Ty Harper

Yeah I just looked into it and indeed R5 is also dual ISO but just not officially. On R5C there is a base ISO mode (kinda similar to Sony's EI mode) that locks you to ISO 800/3200 only. Kinda cool. As for the 30mn time limit, yeah that annoying. Canon removed it on R3/R5C/R7/R6ii. Don't forget R5/R6 are just second generation Canon mirrorless. It usually takes that third gen for such quirks to be ironed out. Same with Sony A7S series.
I do have leftover R6 batteries (just realised it yesterday when going through camera bag)! But I disagree that the R3 battery is a downside. The LP-E19's hold double the capacity so that means less swapping and less charging which is clutch. I'll take that over multi body battery interchangeability. 
In the R3 video I posted above, the guy uses a gimbal just fine it seems. Keep in mind the R3 body is mega light despite its size. an R3 is lighter than a R5 + grip! That said I'm sure not any gimbal works with an R3. 
Yeah the S5II does give you a whole lot for very money. Even has open-gate. But I saw some latest tests and the AF is still a work in progress, you can tell its first-gen PDAF. And yeah whole other lens ecosystem. Also been reading stuff here about Vlog being hard to grade and overall CS issues. This is where Canon really shines imo, you can throw anything at Clog and it always comes out good.
 
To me this is a big pro for R5C. But I'm used to cine cams. I want all those options. You can have the ones you use the most inside My Menu. You can assign buttons for Q&S. Shutter angle alone is fantastic, set it to 180 degree and you no longer have to fiddle with shutter speeds when changing frame rates. Punch-in while recording to check critical focus. WFM, false color etc. On R5/R6/R3 all you have is that histogram that disappears once you hit record. Its a joke for serious work or complex scenes so you have to use an external monitor which adds weight and clunkiness. All of a sudden R5C with an external battery doesn't sound so bad! YMMV of course, as we see above depending on our requirements and user cases a pro can be a con and vice versa. It is interesting to hear how others shoot and view such things though!

LP-E19 gives you two hours per battery which is the same as the battery grip option. The cost of an LP-E19 is $169US. Two LPE6NH cost $150US. Sure you need to buy the grip but once you do, I don't know that there's really that much of a difference tbh. But hey maybe I'm missing something? 

Here in EU, LPE19 is 169€ and 2xLPE6NH is 190€. R3 comes with a dual charger and I'd rather charge 2 batteries than 4.
R3 is lighter than R5C + grip, has IBIS.. and overall more solid/pro feel. Here's a video from a dude that switched from R5C to R3 and I'm inclined to agree with most of his points although in the end its kind of a toss up:
 

@Django consider buying the grip (which also gives you better overall cam balance imo) and make sure you have 6-8 LPE6NH batteries, a dual LPE6NH portable charger with USB chargeability + some kind of powerbank that will allow you to charge batteries in the field. The grip gives you 2 hours and with all the aforementioned stuff you should be good for a 6-8 hour shoot - particularly one with no access to a power outlet. 

As someone that is about 6 months into owning an R5C, my only regret is not buying an R5 first. Only bcuz I'm doing alot of run n gun and handheld b-roll stuff and would've preferred the longer battery life and IBIS right now - although I plan on getting an R5 later this year. But my advice would be to wait if you can because the price of the R5C and R5 will probably drop even lower once the R5 II is released and who knows, maybe that's the cam for you (maybe even me).
Do remember though that if you go with the R5C there's a whole other bag of $$ you're gna need to spend on powering options. Personally I've settled on the grip (there's a cheaper third party option available now but comes with some cons I think) + FxLion Nano for proper shoots and an Anker Powerbank as a backup power source.

Nah I can't wait for R5II. Need a new camera ASAP + R5II will probably retail around 4800€ here. 

As someone that is about 6 months into owning an R5C, my only regret is not buying an R5 first. Only bcuz I'm doing alot of run n gun and handheld b-roll stuff and would've preferred the longer battery life and IBIS right now - although I plan on getting an R5 later this year. But my advice would be to wait if you can because the price of the R5C and R5 will probably drop even lower once the R5 II is released and who knows, maybe that's the cam for you (maybe even me).
Do remember though that if you go with the R5C there's a whole other bag of $$ you're gna need to spend on powering options. Personally I've settled on the grip (there's a cheaper third party option available now but comes with some cons I think) + FxLion Nano for proper shoots and an Anker Powerbank as a backup power source.

This one still holds up too 😂 
And off topic but his latest poke at Canon and the other cam companies is prob the best one he's done yet, lol...
 

Currently have a 1DC + extras up for sale if you're ever in the Toronto area, lol!

Despite moving on from Canon years ago I still have a hankering for a 1DC. I have absolutely no need or place for one but having used one a couple of times and still have some 4K Log footage stored, I look at it from time to time and it still impresses me. 
I'd still be interested to see how a Sigma 18-35mm would fair on it, I do remember once using it paired with a Speedbooster Ultra on a GH5S making it roughly 1.27x crop with a touch of vignetting in the corners. 1.3x in DCI 4K mode on the 1DC must be do-able then!

This one still holds up too 😂 
And off topic but his latest poke at Canon and the other cam companies is prob the best one he's done yet, lol...
 

First, the Flat profile is indeed a log profile, and the gamma can be adjusted in the camera. And 10bit colors was available at the start even in 5.3K 60p. In Linear mode, there is hardly any fisheye, and at 5.3K resolution there is plenty of detail for 4K despite the crop.
But now with GoPro Labs firmware:
1. You can up the bitrate to 200 Mbps (HEVC, 10bit).
2. You can now shoot 4K 120p in 10bit (newest firmware).
3. You can turn off noise reduction - and you get visibly more detail, and any noise is actually very fine.
5.3K using 2.35:1 crop (10bit, Flat, Linear, extended color gamut (Native), 180 Mbps HEVC):
4K 120P 10bit, Flat, 180Mbps:
 

Sony PMW-F5, they're crazy dirt cheap now, almost being given away. And if you're lucky enough to get one with an R5 (an R7 would be even nicer... but that's just impossible and living in a dreamland) then you've really got something special. And with storage now being so dirt cheap, why not? 

Always the Sigma FP or FP-L.
The problem is I am a minimalist...or as much as I can be and like a streamlined workflow.
At present, I am working with 4 camera bodies only 2 of which are identical, but next gen with L Mount will hopefully get me to my ideal 3.
So where would an FP fit in?
It doesn't, not into my work needs anyway, but maybe in '23 I can wrangle one for personal use...

Many times I've considered the original A7S or the Fuji XT3, and since I've gotten back into still photography, I'm thinking about them again for stills/video.

Canon 70D. Interesting cheap camera with ML RAW mojo and dual pixel autofocus. Paired with a sigma 18-35 could be an interesting combo!

A useful battery hack for the R5C. Basically if you hit the Media button and keep it in that mode while you aren't shooting, you can almost triple the battery's life:
 

I'm in the same boat when it comes to Fuji otherwise I would've already bought an XT3/4/5. That said the used prices of an XT3/4 are getting to the level of cheap where I might eventually give it a try bcuz I really love the size and OG look of those cams...

I mean the R5C is a cinema camera and has all those things if you include the ND adapter and Tascam shoe mount. But I agree, 'small' is subjective. Personally I appreciate the R5C for giving you the option to build it up to about the size/weight of a 1DX line cam or strip it down to essentially an R5.

I was using it for photography and no tripod so it had to hang down by my side when not in use and grabbing the camera body to bring it up to my eye before I had my second hand on the lens barrel is where the flexing and sounds were occurring. I don't use that setup on a tripod at all so it may be better in a video setting, but for photography with it swinging around at my side I was concerned for the adapter and lens mount.
Yes but to get that you need to buy a whole new PC, not an option to me and if you study Puget Sound's results, QS is still only marginal; meaning if you add DR color grades, and throw in a little Fusion and you are back to where you started; definitely not M1 Mac competition. There's just no way I am buying a whole new PC when all I need is a video card. 

Been waiting patiently for this one. I've always loved the form factor and specs of the XT3 and XT4. For me it's the perfect stealth camera for b-roll in the field. Particularly in places and  countries where larger DSLRs make you an easy target for thieves. All that said, the poor AF in video mode has always been a deal breaker for me - so hoping they've finally stepped it up with the XT5. Otherwise for me it's a toss up between an R6 MKII or a used R5. Either way we are truly spoilt for solid options going into 2023!

Not an audio expert by any stretch but it does feel like there are so many really great but also really affordable options out there. I still use a Zoom F4 and an older Marantz PMD661, but aside from keeping my eyes out for a great price on a used Mixpre-6 II - I think I'm good with what I have until one or all of them break. So @IronFilm I do wonder what that means for the audio recorder market - bcuz it does feel like it might've hit a brick wall?

I used the R5c with the full cage and the FxLion One Battery on top of the cage on a Ronin S quite a bit and depending on the lens is a bit at the limit with the clearance. The EVF of the R5c is stick out quite a bit and the cage need some more space on the motor side.

Sold the S and now I use a RS3 Pro and due to stronger motors and longer harms I can mount whatever with no issue. For my Africa project I did use a lot with the 70-200 and no problem at all to balance and still have enough clearance to go underslung.

Although Smallrig claims the cage to be compatible with the DJI arca plate ,mine is not and I tested with RSC2 (too small for this camera anyway) and RS3 Pro plates and due to the security pin both cannot take the cage directly. I have the R5 full cage so maybe.
Bottomline either you mount the DJI arca adapter (that comes with the gimbal) on the tripod hole of the cage or if you want something more solid you need to buy this: SMALLRIG Quick Release Plate for Arca-Type Standard Compatible with DJI RS 2 / RSC 2 / RS 3 / RS 3 Pro Gimbal - 3154  or this SMALLRIG Camera Quick Release Plate Adapter with Arca-Swiss for DJI RS 2/RSC 2/RS 3/RS 3 Pro & for Ronin-S Gimbal - 3061.

I use the gimbal on high vibration environment quite a bit, on MTB, Motorbike, Jeep, Skii, Heli so the stronger motor of the RS3 Pro is a no brainer for my usage. For only 200g more is imo worth. The new auto locking of the RS3 and RS3 Pro seems a small thing but it makes life so much easier. 
 

I am not sure which WB approach would generate the best match, or even if the WB differences I've seen in comparisons are due to the WB of the camera or just how the cameras were all treated in post.
All the more reason to do your own tests I guess.  Considering you own both cameras, I'd suggest you film both (match WB settings and also do a custom WB) and then play with the post workflow and see which overall approach is best.
I'm curious to hear what you find 🙂 

I don't know which method is more "accurate"  in matching the cameras to the reading on your meter or in matching the cameras to each other.  I would guess that the difference is minor, but it would be interesting to see a comparison of  the two methods.
I know that merely using the custom white balance on each camera without a color meter will get a close enough color temp match, and it is quick, easy and consistent.  Either way, you will still be tweaking sliders (or clicking eyedroppers) in post to get the final correction.
By the way, it is generally a good idea to avoid mixing light sources of different colors on the same side of the subject, especially on a person's face.
Also, you might try leaving a slight difference between the color temperature of the exterior light and that of the interior lights.  I usually keep the interior key light neutral.  If a window is visible in frame and if only skylight is streaming through it, I tend to keep it around 1/4 CTB -1/2 CTB from neutral.  If direct sunlight is visible in the background, I sometimes keep it at neutral -1/4 CTO.