Django

As much as I hate micro HDMI, it does work (especially with a cage offering lock support).
But I just don't think the R5C is going to be aimed at shooters with full crews ( focus pullers, directors etc ).
Most likely one-man run & gun that needs photo/video inside a single cam..

Right, well no IBIS so yeah guess that deal breaks the R5C for you.. maybe go for FX3 or S1H? 😉 

Right, well no IBIS so yeah guess that deal breaks the R5C for you.. maybe go for FX3 or S1H? 😉 

Same way people have been doing it before IBIS became the norm. 
..yet both the 1DC & 1DX3 haven't got IBIS. 
R3 & R5C seem to me like much better hybrid options.
As for Cinema EOS products. They've been very successful from the start as much more affordable and practical options than ARRI/RED. 
FYI many Academy Awards in documentary category use Canon Cinema gear:
https://www.canon-europe.com/pro/news/canon-filmed-oscar-nominees-2020/
I also don't really understand why Canon always get singled-out when Sony also segment their Alpha & FX line in similar if not more crippled way. No Alpha has RAW or video assist tools, not even the FX3. 

As much as I hate micro HDMI, it does work (especially with a cage offering lock support).
But I just don't think the R5C is going to be aimed at shooters with full crews ( focus pullers, directors etc ).
Most likely one-man run & gun that needs photo/video inside a single cam..

As much as I hate micro HDMI, it does work (especially with a cage offering lock support).
But I just don't think the R5C is going to be aimed at shooters with full crews ( focus pullers, directors etc ).
Most likely one-man run & gun that needs photo/video inside a single cam..

The C70 codec is definitely soft compared to the C300 mk3. This guy shows a direct comparison:
C200 is also very soft when using XFAVC vs RAW Lite, so hopefully on C70 the RAW Lite will add the missing sharpness/detail. 
I must say adding such a compressed RAW codec on the C70 really seals the deal for me on that cam. Was not expecting such a major firmware update from Canon neither. 

It can't be viable for Canon to have two mounts to cater to. Clearly the future is RF. And hence at some point they have to kill off EF. Personally I have an R6 but no L series RF glass. I find them too expensive and plasticky. I like vintage glass on modern sensors anyways and some EF designs are really starting to feel "vintage"! The RF lens range is also still pretty incomplete. Still not a 35mm L series lens which is insane imo (the 35mm F1.4 L EF II still being my all-time favorite).
As for DSLR yeah they will be missed. I still have my 5D classic. Do love optical viewfinder and all-over ergonomics and reliability. My R6 feels like a toy in comparison and single point AF on the joystick feels cumbersome. It's like something got lost in translation with the jump to mirrorless. If I were a sport/action shooter no doubt I'd cling on to any 1DX vs mirrorless.

Being able to import view LUTs and bake one in would be spectacular, on any camera.  
I really see the C70 as a Get It Done camera for people who are quietly pumping out projects one after another.

Nobody has an A7IV, it hasn't released yet.
Here was a thread here about it:
https://www.eoshd.com/comments/topic/56655-sony-a7-iv/

I remember testing the XC10. On paper it seemed like an affordable C-line camera but in practice I remember problems with WideDR & CLOG. I dismissed that camera immediately because of that.
Getting back to the C70, a super nice feature is the possibility to import LUTs directly in the CP settings.
So you could bake in CLOG with a tailored LUT.
This alone is a game changer for my workflow. I have this setup as well on my FS7 in Cine EI mode (usually with Venice LUT).
For fast turnaround projects with a specific look in mind this comes clutch.
Again key feature missing from the hybrid R line and the A7S/FX3.

I remember testing the XC10. On paper it seemed like an affordable C-line camera but in practice I remember problems with WideDR & CLOG. I dismissed that camera immediately because of that.
Getting back to the C70, a super nice feature is the possibility to import LUTs directly in the CP settings.
So you could bake in CLOG with a tailored LUT.
This alone is a game changer for my workflow. I have this setup as well on my FS7 in Cine EI mode (usually with Venice LUT).
For fast turnaround projects with a specific look in mind this comes clutch.
Again key feature missing from the hybrid R line and the A7S/FX3.

This is true. The noise issue in extreme situations on the C300 Mkii can be really bad. You can avoid by shooting at ISO 500 and avoid C-LOG 2 in those types of situations.
You're right, the C500 Mkii is an incredible work horse camera. It's disappointing that there is no light weight 6k codec.
My point was that the C300 Mk2 and the C70 are not worlds apart. In 95 percent of situations, they will look nearly identical. 
I was also disappointed that they removed a lot of the picture profiles in the C70. A lot of the baked in profiles that I had used in the past, (rarely,) have been removed. There is no Cinema EOS Original, no BT.709 in Clog2, they also removed the 12 bit 444 2k codec.
Interesting enough, when I compared both cameras in the Wide DR codec, there was more noise on the C70 than the C300Mkii in ISOs over 1600. I kind of expected the opposite. 
https://vimeo.com/543915327/c8c6ad9ce9
I guess my main point was that the Komodo clearly has a significant leap in quality (to my eyes.) The C500ii, C70, and C300iii all kind of look similar.
The main reason the C300ii is better ergonomically is the viewfinder, the natural weight of the camera, the full sized XLR ports, the connections being on the back rather than the side, the relocatable grip, the movable monitor. The C70 needs a cage and monitor to even get close. The lack of an EVF in the C70 really sucks tbh. Again, this all depends on what you're doing. If you're shooting with a gimbal, monopod, or locked off, the C70 is better. If you're shooting handheld run and gun with something like the 24-105, then the C300ii is likely better.
The speed booster is awesome. There is vignetting when shooting wide open on some lenses. (this is related to the speed booster, not the lenses.)
Yes, you can magnify during recording. 
Speaking of anamorphic. I did rent an Atlas 32mm over the summer. The aspect was pretty crazy because the lenses are 2x, but they did kind of remove the typical Canon look. Still kind of soft compared to the Komodo imo.
 

Gorgeous! C70 ticks so many boxes for me. It really sounds like the perfect cam for my needs (A-cam for an R6 replacing C100/C200). 
I feel its really under-rated because of its form factor and no RAW or 6/8K. 
At it's price point it's competing with the C300ii/6KP/Komodo/R5/R3/FX3/FX6.
All great cameras but the C70 really sounds like that perfect balance between all of them.
 

excellent, also looks like more natural skin tones with less saturated look than clog1:
 

First Nikon Z I'm genuinely excited about. 8K60p / 4K120P. Internal Log, Raw, ProResRaw & ProRes 422 HQ!!
No overheating problems and good RS performance.
I mean damn could this be the full spec no compromise pro hybrid?!
Even the price is a nice surprise. Well done Nikon!

First Nikon Z I'm genuinely excited about. 8K60p / 4K120P. Internal Log, Raw, ProResRaw & ProRes 422 HQ!!
No overheating problems and good RS performance.
I mean damn could this be the full spec no compromise pro hybrid?!
Even the price is a nice surprise. Well done Nikon!

First Nikon Z I'm genuinely excited about. 8K60p / 4K120P. Internal Log, Raw, ProResRaw & ProRes 422 HQ!!
No overheating problems and good RS performance.
I mean damn could this be the full spec no compromise pro hybrid?!
Even the price is a nice surprise. Well done Nikon!

First Nikon Z I'm genuinely excited about. 8K60p / 4K120P. Internal Log, Raw, ProResRaw & ProRes 422 HQ!!
No overheating problems and good RS performance.
I mean damn could this be the full spec no compromise pro hybrid?!
Even the price is a nice surprise. Well done Nikon!

First Nikon Z I'm genuinely excited about. 8K60p / 4K120P. Internal Log, Raw, ProResRaw & ProRes 422 HQ!!
No overheating problems and good RS performance.
I mean damn could this be the full spec no compromise pro hybrid?!
Even the price is a nice surprise. Well done Nikon!

First Nikon Z I'm genuinely excited about. 8K60p / 4K120P. Internal Log, Raw, ProResRaw & ProRes 422 HQ!!
No overheating problems and good RS performance.
I mean damn could this be the full spec no compromise pro hybrid?!
Even the price is a nice surprise. Well done Nikon!

My point exactly. Those DXO charts don't give you the full picture. Maybe Schott likes an optical viewfinder, DSLR ergonomics, no AA filter etc? Maybe he doesn't like to use adapted EF lenses on a RF mirrorless (I can tell you first-handed the performance isn't the same). Like I said some people even still shoot film. DXO charts are irrelevant when it comes to subjective preferences! In any case the 5DS at 50.6MP is hardly a camera to shrug at even by 2021 standards.
 
Can't say I agree with this. We were all amateurs/hobbyist before becoming pros (not to mention none of us are pros 24/7). Thank god I didn't limit myself to compact p&s or smartphones. 
Nothing wrong with hobbyist/amateurs going FF. An R6 or A7IV is mid-tier prosumer gear anyways. Just saying.

5DS/R is still a studio workhorse. Few FF cameras still surpass its 50.6 MP resolution including R5. And with the lowpass filter cancelation its sharpness is another asset for certain types of photography.
Like a lot of filmmakers, my passion started out with photography at a young age. My first SLR was a Nikon and it got me infatuated with FF lenses. Fast-forward to the Canon 5D series which was my gateway into FF digital. I actually still own and use my OG 5D mk1. It has this look I attribute to early digital sensors I can't get from newer Canons. Same thing with Nikon which I actually went back to right around D700/D750. D700 also has a special mojo sensor imo. Same with Leica and why I'm sticking to the pre-CMOS (CCD) M9.
And then obviously there is film, which has made a huge comeback (well some will argue it never left). So yeah basically I agree, not only do I think still bodies plateau'd a long time ago, there are instances where older tech gives out a nicer image, subjectively speaking. Kind of like how in cinema the OG ARRI Alexa still gets praised even though the sensor and resolution are archaic by current tech standards. Let's not even get started with vintage lenses!
That said this is all coming from a sort of irrational nostalgic pov where mojo trumps DR, Resolution, AF etc.
For video/cine its indeed a different story. codecs, resolution, AF, exposure aids, media storage etc have been constantly evolving in the last ten years.
Things like eye-track AF can be life savers in solo run & gun situations. Having such a reliable AF means I can focus on other things (no pun intended) during a shoot.

5DS/R is still a studio workhorse. Few FF cameras still surpass its 50.6 MP resolution including R5. And with the lowpass filter cancelation its sharpness is another asset for certain types of photography.
Like a lot of filmmakers, my passion started out with photography at a young age. My first SLR was a Nikon and it got me infatuated with FF lenses. Fast-forward to the Canon 5D series which was my gateway into FF digital. I actually still own and use my OG 5D mk1. It has this look I attribute to early digital sensors I can't get from newer Canons. Same thing with Nikon which I actually went back to right around D700/D750. D700 also has a special mojo sensor imo. Same with Leica and why I'm sticking to the pre-CMOS (CCD) M9.
And then obviously there is film, which has made a huge comeback (well some will argue it never left). So yeah basically I agree, not only do I think still bodies plateau'd a long time ago, there are instances where older tech gives out a nicer image, subjectively speaking. Kind of like how in cinema the OG ARRI Alexa still gets praised even though the sensor and resolution are archaic by current tech standards. Let's not even get started with vintage lenses!
That said this is all coming from a sort of irrational nostalgic pov where mojo trumps DR, Resolution, AF etc.
For video/cine its indeed a different story. codecs, resolution, AF, exposure aids, media storage etc have been constantly evolving in the last ten years.
Things like eye-track AF can be life savers in solo run & gun situations. Having such a reliable AF means I can focus on other things (no pun intended) during a shoot.

EOS R has that horrible 1.7x crop when shooting 4K. Its basically a FHD FF camera. Also it doesn't do internal 10-bit 4:2:2 or Clog3. I had EOS R and honestly do not miss it one bit for video. R6 on the other hand has the nicest FF IQ I've seen on any Canon.
The overheating on R6 is real but since the latest firmware updates I haven't experienced ANY overheating. I've been on ALL DAY 4k shoots and no overheat. I don't shoot more than 10mn clips though so my user case may certainly be different than others but thankfully for me the overheat has become a non-issue. I even left the camera on accidentally during 12 hours once and it was ready to shoot the next day no problem so it looks like they've been using some clever power management which wasn't the case at first when it was timer based.
Btw, Potato Jet made the A7IV overheat in like 12 minutes in his 100 degree test. I guess if you're shooting in that kind of heat, most hybrids will fail after X amount of time.