cameraeye

I feel like it is too good to be true as well, I'm just not yet sure what the catch is. 
For the external RAW question I am sure Atomos will make something that will work. I think the HDMI 2.0 standard was holding it back but with HDMI 2.1 they just need to release some new HW.

I'll just come out and say it...I don't like Sony's cameras. I picked one up at a display case in a store once and it felt so cheap and plasticky that I have never given them another chance, the ergonomics were terrible, and the menus were even worse. I'm sure they have improved a lot since then but by now I have plenty of Canon glass, I love the Canon gear I have and if this camera doesn't disappoint and fits comfortably on my Ronin S it is a no brainer for me.

I watched Philip Blooms sequel film, and I came to the exact same conclusion- it looks thin. Same as the sII. At the right fingers any footage can be fixed and improved, I'm just not convinced Sony have made the leap into 'doesn't need to be touched and it looks right' territory.

These two Super8 and Nezza are a nuisance.

I understand and fully share your concern. But:
  
I just don't like to see anonymous aliases to amuse themselves to bash Canon. This is not helpful. One thing is fair criticism, the other one is without previous experience with a tool starting to guess about it. If I'd have a crystal ball I'd be billionaire.
I am not engineer but I can fairly guess Tilta has high qualified engineers to design their products. They are a trustful provider. If they announce something, I'd delude myself if I would listen naysayers rather than people who help my craft.
Moreover, no one is expecting a miraculous solution. This is not all about that. And I see people without the necessary filmmaking experience in certain styles/segments of our craft to negatively/improperly infer this R5/R6 or this or that workaround won't work out. WOW Without ever testing it!
This naysayerism is absolutely inaccurate and counterproductive.
 
 

I heard somewhere that (I think) the CEO of BM is a big fan of FCPX and that's why there are similarities between it and Resolve. I'm glad there's someone in the film world considering both sides of the filmmaking process. Clearly Canon didn't even test-edit even the 4K on the R5 given the reports of how impossible it is to edit without transcoding.

Funnily enough FCPX doesn’t use the term ‘bins’ since its redesign. And the convention changes (other than missing features) were what caused the uproar with its initial release. I agree there are conventions in everything especially software, but Premiere for example is much more steeped in old conventions vs FCPX (think magnetic timeline), and Resolve is somewhere in between in my experience.
I am also glad we have (good) conventions.

Why does every comment of yours has a massive elephant in the room?
Nobody is criticising Canon for being conservative on the EOS R5 specs.
You have to deliver the specs AND reliability, so that customers don't get a defective product.
Not hard to understand is it?

Somewhere in an Indiana Jones end scene type warehouse are thousands and thousands of R5 / R6 cameras that will never ever see the light of day.

When the talk has turned to drilling holes in a brand new state of the art camera, I suspect there may be a problem...

Interesting take from Alex Jordan about the 12K and what it means for the industry.  
TL;DR: BM made a 12K camera that was editable on a laptop because they make the cameras and NLE, so can create their own file formats.  No-one else has both, so this is BM strategic advantage over all other manufacturers who have to co-operate in order to innovate like this.
 

I am having problems with the jog wheel on my 1D X Mark III popping every full 360 degree rotation, so there is a mechanical problem there and my body will be returned for a refund and so this is only a short review.
This review also marks a milestone for EOSHD! After 10 years of blog posts, I am going to be doing YouTube now as well! Looking forward to doing MANY a video and growing the channel in a big way. If you'd like to be interviewed, or featured on the channel, do let me know.
So the 1D X Mark III then...
https://www.eoshd.com/review/canon-1d-x-mark-iii-review-filmmaking-video-and-cinema-camera-get-the-fuji-x-t4-instead/

I don’t see anyone talking about the very low expected rolling shutter. We got a preview of it from that German Vlog (I’m now 99% sure it was shot on A7S3). 
 
That’s another really strong edge for this camera IMO opening up all kinds of action shots and fast camera movements. Pretty excited to find out more about that.

I actually just got something similar for my Sony kit, DEO-Tech OWL Canon EF Lens to Sony E-mount Drop-In Filter Adapter , Kipon does one too with AF but it s more expensive.

This was one of the things I WAS most excited about with the R5 and using ef glass and their adapter. Native AF with variable ND for all my lenses.
(edit: don't mean to go off topic)

this is a tock not a tick. but i, for one, require reliability above all else

Perhaps a car analogy along the lines of this is pertinent: If you put a 16 cylinder engine in a mini- be grateful you can go 300 MPH but crash and burn? But no-one else is doing it so its innovation?! It's ok because if you only press the accelerator 10% you won't crash. Theres really no point. You either have a bigger car for the engine or you put a smaller engine in the car. Or perhaps technology hasn't got to a point yet where the heat generation is low enough to design it the way Canon have- either way they knew what they were doing.

Perhaps a car analogy along the lines of this is pertinent: If you put a 16 cylinder engine in a mini- be grateful you can go 300 MPH but crash and burn? But no-one else is doing it so its innovation?! It's ok because if you only press the accelerator 10% you won't crash. Theres really no point. You either have a bigger car for the engine or you put a smaller engine in the car. Or perhaps technology hasn't got to a point yet where the heat generation is low enough to design it the way Canon have- either way they knew what they were doing.

At this stage it's glaringly obvious Canon allowed this to protect their C line. It's just their cripple hammer in disguise. I think they tried to take a page from Sony to appease the ones asking for better specs. This camera would be absolutely amazing if not for this issue.

DEALBREAKER ALERT. A 15000$ 2020 MAC PRO cannot play back in real time the R5 footage. Does not matter Premiere Pro Resolve, FCPX. Nothing works even 4K30p won’t play in a high end 2020 MacbookPro. 
The reason which he does not say in his video but I know is 422. HVEC is supported by latest hardware but not HVEC 422 so it’s like at the beginning of the HVEC codec when hardware acceleration was not supported. 
Your 15K computer cannot edit the footage, but within a year or 2 when computers support 10 bit 422 HVEC correctly a 1000$ laptop will edit it better than your MacPro. In the meantime, we are screwed. 
 
 

...but it is a first impression. And it is quite comprehensive...
Anyway, I'm excited by this camera.

I'm hoping that because of the $6000 price range they'll not cripple it on the video side. I read somewhere on here I think from Andrew that the 1Dx II was considered the 1Dc successor, so if thats true maybe we can expect the III to be the baby cine camera with more video features than the 5D series.

I feel the same. So many capable cameras out now and then the 1Dx III on the horizon but 1080 RAW on the 5d III is so good that I just want more cinema lenses and to make more films.

@Trek of Joy it's worth it. There's also something about it that reminds me of shooting still photos on celluloid. The high quality and fact that when you unpack each clip its just thousands of raw images. Grading with it is a dream coming from a stills background. Makes me only ever want a RAW cinema camera in the future.

From looking at the cameras (at a distance online- I have none of them), it seems like Canon have at least done a good job separating the R5, 1DXIII and your pick of one of their cinema cameras. You have good A, B and C cameras. Cinema camera for big shoots- when full cinema usability and quality are needed, the 1DXIII for quality but slightly more agility, and the R5 for the lightest use like smaller gimbals and more accessible screen etc.
I'm glad there is a spiritual successor to the 1DC and that in the future I won't have to wait for Magic Lantern because when you need it, RAW is absolutely incredible, especially for VFX work.