ and the standard bells/whistled (like DPAF, Digital IS, exposure tools and a camera mount for vertical-friendly shooting), there is no reason to go beyond a used R50V at the moment. Especially bcuz it is being marketed to that younger YouTube generation - and there are a number of comprehensive videos on setup/settings etc by guys like Josh Sattin. Again, this is coming from someone whose career was launched thanks in no small part to ML, and will not sell my 5D MKIIIs, still has an OG 7D that my little cousin tinkers with, has two R5Cs that are my future proof workhorses - but that is still seriously eyeing the R50V+RF 16mm combo as a fantastic pocketable travel/walk around option. In fact the only thing stopping my from picking one up now is the fact that I don't actually need one, but that I'm also waiting to see if Canon will be releasing a higher end version later this year. 
But also, we're forgetting the elephant in the room - which is AI and the way it might change what it means for younger generations to capture/tell visual stories.
 

Always great to hear the ML community is still pushing along. I cut my teeth on the 5D MKII ML and still have two 5D MKIIIs with ML that I refuse to sell! All that said, the R50V is $650 brand new and once those hit the used market they'll be $500 and under vs the 5D MKIII which is still going for roughly the same price. So nostalgia aside, the R50V's price, specs - not to mention form factor and access to RF and EF lenses - really makes it hard to argue that anything ML related is the prudent way to go in 2025, imo.

I could be wrong that I feel like we've arrived at a place where video quality is technically pretty solid across the board in new gen mirrorless cams. But if we're talking about R50V vs 5D MKIII ML RAW, it's less about better and more about 'different'. The 5D MKIII ML RAW definitely offers something aesthetically different than the R50V, but all things considered, I don't know that it offers better video quality, overall. 

I always suspect that the current crop of high dr sensors tuned for high dr but sacrificed other aspects. 
Using OM1 as an example, it is very nice in 60p photo mode, especially the dr is impressive. Yet, when I use some vintage lens on 5d3 with ml raw, something just looks different, scientifically not explainable, yet it is there. Aesthetically, I really like this subtlety.  

Agreed modern Canon bodies really are not very crippled. The fact that the $649 R50V has CLOG3 10 bit is proof. But still, advancements on these older cameras is always exciting, and those old canon sensors certainly have a unique look that I think isn’t quite the same on the newer bodies.