zerocool22

Will it have an anamorphic mode? Seems like canon and sony are really forgetting about that one, shouldnt that be that hard to implement.
And is quite big of a deal for music video, film and commercial shooters. (And bm is delevering that in 1k cameras)

That would assume the only thing that counts in a camera is megapixels which is clearly not the case. There's a reason Apple has stuck with a 12M for so long. It's perfect for the job in hand, posting on social media, looking at on small screens, standard size prints.

For a full frame, interchangeable lens system 12M will limit you if you want to crop or blow up large prints, which I'd assume somebody that wants to drop thousands on a body/lenses is likely to want.

If Sony does go 12M in the A7S3 it's a no from me and I suspect others. Most people are buying these because they are hybrids, not solely video.

I saw the 2 hours long live video he made to present the Canon eos R5 (french only) and he told people who were asking him about the DR that he graded the footage extremely contrasty, because he likes it this way with big crushed blacks and the waveform scope completely extended so a lot of the information is gone. I personally don't like this grading and it may be worse after the youtube compression but he told that the DR is there and that there is info in the highlights as well as the shadows before he did his extreme grading. 

Yeah, he's done really well there persuading London to switch on its Christmas lights for him to shoot that test.

Dont forget to get the sylvester stalone biceps accessoire.
But seems like an reasonable result, i have done a ump rig on a dji ronin with extended arms. But was quite the drag setting it up and also the weight of the rig itself, good for a couple of shots. But for a 4 hour shoot, you def need an easyrig.

Dont forget to get the sylvester stalone biceps accessoire.
But seems like an reasonable result, i have done a ump rig on a dji ronin with extended arms. But was quite the drag setting it up and also the weight of the rig itself, good for a couple of shots. But for a 4 hour shoot, you def need an easyrig.

@Super8 final warning. Behave or it's over. Full IP address level blocking and ban.
Topic after topic ending in You vs 10 others.

Unless you have lots of Nikkor glass I think this will all be too late for this years camera wars.

Assuming the R5/6 stack up in real life and the Sony A7S3 delivers, Nikon looks a distant third this time round.

I know magenta cast or IR contamination can be removed. 
IR contamination shouldn't be in that 12K footage.   I'm sure @John Brawley should have seen it.  He wrote up that blog about it.  I'm sure BM has a few great colorist that should have caught it. Heck, the built in ND's are supposed to eliminate IR contamination. 
This is the reason ARRI, Canon and RED have clean color.   No company is perfect but these 3 companies seem to understand color science and working with the right sensor foundation. 
Black Magic seems to get the most out of sensors for lowest cost compared to any other camera company.   Instead of cutting corners they should just make sensors and cameras that get the best results at any cost. 
I'm begging to wonder if they have the engineers to pull of great color science. 
Take a look at the picture from BM website, someone thought that IR contamination was acceptable to showcase.

Blackmagic's IR pollution is not a color science issue and it's not a complicated issue at all. The IR filter they use over the sensor (it is the same one in all models) does not do a strong IR cutoff so that you get more "pure" color. As you add ND filter and use full spectrum IRND ones, in theory you shouldn't get IR pollution.

The reason you get some is IRND are not perfect and the blackmagic IR cut filter is a touch too weak. Also in most scenarios without ND the IR pollution is fine but under strong hot lighting like tungsten, IR can show up even without ND.  Blackmagic is very stubborn on this issue and it's something you have to accept. They won't change.

One other issue is that the speedbooster manufacturers and others have claimed that the glass that blackmagic uses for their IR cut is too thin and creates focusing and Chromatic aberration problems as well. That's why ever blackmagic camera with a speedbooster has always had to have a custom designed one.

A lot of BM users rock IR cut for every shot or even use internal IR cut replacements like the rawlite OLPF.

It's RAW. You don't lose any information pulling color casts out of shadows. That's the entire point of the format.
Alexa skews green out of the box. Canon has issues with blue-ish grass, inaccurate reds, and blue fringing around bright highlights (depending which matrix you use). RED has had heavily documented color issues since they've been around, including massive IR problems with all their pre-Dragon sensors.
"Perfect color out of the box" is a myth perpetuated by pretentious gearheads; every camera (and many a lens) has quirks that must be managed. Try using the heaviest internal ND settings on a C200 and not seeing IR pollution!
I understand that you were unable to screw an IR filter on some BM cameras in the past, which bit you in post. That's unfortunate; however, the issue is easily managed with skilled workers who do their homework. 

I've spent a lot of time as an AC rigging up Red's and I have to say they are truly a pain. The problem is the body is too tall, with the lens mount (ie all the weight) up quite high. It makes most shoulder-mounts impractical, as the center of gravity is too high and harder to balance. It also means you need a heavier duty tripod and very specific base plates to get the correct vertical spacing of rails so that all your lens motors will fit.

The URSA cameras are ugly as hell, but they are very fast and flexible when switching between handheld, shoulder-mount, easy-rig, and tripod.

At 01:24s his hair does not have a magenta color to it.  In the video it has a light cast.  The same with the first scene, girl with the black top and at 01:42s, her hair is a dark brown. The next scene at 01:44 you don't see magenta cast in her hair.  It's there when you know black should not have a magenta tone at all. 
 

Have you even watched the BM video? They are doing in sensor scaling of a 3x3 bayer array. That gives you 4:4:4 4K output from the sensor. The image is as nice or nicer than anything you can shoot with now.

I keep getting more and impressed by the actual image this camera is producing. I was kind of preparing to be "meh'd" by the footage, but the video quality looks fantastic in the few videos I have seen. The color science seems great and it seems to have a slight sharpness reduction which to me is fantastic - I hate overly sharp digital footage - i'm guessing this is due to the aa filter, similar to the S1H. It just slightly takes the edge off. I have said it before and I will say it again, it looks very similar to my C200 footage.

The OG 4.6k's are getting pretty cheap. I got two now. The BRAW on the mini pro's is probably worth the extra $500-$1000 though. 

These days im not sure what the future of camera tech should be like. I dont even need 4k, sometimes I think ibis can come in handy, but then you see some wobbly images and I change my mind instantly. For cinema uses there isnt a need for more iso options iso 800 is great. I guess most cameras have decent DR nowadays. AF is cool for gimbal work and one man band kinda jobs, but for cinema it doesnt look it will ever come. The alexa does still looks the most amazing, and thats a 10 year old sensor. So maybe the future of filmmaking lies in the innovation of lighting. Aputure set a great example in modular lighting and arri followed suit. But I guess prices and current led tech isnt quite there yet for the masses.

These days im not sure what the future of camera tech should be like. I dont even need 4k, sometimes I think ibis can come in handy, but then you see some wobbly images and I change my mind instantly. For cinema uses there isnt a need for more iso options iso 800 is great. I guess most cameras have decent DR nowadays. AF is cool for gimbal work and one man band kinda jobs, but for cinema it doesnt look it will ever come. The alexa does still looks the most amazing, and thats a 10 year old sensor. So maybe the future of filmmaking lies in the innovation of lighting. Aputure set a great example in modular lighting and arri followed suit. But I guess prices and current led tech isnt quite there yet for the masses.

These days im not sure what the future of camera tech should be like. I dont even need 4k, sometimes I think ibis can come in handy, but then you see some wobbly images and I change my mind instantly. For cinema uses there isnt a need for more iso options iso 800 is great. I guess most cameras have decent DR nowadays. AF is cool for gimbal work and one man band kinda jobs, but for cinema it doesnt look it will ever come. The alexa does still looks the most amazing, and thats a 10 year old sensor. So maybe the future of filmmaking lies in the innovation of lighting. Aputure set a great example in modular lighting and arri followed suit. But I guess prices and current led tech isnt quite there yet for the masses.

Im leaning to an R5 (allthough I just downloaded some clips and playback in resolve is not smooth at all, buts its been a while I have edited something else then prores or braw) atm, because it is the best hybrid out there, and I want a decent hybrid as I am done carrying around a bunch of bodies (can always rent a alexa mini for the projects that need it). But prolly this new blackmagic camera will make me drool again (owned a lot of bm camera's). 
I think they are aiming at the F6, but it will be cheaper and have better codecs. 

I enjoy his channel but if ever there was a wrong camera for him it is this one as it would have overheated by the time he got to his second point.

To be honest, slowmo always gives a more cinematic feel, which is why it gets overused, and a cameras motion cadence isn't best judged on slowmo footage anyway, especially if shot at 120fps.  I'd be intrigued to see 24p footage to see how well the camera performs there.
Colours and skins tones are a given for a Canon camera at this price point.  I'd be surprised if they were less than fantastic.

Nice to see that some of the footage are available to download to play with. I thought people testing out the R5 weren't allowed to post footage... Anyway I'm gonna test it out right now !

Some great looking footage here. Not going to lie, this looks just as good as my Canon C200 videos. Colors looks amazing, dynamic range looks better than I thought it would, and its all shot handheld:
 
 

Apologies if this comes across a bit harsh Mr Super 8 but your ridiculous obsession with the gh5 and blaiming of BM cameras on other threads due to your own lack of knowledge, do you no favours I'm afraid. 
I don't think I've acome across anyone who consistently talks as much nonsense as you. Other than maybe your lovely President. 
Still can't tell if its intentional trolling or you actually believe what you are saying. Kind of hope it's the former for your own sake