Kisaha

I have gotten to where I shoot almost exclusively with the R7 for events and hybrid photo/video work. For talking heads, long form content, concerts, etc. where the camera can be locked down and audio is more important then I use the C70. For commercial shoots and things like music videos I typically combine the C70 with the R7 as the b-cam.
For audio when running and gunning I typically use just a shotgun mic, the Canon EF 24-105mm F4.0 lens and get pretty close to the subject to try to reduce background noise. When I am working with an onscreen personality doing impromptu interviews at events then I use a Sennheiser handheld mic and G4 receiver. For talking head work I use a Sennheiser G4 transmitter and receiver combined with a mini-XLR shotgun mic into the C70.
Some of it is depending on budget as well. If the budget is pretty low I will just use the R7 simply because I don't see the point in bringing the C70 to a lower budget shoot unless it will drastically improve my workflow. If the budget is high enough then I will use the C70 even for shots that I would typically shoot with the R7 (i.e. I will rig up the C70 on a gimbal if the budget is high enough, and forgo the R7's IBIS for the C70's improved DR/IQ when shooting handheld). 
At the end of the day I definitely make my camera selections based on the project type. If the project is 90% photography and 10% video then I will probably use the R5. If its 50/50 photography/video then I will use the R7, if I need two cameras then I will pair the R7 with the C70, if its 100% video then the budget and audio requirements will make me choose the C70 or R7, etc. etc. 
The great thing about the R7, R5, and C70 is that none of them need much rigging to work and all of them will produce great quality with or without rigging/lighting. I know BM cameras tend to need more rigging/lighting to get the best results which is why with my setup I can use any camera for anything from run and gun to studio work.

I'm thinking spontaneous internal combustion right at the 45min mark.

Not better at 25fps in any significant way and that includes ISO performance IMO. However, the GH6 torches the GH5 in high frame rates.

Two card slots just saved my project today. I shot for 3hrs in the scorching FL heat at a project site that was a 1.5hr roundtrip drive to create footage with a new client after weeks of coordination and schedule planning; and captured photography images that would be very difficult if not impossible to recreate since we were working with animals; and when I got home the SanDisk Extreme CFExpress card in the R5 stated it had no useable file system and not a single image had been recorded to it.
I had formatted the card before the shoot, the R5 gave absolutely no indication that one of the cards wasn't working, and yet nothing was written to the CFExpress card (or it got corrupted somehow after the shoot on the way home); that would have been a total loss of 1600 images, a refund of the client's money, and definitely a lost future client if I had only had a single card slot. I am already working with the client to shoot a few different promo videos and more photoshoots with them in the future so this would have been a pretty major loss. In my close to 20yrs of shooting I've never had this happen.
At the moment I don't know what to think; is there a bug in the R5 where it corrupted the file system for the CFE card, or did the CFE card have a problem and the R5 saved the day by continuing to operate flawlessly with the SD card.  Regardless of which scenario happened, I now know the R5 won't tell you when one card is not working, it will also keep working with the second card, and I also know I was right to never buy an A camera (other than drones) with a single card slot.

Your colors will be different with a GH6, arguably much better. Also, the headline feature is 120fps 4k... not many cameras can do it and it's a significant upgrade from line-skipped 1080p 120fps on most cameras. There's just no replacement.
GH5/s/ii can do almost everything. A GH6 has better colors, amazing codecs and 120fps 4k down-sampled. More than ever, cameras don't really matter except for specialized tasks. I think it's good to have some solid cameras with decent output; for the rest, you can rent.

From my experience (I have the camera since a month), the latitude is not the only downgrade, detail rendering (less in V-Log) and motion quality are also worse than the S1 and S5. But a lot of people will not see the difference, especially those who shoot in a very well controled environnement and those for whom 1080P is enough quality.

Maybe the ever so slightly decreased latitude is that quality decrease Panasonic kept saying when they tried to defend doing with Dirt-From-Defocus AF 😂 

And....thats all folks.
Nice new ATEM switcher and the two cameras to go with it.
Full presentation is here in case you missed it 
 

Yeah, I don't know the ins and outs of the arrangement but there are certainly slim pickings when it comes to DX lenses in Z mount (although there are a number of them on the lens roadmap) so these Sigma lenses certainly fill a gap for Nikon to encourage sales of the two DX cameras.
Canon have the same issue with their RF-S range being small and exclusively fairly slow zooms so could also really do with these Sigma lenses for their R-50.
Looks like a triumph of pragmatism over ideology to me but, knowing my terrible prediction skills, Canon will now launch a raft of RF-S lenses next week 🙂

The dual base ISO's of the FX30 are 800 and 2500. As an FX6 user, I find the FX30's Base ISO's more usable than the FX6 unless I am shooting in complete darkness (which I never do because professionals use lights.)😉

CaNikon, Fuji & Leica have a long history in camera/lens making, we're talking 80 to +100 years. This reflects till today in their cameras. Fuji can use a Sony lens but has a completely different processing, the X line isn't even Bayer but X-Trans. This doesn't stop at the sensor level, a camera is way more than a sensor. Fuji has film simulations and the X line was based on retro camera dial ergonomics.  
Sony & Panasonic come from a consumer electronics background.. and it shows. They are totally utilitarian tools. That's the soullessness I'm talking about. 
And yes I'm talking about the mirrorless line from a hybrid camera standpoint. High-end cinema cams is a whole different ballgame where Sony & Panny are competing with ARRI/RED. 

They really were smart to open up e-mount to anyone that was willing to make lenses for it. I think it had a huge impact on the growth of the system. That the third party options were also excellent quality didn't hurt either! 

In May 2022, just over six months after her appointment as CEO, Estelle McGechie was fired from Atomos due to her being unwilling to re-locate to Australia.
At the time, it seemed a bit odd because you would have thought that her appointment to that senior role would have been contingent on her re-location from the get go.
According to a suit that she has now filed in the US, she claims that there was more to it than her relocation.
A lot more.
In addition to her claims about gender discrimination and a toxic corporate culture at Atomos, there are also allegations that there was 'rampant illegality' at the company with regards to shipping out 'dud' products to fraudulently inflate sales figures to meet projected targets.
One example product mentioned in her filing is the CAST switcher add on for the Ninja V range which was shipped without any functioning firmware.

The other product mentioned is the Neon grading monitor which shipped with know deficiencies that rendered it outside of the capabilities detailed in its marketing literature and packaging.
 
The CAST product interests me because I've been surprised that for something that is such an appealing product (turns your Ninja V into an ATEM) there has been very little buzz about it since it was launched and comparatively few reviews on YouTube and certainly none from the past few month.
Possibly now not as surprising as I'd originally felt.
The share price of Atomos in the past twelve months certainly wouldn't have been bringing a nice warm glow to investors anyway, but this latest news has knocked it further.

Needless to say, Atomos have refuted all of Estelle McGechie's allegations so it will be interesting to see how this pans out.
Full story here :
https://www.afr.com/rear-window/ex-ceo-alleges-rampant-illegality-at-ellerston-regal-backed-atomos-20220831-p5be2q
 

lol.. I do find it interesting to see these younger cats see the light so to say. But sensor size aside, the FX30 does have a more detailed 6K oversampled IQ than A7S3/FX3 and the lower 3200 dual ISO can be more useful than 12800. Only in low-light does the FX30 suffer compared to the FF versions.

I can't take advice from anyone with the broccoli haircut 

I see no signaling from Panasonic about smaller models. Yes, they said that will make smaller cameras, but always saying that "creators" wants them. Creators = vloggers. And since looks like that Panny wants to niche m43 in video, probably their next camera will be a G100 sucessor - as Sony looks like that their APS-C line will be only ZVs...

Sensor wise, the m43 is kinda muddy now. Have the great 20mp stacked in the OM-1, but is a expensive sensor. Have the 25mp sensor in the GH6, but looks like it was designed from ground up for video (for still, from what I've seen, is worse than the old 20mp sensor). And the current 20mp old sensor. m43 needs a new sensor, 26mp probably (since APS-C upped their pixel count - for me, 20mp is enough), BSI, non-stacked but with good readout. Kinda a m43 version of the 26mp Fuji. But...no rumors about that.

Also, I think that Panasonic is indeed missing a HUGE opportunity regarding the LX100. Everbody paying huge sums for a X100V, and...a LX100 is a much more versatile camera. Still have my LX100 mk I, and for some time I had a X100s; the LX100 trounced it, specially in low light.

Put a better EVF (the G100 one is a good candidate), maybe a slightly larger lens that covers all the sensor, or keep the current one (in a 26mp sensor, would result in a 22mp image), a joystick where the rec button is, move the rec button to the top plate, and you're good to go.

(I look almost everyday for a good used / new price in a LX100 II - is the only camera that will make me sell my LX100)

Many great cameras out there!
Especially for video. There is no argument about it.
Having seen almost everything in the last 3 decades, the value for money we are getting right now is unbelievable.
Ask me for any camera in the market, and I can tell you 5 things that it does amazingly well that you couldn't even do 10 years ago..
Just embrace and enjoy!

No! You’re not being harsh, I’m really speaking to m43 users that need it.  That’s fine if you don’t but there are some that do, like solo bloggers, YouTubers and fast action photography. I understand some want high specs like 4k120/6k60 but there’s a sub set of m43 users that just need the autofocus not the high specs.  It’s the reason some didn’t upgrade to the GH6, some moved to sony/canon and some moved to the S series.  Gh6 sales weren’t as good as the GH5, let’s be honest here but it could be better.  If they make one m43 camera with pdaf, then that will shut YouTubers up.

That's a good point with the MF switch, I just haven't gotten used to it, when I need to switch back and fourth I usually hold the camera differently and keep the left hand on the lens barrel vs on the side handle, plus I need it there anyway once the lens is in MF because I need to use the focus ring on the lens to keep focus from that point forward. 
The R8 actually has nothing I want, I don't need a FF sensor for anything that I do and the R6II has nothing that I need. My camera purchases are done hopefully for at least the next 3-5yrs. I have a dedicated photography camera (R5), dedicated hybrid camera (R7), a dedicated video camera (C70), a dedicated time lapse camera (Canon Rebel), and a dedicated action camera/underwater camera (GoPro), between those five there is no project I can't shoot that comes my way and if I need more for a specific project then I will just rent what I need.
I wouldn't mind upgrading my timelapse camera to a body that uses the same batteries as the R5 and R7 but the Rebel is so good at what it does (3000 pictures when the battery grip is installed) that I have never needed to swap batteries on a shoot; plus I don't want a more expensive camera that is usually unattended for hours at a time so its a small loss if it gets stolen.
Of course production companies and TV stations are not using the cameras we discuss here, they have completely different requirements, teams of people and gear to properly rig and support their cameras, and the budgets to match.  My niche is event work and all of the little projects that don't have the budgets for that sort of thing and fortunately there's tons of options these days that makes my job a lot easier.

Well, just got reply from Atomos about the bad pixel issue in 6.2K raw:
Please note that our engineering has gone over your case and replicated and tested your setup.
Unfortunately, the issue lies with the camera as it is outputting the bad pixel in 6.2 k RAW.
We would love to help you fix the issue but as it is on the camera end our hands are tied.
Please contact the camera manufacturer to get this issue resolved.
Fuji doesn't give a shit about my emails, so I wouldn't expect a fix anytime soon. This, and the framerate issue, and also the fact that Fuji's ProRes RAW has noticeably less dynamic range than F-Log, not to mention F-Log2, makes me loose faith in this company, they do a lot of things right but they always have to fuck up little things like this.
 

Seriously, people favoring phones for video? You have to be kidding. I will give you one reason phones do not hack it for video: motion. The phones have no aperture, so all exposure is controlled by shutter speed (and ISO in low light). In bright light you are shooting 24 fps at 1/500th of a second, with horrible motion.
Most phones, including iPhones also have variable frame rates, which also contribute to poor depictions of motion.
The small phone sensors, leaving aside the limited dynamic range, also do not enable shallow DOF shots. No, those are not necessary, but to produce a video that is interesting it is good to have a variety of shots, not all postcards. You cannot zoom either.
For some reason, people were comparing the VZ-1 to a phone, and amazingly saying a phone was an equal or better. Really?
Of course, not one of these pro phone posters, posted a cellphone video of their own so we could inspect the results they get.
I have shot cellphone videos (even in 8K and in HDR), I have shot with some of the contenders here - the ZV-1, the ZV-10 - dedicated, compact video-centric cameras (and lots of cinema cameras too). 
Here is an example ZV-1 4K video:
Remember, the discussion here is about vacation shooting - places and people, not narrative films (and not cat videos either). So I chose this one as it is that type of video. Note: the in-camera audio on the ZV-1 is far superior to that of any cellphone.
I have demos of catalyst browse gyro stabilization from the ZV-1 that beat any phones with a gimbal. I have night videos, lots of ZV-1 examples. And cell phone ones too, if you can stand the over sharpening and bizarre motion.
I have ZV-E10 videos too, for those a little more ambitious.
The ZV-1 is tiny, fits in most pockets. And I find the ergonomics of shooting with it far superior to those of any cellphone, except for shooting vertical videos. If that is your favorite mode, then a cell phone wins hands down.

On the switch this is really nitpicking... R5c has the switch on the left side. R5 does not even have the switch but you need to program a button and imo is worst as you can hit it by mistake as I do sometime and I hate it. So imo on the switch R8 > R5.
R7 has two wheels one for the index finger and one on the back but place much higher .... R8 has two wheels too one for the index finger and one that you can reach with your thumb on top like the R5, R5c, R3 and so on... it seems to me that the R7 is the strange one here.... if the R7 would have had 3 wheels maybe but it again it only has 1 joystick more....
 
I can understand that for your usage or preference you like the ergonomics of the R7 better, but claiming that the R8 has bad ergonomics is a bit of a long shoot.

Battery size I'm fully with you but ergonomics?
It misses a joystick compared to the R7, moving the AF points with the touch screen is better for movies as you are not bumping the camera as with the joystick and is quicker so not really sure that this one omission makes it such a big deal.

Andrew posted that R8 has bad ergonomics and people do not even check 😁 

https://camerasize.com/compact/#903,890,ha,b

https://camerasize.com/compact/#903,890,ha,t

Cards got much more reliable if you buy good ones. I had 2 cards (same shitty Lexar 3400 CFast crap, no more lexar ever since then) failing in 20 years. The biggest advantage that you can store the two cards in different places to avoid thief or loss so you save backup time.
But honestly if you have 1500 dollar camera budget your are probably not shooting the Olympics. Having two cameras is probably more important that two card slots. As you can almost afford 2 x R8 (or maybe even better 1 R8 + 1 R7) vs 1 R6 II it maybe the safest option if you do it professionally.
One thing that most people do not know that dual cards protects of data loss but if 1 card fails the camera stops recording even if it has 2 cards.... it is bad but is like this at least on Canon. 

But I do agree for some IBIS + Longer battery + dual cards  is more important than FF + 4k60 HQ the good thing that you can pick the one that fits you better or stretch the budget and and have it all in the R6 II or 1 R8 + 1 R7 

R8 seems ideally suited for this. Hard to get a more compact camera with FF 4K60p 10-bit capability at entry level price:

Stick the cheap 16mm / 24mm / 35mm STM and you're good to go..
love my iPhone 13 but good luck getting that kinda IQ on it!

I felt the same way after the R5 ridiculous BS, but I had to set my personal feelings aside and buy what was best for my business. I came very close to going all in on Panasonic for photography and video but I couldn't bring myself to buy into the L mount "alliance" or go all in on a system with such terrible AF.
With Panasonic out of the picture and my large collection of EF mount lenses, when the C70 came out and the R7 came out they were simply what was most economical and what worked best for my business.
Canon sensors really aren't known for their DR, even the C70 with its famous DGO sensor is just ok IMO, not the revolutionary breakthrough that the marketing materials would lead you to believe.  But with all modern cameras being so good, just ok is good enough for me when combined with its other features. 
I feel the same way about the R7, and R6II, their IQ is good enough for anything I need and the story you are trying to tell with them is far more important than specs on paper. 
The R8 on the other hand IMO has a lot of real world compromises (battery size, ergonomics, single card slot, etc.) that I feel are more important than IQ to keep it at its current price point with a FF sensor. YT and other social media platforms do far more damage to my IQ than any crop sensor or line skipped footage ever will. 
Today right now I feel that Sony and Canon have the most complete ecosystems, since I already have an investment in Canon EF glass, it is a natural choice for me to stick with Canon's ecosystem.