gt3rs

I have an R5, too. After the firmware updates it has been a great camera. I use the 8K as a specialty mode for faking slider or other camera movement in 4K timeline or lower. CLOG3 improved the DR issue and I think it looks great compared to other Sony cameras. The 4KLQ mode is more than useable for YouTube long form content. It's better than EOS R and that was a great "YouTube" camera. I can edit everything (8K isn't completely smooth) off of a $1600 M1 13" MBP. Pretty good deal if you ask me.
Can't wait to see more from Canon. Sony has been crushing the technical side of things and their color science has improved a lot since A7III days.
 

I found 8K RAW to not be as difficult to edit as I had feared. On my Intel 8700K/RTX2070 it wasn't exactly smooth in Davinci Resolve, but absolutely doable to edit.

He is expected companies to send  him free gears just to ear his "valuable" feedback yea right....... the most silly part is that they refer themselves as content creators..... they are not content creators they are sales guys replacing the guys in the shop or in TV sales. This is it. The argument that the value of the good is only a couple of 100$ is also ridiculous.

 

Obvious this is wrong of Small Rig but I just think nearly all companies are pulling similar stunts and content creators are happy to enable it in 99% of situations.
I don't know this guy but it's good he has spoken out.
But it is a bit like watching two sales people arguing about principals.
If this was Sony sending him a free A7S III would he have called them out for blackmail?
If Canon had sent him an EOS R5 but he didn't like the overheating, is this blackmail when they expect content from him?
It is the unspoken rule.
If you want free stuff, they expect you to return the favour and do your part.
Is it a quid-pro-quo when nobody complains and blackmail when somebody does?
No they are the same thing really.
The only difference between Sony with Gerald Undone and Small Rig with this guy is the degree of subtleness.

According to cineD, Alexa has a 1-stop increase in dynamic range over the c500ii or c300iii. 
What is everybody crying about? First, what are you doing, shooting the sun all day? 
Second, your audience almost certainly won’t see major differences between these cameras in properly shot scenes. If you see horrible clipping, that’s an exposure error. Or a poor creative decision. Somebody is getting fired.
Some of you think if you only had an Alexa, everything you shoot would look like roger deakins’ work. Sorry, a major reason why Alexa footage looks so good is that professionals know how to light and expose - for any camera. 
This is why we use dimmers on practicals, sheers on windows, and use lighting to control levels and contrast.
The differences among arri, red, and the best Sony and canon cameras are quite small on set. Yes, currently Arri’s highlight roll off is a bit nicer and has a bit more reach in the highlights, but nothing really changes the way we shoot with any of those cameras.
The truth is most of the current top cameras look very similar - properly exposed. Sure, you can stress test some cameras to show weaknesses - arri and red included, which would struggle in extreme low light. This is why these aren’t common for run-and-gun documentaries. 
If Canon produces new technologies (very possible) that ends up capturing more dynamic range than the Arri, I wouldn’t be surprised. Also, I wouldn’t consider the Arri trash for having a stop less of dynamic range. 
 
 

Maybe it will be an amazing tool but looking at the image the only real value is to be able to reuse the gimbal of a drone like the inspire and that it seems to have a spring for the vertical movement dampening.  
The way that the gimbal is built it limits the lens selection massively as it seems to not have a big travel adjustments. I see no way to have a medium to long lens (>=200mm) on it. It seems way less flexible that a normal one hand gimbal, you cannot really extend it with a monopod for example or easily run it underslung. The fact that the camera is not centered on the mounting screw make it wired on a tripod too.   

RAW is RAW 12bit 4:4:4, if you have CLOG on or off it changes the base iso (clog 400 or clog3 800) to give more headroom to the highlight, If I get it right it is just an exposure trick.

From the manual:

 

I was 100% sure because I used many time but I didi test it before posting the above.

Big fan of insta360.... I have two one R (360, 1”). The quality of 360 reframed is not there yet but is so much fun.... and finally I can have some selfie too:



I have a mini 2 also, big improvement over mini 1 in wind resistance and even more important video signal / range but is missing 10bit log or at list a more flat profile. 

Big fan of insta360.... I have two one R (360, 1”). The quality of 360 reframed is not there yet but is so much fun.... and finally I can have some selfie too:



I have a mini 2 also, big improvement over mini 1 in wind resistance and even more important video signal / range but is missing 10bit log or at list a more flat profile. 

You ARE 100% accurate : ) Here's my two cents... On early April 2021:

I want a mini 250 g with 1'' sensor, not interested in bigger drone as is now just a pita especially here if you need/wants to fly over people. Would be already good 10bit with log in the current mini 2

I don't get the complaints about dynamic range. All recent cameras (non-Arri, non-Red) get around 12 stops—including the R5 in raw. 
Raw is noisy, including Redcode, and NR is a necessary tool in post. If you don't want to shoot in Raw, there are other options out there that will give you a cleaner image with higher dynamic range. 
The tradeoff of course will be more artifacts, limited latitude, or worse color. It's your choice. 
Even the Komodo has tradeoffs. On image quality alone, it has relatively awful low-light and limited latitude with dramatic color shifts. 
If you just can't live without 13 stops of dynamic range or the world will be bereft of your creative potential and professional skills, you have a simple answer: C70. 
 
 

From real works test max seems to be around 900 MB/s: https://petapixel.com/2020/09/22/cfexpress-a-real-world-performance-comparison/

Figured out the Zebras. As gt3rs mentioned earlier in the thread, I have to set second level to 95 instead of 100. I need to learn how to read more carefully.

Quick test both Zebra 1 and 2 shows up and I have it set at 60 +-5 and 95 in CLog3 (100 does not work in log)

Really cool that they listened to feedback, with the new firmware you can use the transmitter as standalone recorder:

'Always' recording mode: When this mode is activated, the transmitter will start recording audio as soon as it is switched on. It will continue recording until it is switched off, regardless of whether is it connected to the receiver. This means that you will have a continuous recording from the moment the transmitter is switched on, making this mode suitable for using the Wireless GO II as a standalone field recorder. Note that in this mode, the ‘mute’ function will not affect the on-board recording (although it will still mute the wireless transmission).

This is truly surprising as the compression ratio is more than any C camera from Canon. 8k RAW at 1.3 Gbits/s is very very good is basically in the same ballpark as 8:1 RED 8k RAW

This is truly surprising as the compression ratio is more than any C camera from Canon. 8k RAW at 1.3 Gbits/s is very very good is basically in the same ballpark as 8:1 RED 8k RAW

This is truly surprising as the compression ratio is more than any C camera from Canon. 8k RAW at 1.3 Gbits/s is very very good is basically in the same ballpark as 8:1 RED 8k RAW

Just updated. Wow, game changer.
Must test recording time. Overheating a thing of the past? If the only recording limitation is the 30-min recording time, practically speaking, then overheating might be a concern only in hot environments. 
The RAW LIGHT (a bit awkward to navigate so many options in the menu now) - I'm genuinely surprised. The regular raw bitrate is proportional to cinema raw light, so I doubted Canon could somehow decrease the bitrate-but they did! A new format that is nearly 40% reduced, even below the C500ii's 6k raw. This has a major impact on storage costs in the post-production chain.
 

1:18 min "continues" 8k raw..... impressive..... probably under the sun will be different but from where we started with this camera is a huge improvements

It is interesting as they said in their test: https://www.slashcam.de/artikel/Test/Der-Dynamikumfang-von-Canon-EOS-R5---R6--Panasonic-S5-und-Sony-A7SIII-im-Vergleich.html that the R5 is actually on pair or even a tad better than the A7S III even before the CLog3.....  
"Im besten Fall sehen wir den Vorsprung der Panasonic S5 gegenüber dem restlichen Feld (Sony A7SIII, Canon EOS R5 und R6) bei maximal einer nutzbaren Blendenstufe. Sony nimmt den den Marketing-Mund mit 15 Blendenstufen am vollsten und landet dennoch in unserer Einschätzung auf dem letzten Platz, was auf den ungünstigen Mix aus Rauschunterdrückung und Kompressionsartefakten zurückzuführen ist. Es handelte sich bei unserer Betrachtung jedoch noch ausdrücklich um ein Vorserienmodell. Wir warten bereits sehnsüchtig auf ein Serienmodell der A7SIII, um dieses Verhalten noch mit mehr Messungen untersuchen zu können. Auch lässt sich mit dem gewonnenen Eindruck eventuell noch an den internen Parametern der Kamera einiges "drehen".

Die von Canon genannten 12 Blendenstufen scheinen uns dagegen eher etwas untertrieben. Sowohl die R5 als auch die R6 können in der Dynamik gut mit den aktuellen 14+-Spitzenreitern von Panasonic mithalten."
 
It is so hard to measure DR that is not really worth to look at numbers imo. In RAW R5 DR is more than fine if Clog3 brings it there (as I expect) then I really don't see why people would complain.... 

I saw that, pretty cool indeed. 

This one is also a great technical challenge to fly a cine whoop up there.... the fun part is the turn on the top and downhill...
 
 

Video for the skateboard is out, this one is mixture of C70 and R5 footage.