Ty Harper

EF-L lenses have their own look, I like the primes personally. Never liked the 24-105, massive barrel distortion and not a fan of slow lenses on medium wide focal lengths. 24-70mm f2.8 is usually my jam when it comes to zooms, and the RF24-70mm f2.8 does not disappoint aside from being big & heavy. And that is a concern, lenses keep getting bigger and bodies smaller. At least Canon has the R3 which is super light despite its mini sport-DSLR like body. And again that's where the RF70-200mm f4 comes in clutch. And yeah some older EF lenses too when it comes to weight/size ratio. 
The nicest combo I've experienced was Nikkor AI-S glass on Z8, and I can only imagine on the new Zf. Also awesome to see that old glass resolve in glorious 8K when it didn't impress me so much in mushy FHD during D750 days. Same can be said for EF on R5/R5C..
 
 

FYI - Nexto was acquired by TVLogic and this is their new backup storage product: https://www.newsshooter.com/2023/09/28/clouzen-tainer-all-in-one-portable-backup-storage-review/

FYI - Nexto was acquired by TVLogic and this is their new backup storage product: https://www.newsshooter.com/2023/09/28/clouzen-tainer-all-in-one-portable-backup-storage-review/

I guess everyone has their own requirements when it comes to lens designs. Personally, I have never carried a lens in my pocket, not even a pancake so that is not something high on my list. However, storage in my camera bag is always somewhat of a puzzle so shorter/compact is always welcome. I also value discretion which is why 70-200mm are usually not my thing. Plus compact lenses pair better with mirrorless cameras. So the RF 70-200mm f4 speaks to me. I know for others, weight is the major concern and it wins there too. 
Others do prefer fixed length mainly for proof reasons and that's valid although the RF-L extension zooms are weather sealed.
Overall I think the RF 70-200mm F4 is a win. Maybe not to everybody but plenty of reviews out there give it praise and some even consider it their favourite lens:
 

It make sense then. Probably the RF 70-200 F4 is even better on gimbal but it does not have a tripod collar that can make it a bit trick as you need some support on the lens. 

I was referring to the EF 70-200mm f/4. The EF 70-2000 f/2.8 was obviously never an option for gimbal use. 

Totally! The ND adapter never leaves my R5C and the extra stop you get from the .071x adapter really comes in handy (you usually need to put the R5C in 35mm crop mode to use it tho). Also thanks to those adapters, lenses like the OG EF 24-105mm f/4 IS and the 17-55mm EF-S IS have become more popular than ever. Especially with the C70. Personally I just discovered the OG EF 70-200 f4 IS - god it is so f*ckin' light with great IQ. So I ended up selling my OG EF 70-200 f/2.8 IS. Point is, thanks to these adapters - alot of R5C and C70 users in the groups I'm in are rediscovering the EF-L line in a big way. 

Funny enough, it's Canon's decision to offer the EF-RF adapters - specifically the ND filter and .071x ones - that has given the EF lens a massive leg up. Currently I have the RF 35mm f/1.8 and I see myself buying the RF 24-70 f/2.8 next - but aside from that I am a happy camper with my EF-L lenses on my R5C and R5. I've also sold my 1DC and 5D MKIII so it's not like I'm ever going back to the EF mount - it's just that Canon has given us a nice lane for RF-EF users, and I love it!

Can't wait to hear what @IronFilm thinks about this!

Can't wait to hear what @IronFilm thinks about this!

Looks pretty amazing. Where could they go from here?
 
Hopefully they also make some TC receivers that add onto the system to sync multiple cameras.

Except what can happen is that the people working in the realms that are drying up, will be forced into finding work elsewhere - and within that pool will undoubtably be people who are (i) totally qualified to work in these other realms - it's just that they chose to apply the same core skill sets in a different realm within the same industry (ii) people overly qualified to work in these other realms of the same industry who really need the $$. These people will very likely disrupt said realm, intensify the competition, drive fees downward, and eventually squeeze some people out of said realm. Point is, I can totally see cinematographers, tv/film producers, and most definitely preditors (producer/editors) who might've been working for decades in stable areas of the industry (even unionized gigs) - making a fairly quick/easy transition to the wedding world. So while I think you're probably right about that 10 year window - I think every realm needs to be prepared for turbulence - and not just from AI itself, from similarly skilled colleagues looking for work within the next 10 years.

Prompted by a tweet from @Andrew Reid about BBC drama production in the 70s/80s, I remembered this gem of a YouTube channel where the production staff of the era discuss and reproduce their work.
The videos are a combination of bitesize and longer form and covers every stage of the production process such as these.
 
It is a fascinating collection of pieces and much can be learned and applied to shooting and editing today.
Not least of which how lucky we are to have what we have at our disposal.
Full collection here 
https://www.youtube.com/@AdapttvhistoryOrgUk/videos
 

Indeed. I think I am personally relatively safe but otherwise there is always flux in most industries and as long as you spend sufficient time and effort on the medium and long term, you should be generally fine.
What seems increasingly to be the case is the focus on short term gain. Plenty of folks I come across selling their granny for a small ‘one off’ pay day whilst rejecting anything longer term.
I won’t bore you with the details, but just recently I had the situation where a colleague chose 500 euros over a career length full-time situation…just out of sheer short-sightedness.
As has always been the case since man stopped fighting the dinosaurs, just because someone is in business does not mean they are good at business.
Most people I find are utterly terrible at business and exist more because there is a market demand rather than any business skills.

Except what can happen is that the people working in the realms that are drying up, will be forced into finding work elsewhere - and within that pool will undoubtably be people who are (i) totally qualified to work in these other realms - it's just that they chose to apply the same core skill sets in a different realm within the same industry (ii) people overly qualified to work in these other realms of the same industry who really need the $$. These people will very likely disrupt said realm, intensify the competition, drive fees downward, and eventually squeeze some people out of said realm. Point is, I can totally see cinematographers, tv/film producers, and most definitely preditors (producer/editors) who might've been working for decades in stable areas of the industry (even unionized gigs) - making a fairly quick/easy transition to the wedding world. So while I think you're probably right about that 10 year window - I think every realm needs to be prepared for turbulence - and not just from AI itself, from similarly skilled colleagues looking for work within the next 10 years.

Also no need to buy a new camera every year when your Nikon D7100 DSLR (or Sony a6000 mirorless) from years ago still takes stellar pictures. 
A kiwi company btw! One of my friends founded Serato, I remember going out for drinks with him say 15+ yrs ago, and when we're in a club he'd have a nosy to see what the DJs were using, seeing if they're using Serato or not
He also dabbles in acting a little bit (as he's kinda semi retired now), I worked on a film with him a few years ago. 
  
Curious how many of those books being read are nonfiction, I bet the stats are even more depressing when it comes to people educating themselves from books 

I was a club hip-hip deejay in another life and grew up thinking the record store (like these forums) would always be the community meeting place for all things pertaining to deejay culture. Then the digital revolution came and changed everything. But it didn't happen overnight. We just started going to the record store less and less as it became clearer and clearer that Serato had disrupted the vinyl-spinning era and deejaying as we knew it. Then Serato started added more features that rendered the skill sets deejays had spent their entire careers honing (like beat-matching, beat juggling, transitioning to acapellas etc, etc) and coveting, completely irrelevant. Fast forward almost 20 years later, and now streaming (and soon AI) have made being a deejay super-accessible, but also super hard to monetize, while rooting it in motivations and incentives that share little with what it meant to be a 'real deejay' pre-digital revolution.
All that to say that I think what some are feeling/seeing is a similar shift, a transformation, a departure from the online filmmaking/video culture we've been familiar with, to something else. 
 
 

100% true but I cannot stress enough to you just how many R5C users in the forums I'm on are going the EF-L + adapter route and are really loving it (myself included!). If you really need the penultimate IQ, etc, by all means invest in RF-L lenses (and with no judgement either!) but the EF-RF drop-in filter adapter and the .71x speedbooster - coupled with the tumbling price of used EF-L lenses makes that much less of an issue if you already have EF and EF-L glass. There's also a lot of people revisiting lenses like the OG Canon EF 24-105mm f/4 and the EF-S 17-55mm. And while the RF-L lenses definitely give you better AF performance and features - the performance of EF-L glass on the R5C is no slouch at all. It's more a case of EF lenses being really good and the RF lenses being better. Anyways, if you're on FB there are some great R5C/C70 groups worth joining.     

You're preaching to the choir: I've been using EF-L glass for over a decade (been on Canon since the 5D mk1) and have been adapting EF to RF since first EOS-R which I bought on day one with the adapter.
So far my only RF investment has been the 35mm f1.8 IS which is cheap, versatile and compact but not optically on par with L glass and super noisy when it comes to AF motors for video use. Actually most RF lenses I've tried including RF-L are noisy.
That being said, the RF 24-70mm f2.8 L paired with the R5 was a total game changer for me. Optically it is next level, especially for a zoom lens (I'm mainly a prime shooter). In fact it flat out beat my trusty EF-L 35mm f1.4 in many departments. Besides the RF lens IS + IBIS gave an awesome 8-stops of stabilisation resulting in tack sharp 45MP pics at low shutter speeds and super stable handheld video footage. That combo is something else.
And that's the beauty of mirrorless, you can use optically perfect modern lenses or go the vintage route depending on budget but also personal preference. If I ended up going the Nikon route, I'd for sure use my vintage Nikkor AI-S glass but would also invest in some native Z-mount lenses for that great silent modern performance and optical quality when needed. 
 
 

Have no idea and I wager most owners don't either, lol - just get an FX-Lion Nano One (or Nano Two) or the Smallrig VB50 or VB99.
But this guy does great analysis of the R5C and says Canon has not given any official details about the exact requirements (he discusses all this in the second chapter of this video) - so basically it seems like we just know what works and what doesn't: 
 

As he mentions at around the 50sec mark, the Digital IS shines at around 35mm and gives good tripod like shots when hand held, and that's it. In my experience with the R5C and R5, I think IBIS, DIS, etc are really only good for that - and that alone. For everything else you need a gimbal, simple and plain. So in that sense, imo, I don't think the R5's IBIS is a feature that gives it much of an advantage over the R5C's DIS as they both can give you good handheld static shots. If I had fully understood this I probably would've saved up for another used R5C instead of buying the R5.

And yet he seems to think it's too tripod-like, lol, so I don't even get what he's looking for. To be clear, I agree that the Digital IS on the R5C is nothing to brag about at all. I think handheld it can give you good static shots with seemingly pleasing movement - but even that requires some degree of familiarity with the cam itself (which he didn't seem to have). Point is no one should be buying the R5C for its in-camera stabilization (I keep it off most of the time) - and I'd say the same for the R5 as well. They're both great cams (particularly the R5C which is so feature-rich otherwise, imo!) but as you say, there are cams out there with better stabilization features.

Of course, which is why I made sure to say "imo" and "in my experience". 

So I've now tested out the Z8 and like I said in that thread, I got mixed feelings about it. I love the body size, build quality, LCD hinge system.. but I hate the UI, menus, layout. N-Log is a can of worms with currently horrible rec709 LUTs that kill DR and boost saturation. Camera has weird quirks like no IBIS when adapting certain lenses and other options that get greyed out depending on settings. The AF is a little sluggish. Etc. I guess to me its a great camera on paper but not really for me in actual use (I've found that to often be the case with Nikon cams).
So for the moment I've written it off and am back on Canon/Sony bandwagon. I recently did a hybrid shoot with an R5 with latest OS and actually really enjoyed the shooting experience & the files. Camera felt super snappy, didn't skip a beat. Decent battery life & didn't run into any overheat issues. The downsides are the camera feels a little cheap, 30mn video limit sucks for long form content, no exposure tools, no magnification during recording, 8K h26x is hard to edit on an M1.
R5C has all those video options plus 8K50p, LUT support etc. So the camera is back on my list. The battery life now being a non-issue in XFAVC is a huge plus for me so I guess the only real downside is lack of IBIS. That's kind of a big one. That said I did my entire hybrid shoot with the RF 24-70mm F2.8 which I thought was quite a phenomenal lens and it has IS. This RF lens was quite an eye opener, and I might just retire my EF lens collection and start investing in RF. So my question is, would the R5C + RF 24-70mm be usable for handheld video? Would I be missing the R5's IBIS much? I really just don't want micro-jitters and hate using post stabilisation. 
Another Canon option is the R3. I've played around with it quickly and the ergonomics are just perfect. The video IQ is superb but the stills are "only" 24MP and I really love the 45MP files from the R5/R5C. Just feels weird paying more for less, even though the stacked sensor does bring other benefits. I guess an R3+R5C would be my dream combo, maybe I should start saving for them!
 

I don't know any critical, reputable analysis of AI that disputes how amazing the tech is, in and of itself. The entirety of the convo, union protests, etc, isn't about that at all. It's about protecting the human labor (labor used to power AI tech) from the big corps who have and will continue to use the transformative potential of AI to lay waste to much of the human workforce as we now know it... and not just in the film and arts and entertainment world, but ALL jobs across ALL sectors - including the jobs of the everyday consumers of AI, who won't grasp the larger implications for their own job security until it's too late. As a producer covering this story every week since Chat GPT began to get traction - it's kind of been like watching a reporter in Manhattan covering a tsunami happening in Buffalo - with a tone of awe (even child-like glee) that seems oblivious to the fact that the tsunami is coming their way. 
So unless people on this site have immense personal wealth and/or really really great pensions - I am definitely a bit concerned about the seemingly one-sided tone on here too.