Kino

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

If you look back on the clips that were posted, such as the plane at the airport, you can see that while Komodo has trouble with noise and low light, the color fidelity is not sacrificed as it can be with a lot of cameras in the $6K range. When the lights go down, the bit depth does not suffer: it does not go "thin" or start looking like 8-bit footage when you withdraw light. I can't speak to the colors in the grading process as I haven't downloaded any of the R3D files, but you can probably get it to match any of the modern RED sensors close enough. This is, after all, intended as a gimbal camera and not as a main one. So it is somewhat taking the place of the very capable RED Raven 4.5K, albeit in a very different marketplace. Nowadays, for just two thousand more, you can get a Kinefinity MAVO LF ($8K brain), which is an incredible camera for the price and I think a much better option as a proper cinema cam:
 

I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR:
Then again, for $6K, you are getting a "discount Dragon," so no complaints!

I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR:
Then again, for $6K, you are getting a "discount Dragon," so no complaints!

I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR:
Then again, for $6K, you are getting a "discount Dragon," so no complaints!

I have no doubt this 8K sensor will find its way into Canon's cine lineup with proper heat management. But you will be paying a lot more cash for this privilege.
Like any Japanese conglomerate, Canon are masters of product differentiation. They will never give you everything in one product and they will never give you more for less.
Indeed, it turns out this camera has amazing RS performance, but it is otherwise hobbled vs. the 1DX III when it comes to usability for video. It also lacks the more creamy look of the 1DX III and has slightly less DR. You can see how it clips easier in this test:
:

slashcam has tested RS and 8k, 4kHQ is 16ms!!!...... boy they have created what would be the perfect hybrid but nobody can use for video because the recovery times are just insane.

Either is software crippled or it has a big HW flaw.... if the first let's hope they remove/fix if the second why they don't sell a version in a bigger body with a Fan?!? 

8k 30 RAW, 4k oversampled from 8k 10bit with 16ms RS and AF and nobody can take advantage..... what a waste.
Problem is that is a very good photo camera (best canon ever) so even if they do nothing they will sell a ton....

RS is highly visible throughout the train sequence:

Not for me. RS would not be an issue in most situations (static/tripod shots, sliders, and gimbals) and is greatly reduced in 60fps. You can even shoot 1.3 crop and 60fps to retain the DPAF. There is no other FF camera with internal 5.5K RAW and all these features for that price. On top of that, it can produce a very filmic image and will retain its value as an investment in case you need to sell it:

Canon Raw has the option to decode in Canon Raw Developer or Davinci Resolve Studio based on Clog 2 or 3 ... just need to expose with that in mind.

Moc Nguyen always seems to get the best out of the R5:
Is this getting closer to the 1DX III image quality? I think it is still a step below in terms of DR and creaminess.

R5 overheats after 9 minutes in All-i 8K 24/30 fps (not even RAW) when testing the camera in the car (10:20). Then, a little while later when he starts recording again, it overheats much faster. This camera is basically unusable when recording longer than 1-minute clips. You also have to wonder what is happening to the long-term health of the internals (e.g., circuit board) considering the excessive heat generation. This $4K investment could easily burn out its circuits after the warranty period.
 

R5 overheats after 9 minutes in All-i 8K 24/30 fps (not even RAW) when testing the camera in the car (10:20). Then, a little while later when he starts recording again, it overheats much faster. This camera is basically unusable when recording longer than 1-minute clips. You also have to wonder what is happening to the long-term health of the internals (e.g., circuit board) considering the excessive heat generation. This $4K investment could easily burn out its circuits after the warranty period.
 

R5's 4k 120fps is super clean and very impressive,  but the camera in C-log simply lacks the DR of competitors like the S1H. Perhaps C-log 3 will help:
 

This stuff just writes itself . . .
 

The 4k 120fps out of the URSA G2 should be added to that list.
 
 

So I asked this guy!
 

Kinefinity Terra 5K is "not finalized on shipping date," according to their website: http://www.kinefinity.com/shop/terra/?lang=en
It is still a hypothetical camera not in release, despite promises of shipping so long ago.
As for the 6K sensor, it's the same as the Kinefinity 6K and has the worst rolling shutter you have ever seen in a cinema camera.
For those who want 6K resolution that debayers to proper 4K, there are only going to be two realistic choices: RED and the EVA1.
I think Panasonic has done something amazing and noteworthy. It's a very ambitious camera and the Vimeo footage is truly gorgeous (despite the fact that we are not even talking about the RAW 5.7K output as of yet):
 

The 1DC produces a gorgeous image to rival any digital cinema camera. No doubt about it. You guys are lucky to have that camera!
As for 10 bit, I don't think it would have been possible to do 4K 10 bit intraframe in a completely weather-sealed body as the 1D. There would be way too much heat generation. Unless, what you mean is that you prefer a 10 bit highly-compressed codec to MJPEG. The processing power was simply not there for such compression and Canon had not developed any internal 10 bit 4K codecs before the C300 II.

I cannot wait for "Apprentice: White House Edition."

I cannot wait for "Apprentice: White House Edition."

Lovely cinematography as always Ed. The grade is similar to some of your very filmic MX footage (the Cuba one is particularly gorgeous, in case people here have not seen it): 
It's a different kind of look for the F65, as I don't see that type of desaturated look (in this case, with a heavy teal/blue modern grade) applied to this camera very often.

This is just 2 astra lights  side by side beaming into a double full grid 4x4 silk on the left, with a bounce on the right, with some return.  That's it.  Soft soft soft soft always looks good.
the closer and bigger the diffusion, the softer.
Shot on the F65 with a zeiss standard speed lens 100mm.  
 
 
 

Ed, you can watch the C500 in action in the current IMAX film, A Beautiful Planet, which was shot entirely on the C500 (and the 1DC for time-lapse):
There is also an interesting article in American Cinematographer on why they chose the C500's uncompressed 4K RAW over other cinema cameras that they tested:
http://www.theasc.com/site/wp-content/uploads/2016/06/AC-A-Beautiful-Planet.pdf