Simon Young

I haven't tried the 24/25/30p so can't comment, theoretically it should give less heat than 4KHQ
 
Well here is my thought on the R5 after the race day
 
1. AF   The most reliable method for me is the Zone AF, tracking AF on cars can get lost when I also do the panning or when the car is down to certain area on screen or if there is a lot of cars which can block the view. Expand AF can get OoF once the car goes past and I have to use manual to get back in focus quickly otherwise it is really really slow to get back to focus. (with telephoto lens), There is still occasional focus hunt when I panning across to follow the car (from forward to sideway)
2. Custom Video Mode Major advantage over R6 is the custom video mode, currently I have set to FHD/4K50P/4K100P, so when I want to change I just press the mode and change. I can totally feel the pain for R6 user which currently doesn't have this, Canon should really update R6 for this feature.
3. Movie Crop Mode You can't set the movie crop mode to a custom key which is super dumb, I have to go to menu each time i want to do crop mode, on Sony and Panasonic you can set key for much faster access.  If you shoot in crop mode and change to your custom mode it will still shoot in crop mode (unless in 4K100/120/8K).
4. NTSC/PAL Selector  Much better done on Canon than Sony or Panasonic, just change the frequency and shoot, no need to format card (Sony) or restart camera (Panasonic), so if I need more slowmo I just change to NTSC and keep on shooting.
5. Battery Issue  I had problem where it just suddenly give me error when using EF Lens on the adapter on the genuine LP-E6N battery, I have to use LP-E6NH to make the problem go away. I will need to investigate this more. Though I feel I might get more LP-E6NH at end and sell the old LP-E6N.
6. No CLOG on H.264 This is probably the most dumbest move on Canon, we get that HEVC offer twice the efficiency but the bitrate is quite healthy on the H.264, there is absolute no technical issue for clog not on H.264! Hope Canon can really fix this as X.265 is so awful to edit.  There is HDR PQ to increase DR on H.264 if you dont want X.265 or Andrew's EOSHD Clog to emulate Clog on H.264, I used cinestyle as it matches up with the 1DX2 which also use cinestyle to help with edit in post as the video is due next day.  My editor have no problem editing the 4K50P on H.264, though 4K100P is still lag feast on Ryzen 7 4800H.
 
Other than that the editor say the video quality is definitely better than the C100MKII I shot on previous race, unfortunately we can't share our video as it belongs to the TV station (for subscriber only) but here is the  video from the team's media team  (some of my R5 footage is from 4:36 onwards)
 
 
 

I got less time on S35 in 4K50P than FF 4K50p (20min vs 30min), FF 4K50p/60p is not oversampled.
 
4K Screengrab from R5, I think i can just grab stills from video.. much easier this way., rolling shutter is quite acceptable on R5.

When they add the lower bitrate Canon RAW Lite to the R5, it would be great if they added it for the APSC mode (5.1K) and up to 60p. 

go ahead... tell me how stupid i look in this thumbnail. 
 

Great! Though I'd prefer 40/60p and 10bit internal. (EM1X and EM1 Mk III owner.)

"Olympus announces new firmware development to allow RAW video on the E-M1X and E-M1III."
 
I couldn't believe what I saw. Olympus doesn't have 10-bit internal, and yet they jump to ProRed RAW via HDMI directly? Wow. Seems almost surrealistic. Now sure how most people would see this as something huge. Hopefully Olympus camera prices crash some more, before the RAW is released. 
 
 
https://www.43rumors.com/olympus-announces-new-firmware-development-to-allow-raw-video-on-the-e-m1x-and-e-m1iii/#disqus_thread
 
 

Canon really threw the kitchen sink at the EOS R5 specs sheet. What about the kitchen fridge?
Canon have stated overheating time limits for HQ video recording in a warm 23 °C room.
How does the camera perform in much colder conditions?
Does the EOS R5 still overheat in the Wifi menu in a fridge?
Or do the cold temperature help cool the camera body, which Canon claims act as mitigation for hot components inside?
Read the full article:
https://www.eoshd.com/news/canon-eos-r5-overheated-in-my-fridge-after-just-60-jpegs-4-c-ambient/

When I had the A7III the AF on the Tamron 28-75 was absolutely excellent. 

I've pretty much decided to buy this camera over the holidays or next spring. Unless Nikon REALLY knocks it out of the park on it's next release. 

EOSHD testing finds Canon EOS R5 overheating to be fake, with artificial timers deployed to lock out video mode. In this test, we will probe my Canon EOS R5’s actual internal temperature in Celsius, as reported by the firmware.
This week CDA-TEK and I are developing an Android app for the Canon EOS R5, which connects to the camera via the Canon API...
Please read the rest of the article on the blog carefully before commenting below

We have already seen some AB tests of the a7s and R6. The colours aren't THAT different. I think you're all kidding yourselves when you say it has a colour problem. I am unbiased as I don't own or intend to  own either cams or anything like them.  If you're not seeing good colour from a7s videos then it is the fault of the colour grader. And  "thick colour" is the same nonsense as what photographers call "3d pop".  You're just reaching for terminology to reinforce/shill your idea. It's possible to see thick colour as you're grading a file but not just based off seeing the final product. 

I understand what rolling shutter is.
Let me explain even more clearly.  If I pick up a camera and shake it while recording, I get motion in the footage because the camera is pointing in a different direction when each frame was exposed.  This is called camera motion.  If that motion is caused by something like a smooth pan or tilt or is very gradual and smooth, then the motion will have a certain aesthetic, but if that motion is not smooth, but is very jerky with lots of small motion, then it will have a different aesthetic.
Engaging a Global Shutter so that the whole frame begins and ends it's exposure at the same time (hey look - I did know what a global shutter is!) does not negate the fact that the camera is facing a slightly different direction each time a frame was exposed.  IBIS, on the other hand, actually does negate the fact that the camera is facing a slightly different direction each time a frame was exposed, and under the right situation, will remove that motion from the footage.
I get that you dislike the aesthetic of RS, and so switching to GS "fixes" it for you, but I dislike jittery camera motion, which GS does not fix.
I'd link to a video explaining the differences between IBIS and GS in order to reflect back your level of condescension when you fail to understand what someone is saying and automatically respond by thinking you're smarter than them, but I don't think that anyone would have made a video on the topic because the differences are obvious.  Or so I thought.

This from someone who heaped tonnes of negativity on the GH5 and Blackmagic. 😂😂. It's a different matter now it's Canon at the end of it.  😉
Besides no one is forcing you to read all this stuff.  

Watch Mark Holtze video.  You can adapt glass to the S1H.  Also being Netflix approved makes the S1H a cine camera.  Yeah it's hard to figure out because it is a hybrid but don't slag the facts about the camera.   Also, if productions have the money they'll use what the DP prefers. 
A buddy was on a Ace Hardware shoot and you wouldn't believe how much wasted money they spend on a 5 day shoot.  They spent close to a million on traditional a tv commercial.

Would you care to actually refute what I've said based on evidence or just demand to see my CV because you can't?

What's your name? Resume? 
I really do think @Andrew Reid should require people that talk like this to use their real names so we can judge how much credibility we should give what they say. It's way too easy (and common on here) to hide behind "working in the industry" when people disagree with you when you're anonymous 

People who think the image out of the A7SIII, a $3500 mirrorless camera, isn’t very good or the skin tones are off are nitpicking the shit out of it. I feel sorry for you people. You will never be happy.
Put everything in context. This is a fantastic release from Sony. They improved almost everything from the A7SII and kept the spirit of the A7S camera intact.

Thank you for your concern but I’ve managed to make the 8bit s-log from previous Sonys look just fine in DaVinci so I’m not really worried. If you can’t get a decent image out of the a7siii I don’t think the camera is to blame.
I suggest you get an Alexa LF and be done with it.

Thank you for your concern but I’ve managed to make the 8bit s-log from previous Sonys look just fine in DaVinci so I’m not really worried. If you can’t get a decent image out of the a7siii I don’t think the camera is to blame.
I suggest you get an Alexa LF and be done with it.

Thank you for your concern but I’ve managed to make the 8bit s-log from previous Sonys look just fine in DaVinci so I’m not really worried. If you can’t get a decent image out of the a7siii I don’t think the camera is to blame.
I suggest you get an Alexa LF and be done with it.

Thank you for your concern but I’ve managed to make the 8bit s-log from previous Sonys look just fine in DaVinci so I’m not really worried. If you can’t get a decent image out of the a7siii I don’t think the camera is to blame.
I suggest you get an Alexa LF and be done with it.

Big brain time should tell you if a heavy grade doesn't balance out skin tones then the color science captured is a hot mess.
Resolve is great but not all footage should have to be FIXED to the extent Sony's have to be fixed. 

Word. I’m buying this camera for sure. And I agree we need to see more testing with regards to overheating: what cards are they using, temperature outside, codec (I hear the h265 runs hotter) and so on. But I’m confident it will run just fine at 4K 24p All-I. 

Are Sony's Cine engineers not allowed to work with the mirror-less department? 
It's clear Sony can't get low cine color correct.  If you look at all camera brands you'll see color science that moves down through generational product lines.   That's why you hear Nikon color or Canon color or Fuji color talked about.  
You never see brands change their color science around.  It is subjective but it also comes down to over all color science, iso shift and shadow color hue and depth or the lack of the latter two. 
OMG that color is not good at all.  
 
 
 
Word.  You might want to be concerned about the color from this camera.

I love it when people complain about skin tones in heavily graded YT videos them conclude the color science is trash. Big brain time.
I'll admit the sooc files from my a7iii with artificial light can be horrendous, however once corrected they look great to me.
Resolve really helps, without those color tools I don't know that I would be as satisfied with the color.