Django

@TomTheDP Interesting video! I'm a bit late here sorry but after working with Komodo footage for the first time the other day I think I am seriously considering this camera for my high-end cine needs. I love the R3D raw options (skin contrast, highlight rolloff etc) and how ISO works in post, you can get really creative and overall the files have so much information yet the file sizes are so small. The noise is also really organic/filmic compared to let's say BMD or Canon RAW. The motion cadence is also beautiful. Really I'm just blown away by the IQ and how you can massage those files in Davinci. ARRI is still the golden standard, the benchmark, but this feels like its just right below it IQ wise and for resolution or high ISO probably better.
The compact size of the camera, the traffic light exposure system, global shutter, RF mount, 6K resolution and even on-board PDAF makes it a really tempting A cam for me personally. I was all set on a C70 but after playing around with Komodo footage, well it just feels like a huge step forward in IQ. I think I will just upgrade my R6 to an R5 for hybrid all-around mid-level projects and go with the Komodo for anything higher. Now of course I gotta figure out how to finance it all!

I hate the fake camera phone DoF look for stills & "cinematic" video modes. Just like beauty filters etc, it just screams fake and hence cringe. That said, standard photos on my iPhone 13 can look great with a little editing, especially for social media & sharing. I just got back from a big holiday family trip and 90% of my shots were done on the iPhone and only 10% with my Canon R6 (basically only for low light situations). The best camera is the one you have on you and I just didn't feel like lugging the MILC+lenses around, especially since we were on boats, beaches etc every day. I didn't even bring the Leica M as it made me nervous getting lost/stolen.
So yeah, smartphone all day for travel snapshots & camcorder moments. But for serious portraits, night & pro work, you still can't beat a mirrorless with fast glass. The phone lenses are the real IQ bottleneck imo. That Sony Xperia Pro1 caught my attention though, great option if you're in the Sony Alpha & Android ecosystem.

I would get a Z9 mostly because of the incredible S-lens line-up. Beautiful lenses all of them - barely any focus breathing, weather sealed, fast accurate and silent autofocus and beautiful rendering. The Z 35mm f1.8 and Canon RF 35mm f1.8 are miles apart. And the Z 24-70 f2.8 is quite possibly the best 24-70 ever made.

@TomTheDP Interesting video! I'm a bit late here sorry but after working with Komodo footage for the first time the other day I think I am seriously considering this camera for my high-end cine needs. I love the R3D raw options (skin contrast, highlight rolloff etc) and how ISO works in post, you can get really creative and overall the files have so much information yet the file sizes are so small. The noise is also really organic/filmic compared to let's say BMD or Canon RAW. The motion cadence is also beautiful. Really I'm just blown away by the IQ and how you can massage those files in Davinci. ARRI is still the golden standard, the benchmark, but this feels like its just right below it IQ wise and for resolution or high ISO probably better.
The compact size of the camera, the traffic light exposure system, global shutter, RF mount, 6K resolution and even on-board PDAF makes it a really tempting A cam for me personally. I was all set on a C70 but after playing around with Komodo footage, well it just feels like a huge step forward in IQ. I think I will just upgrade my R6 to an R5 for hybrid all-around mid-level projects and go with the Komodo for anything higher. Now of course I gotta figure out how to finance it all!

I hate the fake camera phone DoF look for stills & "cinematic" video modes. Just like beauty filters etc, it just screams fake and hence cringe. That said, standard photos on my iPhone 13 can look great with a little editing, especially for social media & sharing. I just got back from a big holiday family trip and 90% of my shots were done on the iPhone and only 10% with my Canon R6 (basically only for low light situations). The best camera is the one you have on you and I just didn't feel like lugging the MILC+lenses around, especially since we were on boats, beaches etc every day. I didn't even bring the Leica M as it made me nervous getting lost/stolen.
So yeah, smartphone all day for travel snapshots & camcorder moments. But for serious portraits, night & pro work, you still can't beat a mirrorless with fast glass. The phone lenses are the real IQ bottleneck imo. That Sony Xperia Pro1 caught my attention though, great option if you're in the Sony Alpha & Android ecosystem.

I hate the fake camera phone DoF look for stills & "cinematic" video modes. Just like beauty filters etc, it just screams fake and hence cringe. That said, standard photos on my iPhone 13 can look great with a little editing, especially for social media & sharing. I just got back from a big holiday family trip and 90% of my shots were done on the iPhone and only 10% with my Canon R6 (basically only for low light situations). The best camera is the one you have on you and I just didn't feel like lugging the MILC+lenses around, especially since we were on boats, beaches etc every day. I didn't even bring the Leica M as it made me nervous getting lost/stolen.
So yeah, smartphone all day for travel snapshots & camcorder moments. But for serious portraits, night & pro work, you still can't beat a mirrorless with fast glass. The phone lenses are the real IQ bottleneck imo. That Sony Xperia Pro1 caught my attention though, great option if you're in the Sony Alpha & Android ecosystem.

Well if you've got lens IS + EIS you might not see a huge difference when shooting wide/medium but if you're on EF primes mostly like I am then shooting handheld without EIS will be shaky. And to me that defeats a big part of going mirrorless. Plus it took so long for Canon cameras to get IBIS, I really don't feel like going back to not having it. 8K60p is of very little interest to me, I don't wanna deal with those file sizes. Things like shutter angle however are clutch on the field, as is magnify while recording etc.
I mean don't get me wrong, there is a lot to like about the R5C, I've been praising it since it was announced. But R5's 1.6 update does throw some shade at it and may even trump it in some scenarios.

I hate the fake camera phone DoF look for stills & "cinematic" video modes. Just like beauty filters etc, it just screams fake and hence cringe. That said, standard photos on my iPhone 13 can look great with a little editing, especially for social media & sharing. I just got back from a big holiday family trip and 90% of my shots were done on the iPhone and only 10% with my Canon R6 (basically only for low light situations). The best camera is the one you have on you and I just didn't feel like lugging the MILC+lenses around, especially since we were on boats, beaches etc every day. I didn't even bring the Leica M as it made me nervous getting lost/stolen.
So yeah, smartphone all day for travel snapshots & camcorder moments. But for serious portraits, night & pro work, you still can't beat a mirrorless with fast glass. The phone lenses are the real IQ bottleneck imo. That Sony Xperia Pro1 caught my attention though, great option if you're in the Sony Alpha & Android ecosystem.

Yeah I'm still pretty upset the R6 didn't get any kind of overheating fix but at least R5 seems like a solid option now.
I'm in the US currently and there are some pretty good deals ($3,500) not to mention the second hand market. 
This makes the R5 a lot more appealing than the R5C now imo since you gain IBIS, battery life etc for at least a $1000 cheaper.
Kind of a game changer I guess. Its finally the killer hybrid spec camera it was meant to be and the price is getting appealing too.

Indeed, but I guess the R6 is just too cheap so to protect the R5 sales, they will not fix the overheating. Still surprised they didn't limit the R6 to 1 sd card and max 1/4000 shutter like the 6D series.

Yeah I'm still pretty upset the R6 didn't get any kind of overheating fix but at least R5 seems like a solid option now.
I'm in the US currently and there are some pretty good deals ($3,500) not to mention the second hand market. 
This makes the R5 a lot more appealing than the R5C now imo since you gain IBIS, battery life etc for at least a $1000 cheaper.
Kind of a game changer I guess. Its finally the killer hybrid spec camera it was meant to be and the price is getting appealing too.

Yeah I'm still pretty upset the R6 didn't get any kind of overheating fix but at least R5 seems like a solid option now.
I'm in the US currently and there are some pretty good deals ($3,500) not to mention the second hand market. 
This makes the R5 a lot more appealing than the R5C now imo since you gain IBIS, battery life etc for at least a $1000 cheaper.
Kind of a game changer I guess. Its finally the killer hybrid spec camera it was meant to be and the price is getting appealing too.

FWIW, he went from C70 to FX3 to R5 to R5C.. and now back to R5?! all in the span of 10 months lol. 

FWIW, he went from C70 to FX3 to R5 to R5C.. and now back to R5?! all in the span of 10 months lol. 

Its certainly not a vintage mojo lens but rather a very practical APS-C zoom that covers the narrow but  useful 27mm-52mm range and with a constant fast F1.8 aperture. It is very sharp and can really benefit from a Pro-Mist, upside being it resolves high-resolution exceptionally well. I really like to pair it on a P6K and I imagine will do well on a R7 too.. some "cinematic" examples of it:
 
 

I just had a chance to take a look at some X-H2s originals shot in F-Log and F-Log2 in H.265, and it seems to me that the chroma smoothing is way less aggressive in this camera. It's still there, but it won't cause problems I think. This is just my first impression, not a deep analysis. And now you can completely get rid of the smoothing by shooting raw to an external recorder, I tested this with a ProRes RAW HQ clip. What I couldn't test is ProRes internal.
I also noticed that the H.265 files are now tagged with the BT.709 matrix coefficients instead of the BT.601. This will definitely solve some interpretation issues. One small downside is that the files are no longer full range (at least the F-Log and F-Log2 originals I received), they only use the limited range, so we lost some precision here.
 

Perhaps the first ProRes RAW shot project:
The super grainy grade is a little extreme but there is just something about that 3:2 open gate mode I love.
The DR looks really good too and overall this extreme grade shows the image is quite flexible.
Also here is the BTS: https://youtu.be/ER_Ec8YbXss

Perhaps the first ProRes RAW shot project:
The super grainy grade is a little extreme but there is just something about that 3:2 open gate mode I love.
The DR looks really good too and overall this extreme grade shows the image is quite flexible.
Also here is the BTS: https://youtu.be/ER_Ec8YbXss

Been playing around with some FX6 footage, gotta say wow I'm very impressed. Maybe not as clean shadows or as organic looking as C70's DGO sensor but overall just excellent detailed IQ with a modern look that can be "mojo'd up" when pairing with vintage lens & grade:
Getting Venice vibes from this cam's IQ. 
Biggest/Only con for me is no 4K S35 mode. 

https://www.canonrumors.com/canon-to-finally-bring-a-successor-to-the-cinema-eos-c200/
Looks like there may be a C200 mk2 coming, sounds like a C300 mk3 with swappable EF and Rf mount.
Seems Canon are investing in apsc they just need some decent RF lenses to show they're fully committed as I agree the lens situation isn't great at the moment

I'm very prone to "motion sickness" (car travel, sea travel, VR etc):   https://en.wikipedia.org/wiki/Motion_sickness
zero problems in airplanes, trains, or when I'm driving myself (only as passenger). the worst is FPS video games & VR, I get sick within seconds. Probably why I had similar reaction to the gyro stab tests..

Film doesn't underexpose well so you get crushed blacks rather quickly hence the contrasty look but it obliterates digital in highlight DR latitude. Kodak Vision has been championing their motion film stock and I remember reading it gives DR readings anywhere from 12 to 20 stops depending on scan techniques and recovery methods. You can check some of the charts yourself:
https://www.kodak.com/content/products-brochures/Film/VISION-200T-Sellsheet_US_4PG-EN.pdf
The wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital "dodging and burning," a very powerful tool in the colorists' toolkit, is now even more powerful—up to two stops more image information can be extracted from scene highlights in VISION3 Films.
If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured on these film could be lost. Kodak has recommendations for extracting the full density range stored on high dynamic range films in a technical document titled Scanning Recommendations for Extended Dynamic Range Camera Films
Also recommend some of the great accompanying videos :
 
notice at 1:40 how the DP states he overexposed the highlights by 6-7 stops and again at 2:00 the field is 4 stops over and the sky 7 stops over before recovering the highlights. have fun achieving that kind of highlight latitude in digital!
..again at 7:37 overexposing the grassy area by 3-4 stops and perfect recovery.
Just some extra food for thought when comparing film to digital.

Right, now I remember! That was the build and settings that worked best. I just might pickup a 5D3 again at some point for nostalgic reasons and to experiment with ML RAW again. Good to know the workflow in post is simplified a bit too..
Absolutely. I actually also simulate the film workflow with my Leica M9 as the playback is totally useless on the super low res display, no live view and it only takes small size SD cards that I fill to the max with only 24/36 pics available. Changes everything. I did a pro portrait shoot recently with this M9 setup and the R6, end result was well 36 shots on the Leica vs +400 on the Canon. There were great shots on both cameras but the clients favourite was by far the Leica ones (and I did not tell them which came from which camera). There was just more work/effort put into the composition, direction etc.. was an interesting experiment!

I think it looks superb and makes me wanna dump my gear and go out and shoot with an XH2S immediately!
According to the BTS video/page it was all shot in 6K open-gate mode, mostly Flog2 and those noisy shots were at ISO8000. I like the Fuji noise though it resembles film grain not ugly chroma noise or banding.
 https://fujifilm-x.com/fr-fr/stories/x-h2s-short-film-where-are-you-going-x-aditya-varma/