gt3rs

I think best for you is to rent a R5c for a day and try the hell out it.

For me when I do video 9 out of 10 times I pick the R5c as A cam and eventually the R5 as B cam. 

If you plan to use quite a bit 4k 100/120 the R5c is noticeable sharper than the R5, can also record audio (separately on the SD) but does not have Face AF in 100/120 fps. I try not to use the R5 in 100/120 as the quality is not too great and the editing is a pain due to h265 10bit 4:2:2, R5c XAVC so much faster.

One recent R5c 4k 120 fps segment. Don't look at the motion cadence as it was shoot at 1/2000, F2.8. It was a test for a lens and I did not have an ND filter for that lens diameter.
https://www.youtube.com/watch?v=7AjNP0MdwXs


Fro anything slow motion R5c wins hands down with 8k and 4k 60p and better quality 4k 120...

You are the one confused that has no idea why a gopro or insta360 or DJI Osmo have a much more effective image stabilization than Sony (including Catalyst) Nikon, Canon, etc. 
 
Is called physic and the longer the lens the bigger the shake will be amplified, it will have more motion blur, much bigger delta between same pixel and more rolling shutter effect due to sensor size, and the result is not comparable.
 
So please don’t call me confused when you have zero explanation why…. 
Btw I wrote software in the past for images alignment so I kind of know how eis algorithms works

Wiseguy, do you know about GoPro Labs firmware? As usual, you get your info from the internet and pass on what you read. 
Two people instruct you on your false information, but you go on.
I have personally shot 200Mbps 5.3k GoPro videos. Read by metadata as 200Mbps. I can't say I notice a big difference, but the option is there.
GoPro Labs firmware. Google that.
Maybe also get a GoPro, learn what it can do, and get back to us after you have actual experience.
Let's see if you can refrain from making a nasty reply to cover your doubling down on your mistake.

Knowing GoPro, it would be 8K, but still limited to 120Mbps.
Fast forward to 2035 and the GoPro21 is released with the headline feature of 20K video....  at 180Mbps.

Gopro, uses a tiny sensor with extremely short lens and very high shutter speed. The movement magnification of a FF with a 35mm compared to a Gopro is just a complete other order of magnitude. 
Unfortunately any digital stabilization requires a high shutter speed to be more effective, put a ND on a Gopro and 1/50 and the great stabilization is gone.... 



In my experience, and I posted multiple times, any lens above 70mm that has IS for video performs better on the R5c than R5 (in my case 70-200, 100-500) and I do a lot of handled, of course I'm not walking or running, for this you need a gimbal.

Below 35mm on the R5 you will get wobble effect especially if you walk or pan rather fast. So a R5c with an IS lens wins here. 

IBIS is very useful from 35 to 70mm on non IS lens. I use quite a bit a 28-70 2.0 that does not have IS and I tend to use it handled on the R5 or on Gimbal on the R5c (there is really no contest against a gimbal if you walk.... gimbal wins by huge margin).

I did test but I never use Digital IS, I prefer to stabilize in post in Resolve if needed. I also shoot mostly in RAW so Digital IS is not available. Would be cool if Canon would embed the gyro data so we could do digital IS in post, but if you look at Sony catalyst or Gyroflow both requires high shutter speed to be effective.


Probably for @Django the question would be how well it compares R5+IBIS+RF 24-70 vs R5C + RF 27-70, handheld both static and walking. Unfortunately I don't have an RF 24-70.... but once I should try with the RF 35 1.8 IS to see...

 

I’d say even try up-rez’ing it to 4k and then upload. See how YouTube handles that one. 

As he mentions at around the 50sec mark, the Digital IS shines at around 35mm and gives good tripod like shots when hand held, and that's it. In my experience with the R5C and R5, I think IBIS, DIS, etc are really only good for that - and that alone. For everything else you need a gimbal, simple and plain. So in that sense, imo, I don't think the R5's IBIS is a feature that gives it much of an advantage over the R5C's DIS as they both can give you good handheld static shots. If I had fully understood this I probably would've saved up for another used R5C instead of buying the R5.

Currently I would say yes Z8 is probably the best hybrid in the market but for sure but not gonna switch to Nikon and then switch to Sony and then back to Cannon 🙂 
Imo the more rational path is you invest in either Sony or Canon ecosystem and stick with it, some years you will have the "best" camera and some years not but you save a lot of money in not switching back and forth and you develop a lot of automatisms too.
Nikon has some really cool unique lenses and Z9 and Z8 at the moment are the best in class imo, but there is no cinema ecosystem and not yet good budget friendly hybrid cameras... so at the moment if you want to grow or downsize is more tricky than Sony or Canon. Canon has the advantage to share the mount with RED and a no brainer EF support, Sony is much more open to third parties lenses. 
 

I think one very important bonus of this alliance would be the fact that it gives Panasonic a very important missing piece in their ecosystem: a truly professional cinema/ENG camera with 12-bit, XLRs, docu-style body etc. If you're buying into an ecosystem for the first time Sony offers such a great upgrade path for starting one-man bands with the A7-IV, FX3, 6, 9, Venice. No matter what level you start at you can always upgrade while keeping your lenses. Same goes for Canon. Panasonic really misses that at the moment.
Panasonic currently offers some of the best hybrid camera's on the market and then after that there's nothing.

Great analysis of the power saving mode from Points In Focus (has done some great tests/commentary of the R5/R5c over the last couple years - def worth checking out!). He got a 40% increase in battery life in 4K 60p - which tracks with the numbers I'm getting at 4K 24p XF-AVC.
 

What we get in export with adjustment layer is IMHO intended behavior. An alternative to adjustment layer for color grading that many prefer are Davinci Resolve group or remote grade functionalities. Grouping clips from one camera and then using Group Pre-Clip or Group Post-Clip instead of adjustment layer will give the same result and functionality as adjustment clip, while exported individual clips will all have color grade for the specific group in Group Pre-Clip or Group Post-Clip all applied. Exactly the way zerocool22 wants it.
https://www.youtube.com/watch?v=CtXuabX-ims  
Before submitting a request to Blackmagic it makes sense to try clip grouping functionality. IMHO it is what zerocool22 wants to achieve in export while workflow changes will be minimal. 

No idea about that one.
I have a Ring doorbell, and you'd be better off setting up the telescope system in the bunker from Lost rather than using one of those.

As several people have mentioned here any gopro with wifi enabled, usb powered and using your phone ... you can even record if you see something interesting. 

Or any cheap wifi surveillance camera that does not require a plan/cloud.... 20-30$ but the quality is quite bad...

If you convert the log gamma to ACES CC gamma, which is straight, you can use a master color wheel or master offset control to make accurate changes to WB.
Another (unrelated) interesting thing to note is that photos tend to be more contrasty than video. Historically, this is probably due to its intended output mediums: print versus TV screen. Even nowadays the default ACR/Lightroom curve is way contrastier than what most video people grade to. Worth bearing in mind for sending photos extracted from videos to a client. And for making prints.

I tested quite extensively over the weekend, let’s start with the good:
“Enables to detect heads facing sideways or backwards, or in situations such as when wearing a helmet”
This one is not perfect but really good and for the type of filming that I do it makes a difference, first it does not lose the head when moving away but more important it works with helmets. These in the past I would have to stop down to 5.6 to keep the face in focus, now with the face tracking with helmet I can shoot at 2.8.

Screen grab, this one was almost impossible before as the focus would have been on the horse head instead of her.




this one before it would have simply lose the focus 


“Improves switching time between Video/Photo mode”
This one is much faster now, was not a big issue for me but now it should not be an issue for most people.
“Enables to change WFM size” and “Enables to change WFM/Vector scope opacity”.
This is very practical, especially on the tiny screen. Just tap the WFM and it becomes bigger, tap it again goes smaller.
 
 
Now the not so good:

Face/Helmet does not work on S&F mode so no 100/120 fps face tracking…. R5 can…
“Adds Power Saving Mode” this comes with some limitations so only 4k XAVC, but works 24 to 60fps…. and indeed it extends quite a bit the battery.
So seems all good but the implementation is a bit cumbersome as you can turn it on only when all settings matches and if you want to let say go to S&F mode 120 you cannot you need first to disable it…. T
his camera needs absolutely customs shooting modes it would make all of this so easier to go from 8K RAW 24, to XAVC save mode 24 to then XAV S&F 120 and so on…. You need to change many menu items that is insane….

For example, for this scene I wanted to quickly change to 120fps for a few seconds and then back to 24 and with power saving you cannot do it quickly....

 
Overall not much to complain Canon added quite a few of very useful features.
I hope they will further improve the camera. My wishes for the next one are customs shooting modes and face tracking in S&F 120, even better if you could select the area of the frame where face tracking is active similar to the R3.

Shot from 8K 60P (N)RAW video frame. 1/125th second shutter, which is ok for video motion at this frame rate and enough speed for portraits (people micro move).
"Developed" in DaVinci Resolve Studio.
RAW video then gives the best of both worlds?

The only difference raw would make is the ability to grade the image. The rest is the same.
But this was why I was interested in the Nikon Z9 with it’s ability to shoot stills and shoot less storage heavy video, but when I needed both photo and video at the same time, shoot 8k raw for both.
6k 50/60p would do it for me however. I think… I need to rest later this year when I have the time.

A couple where the motion blur makes them more interesting. 24fps 1/50.





 

It depends on the scene, sometime it works well and sometime not but you can also get decent result by adding motion blur in post, here two example from this Saturday (8k RAW 60fps F2.8, 1/2000):


motion blur in Resolve


 
Btw you here you also see a bit the rolling shutter that at 15ms is not fast enough for pans to avoid making the pillars leaning...



This from yesterday 4k 24fps 1/50 F2.8 you cannot really take a picture out. You can always try to add motion blur in post but you cannot remove it. This I filmed with the 180 rule as we did not care about taking photos out.


 

A couple where the motion blur makes them more interesting. 24fps 1/50.





 

A couple where the motion blur makes them more interesting. 24fps 1/50.





 

It depends on the scene, sometime it works well and sometime not but you can also get decent result by adding motion blur in post, here two example from this Saturday (8k RAW 60fps F2.8, 1/2000):


motion blur in Resolve


 
Btw you here you also see a bit the rolling shutter that at 15ms is not fast enough for pans to avoid making the pillars leaning...



This from yesterday 4k 24fps 1/50 F2.8 you cannot really take a picture out. You can always try to add motion blur in post but you cannot remove it. This I filmed with the 180 rule as we did not care about taking photos out.


 

I tested quite extensively over the weekend, let’s start with the good:
“Enables to detect heads facing sideways or backwards, or in situations such as when wearing a helmet”
This one is not perfect but really good and for the type of filming that I do it makes a difference, first it does not lose the head when moving away but more important it works with helmets. These in the past I would have to stop down to 5.6 to keep the face in focus, now with the face tracking with helmet I can shoot at 2.8.

Screen grab, this one was almost impossible before as the focus would have been on the horse head instead of her.




this one before it would have simply lose the focus 


“Improves switching time between Video/Photo mode”
This one is much faster now, was not a big issue for me but now it should not be an issue for most people.
“Enables to change WFM size” and “Enables to change WFM/Vector scope opacity”.
This is very practical, especially on the tiny screen. Just tap the WFM and it becomes bigger, tap it again goes smaller.
 
 
Now the not so good:

Face/Helmet does not work on S&F mode so no 100/120 fps face tracking…. R5 can…
“Adds Power Saving Mode” this comes with some limitations so only 4k XAVC, but works 24 to 60fps…. and indeed it extends quite a bit the battery.
So seems all good but the implementation is a bit cumbersome as you can turn it on only when all settings matches and if you want to let say go to S&F mode 120 you cannot you need first to disable it…. T
his camera needs absolutely customs shooting modes it would make all of this so easier to go from 8K RAW 24, to XAVC save mode 24 to then XAV S&F 120 and so on…. You need to change many menu items that is insane….

For example, for this scene I wanted to quickly change to 120fps for a few seconds and then back to 24 and with power saving you cannot do it quickly....

 
Overall not much to complain Canon added quite a few of very useful features.
I hope they will further improve the camera. My wishes for the next one are customs shooting modes and face tracking in S&F 120, even better if you could select the area of the frame where face tracking is active similar to the R3.

It depends on the scene, sometime it works well and sometime not but you can also get decent result by adding motion blur in post, here two example from this Saturday (8k RAW 60fps F2.8, 1/2000):


motion blur in Resolve


 
Btw you here you also see a bit the rolling shutter that at 15ms is not fast enough for pans to avoid making the pillars leaning...



This from yesterday 4k 24fps 1/50 F2.8 you cannot really take a picture out. You can always try to add motion blur in post but you cannot remove it. This I filmed with the 180 rule as we did not care about taking photos out.


 

It depends on the scene, sometime it works well and sometime not but you can also get decent result by adding motion blur in post, here two example from this Saturday (8k RAW 60fps F2.8, 1/2000):


motion blur in Resolve


 
Btw you here you also see a bit the rolling shutter that at 15ms is not fast enough for pans to avoid making the pillars leaning...



This from yesterday 4k 24fps 1/50 F2.8 you cannot really take a picture out. You can always try to add motion blur in post but you cannot remove it. This I filmed with the 180 rule as we did not care about taking photos out.