webrunner5

I don't think there is any phone that does Prores and Raw. The Apple iPhone 13 Pro does Prores at these rates.
 
All iPhone 13 Pro’s ProRes are 10-bitt with 4:2:2 chroma subsampling. These are maximum bitrates tested by FilMiC Pro at 4K 30fps.
iPhone 13 Pro’s ProRes variants:
ProRes Proxy: 170Mbps = 21MB/s = 1.3GB/m
ProRes LT: 360Mbps = 45MB/s = 2.7GB/m
ProRes 422: 540Mbps = 67.5MB/s = 4GB/m
ProRes 422 HQ: 735Mbps = 92MB/s = 5.5GB/m

Panasonic makes my favorite cameras, by FAR. And they have my favorite IQ under $10k (except maaaybe the C70). And the best IBIS. I also love their f1.8 prime set. That's fantastic. 
But they do need to get something out this year (September/October) before I go all-in on buying a set of lenses. I had the S1H and loved it - still do. If they could give me an S1H II with some nice upgrades (mini XLR port to go with a 3.5mm jack, internal NDs, ProRes recording, a 12-bit HD/4k profile perhaps?), I'm all in for the next 3-4 years.
 
 

Yes, looks like the way things are going, somewhat sadly, but that is the way of the world.
If folks just are not buying compacts these days due to phones, then why make the things? 
There has to be a market.
The smaller the sensor, the bigger the hit.
The photography/camera market is still huge filled with both enthusiasts and pros and they/we will always need gear whether for fun or to earn a living.
Last chance saloon for L Mount with me now.
I love the gear and the results, but I know I am having to work harder in areas where I shouldn’t have to and making compromises I don’t want to make.
I’m not writing them off just yet and hope over the next 6 months, they will drop something I can work with or I’ll be biting that proverbial bullet.

I don't think there is any phone that does Prores and Raw. The Apple iPhone 13 Pro does Prores at these rates.
 
All iPhone 13 Pro’s ProRes are 10-bitt with 4:2:2 chroma subsampling. These are maximum bitrates tested by FilMiC Pro at 4K 30fps.
iPhone 13 Pro’s ProRes variants:
ProRes Proxy: 170Mbps = 21MB/s = 1.3GB/m
ProRes LT: 360Mbps = 45MB/s = 2.7GB/m
ProRes 422: 540Mbps = 67.5MB/s = 4GB/m
ProRes 422 HQ: 735Mbps = 92MB/s = 5.5GB/m

Nikon often announces cameras at the end of summer and there is a rumoured Z8 (Z9 without grip). But I really don't see how Nikon could announce/release that while it still has so many back-ordered Z9's. And yeah plus with the whole RED patent mess I dunno, their camera department must be in serious dismay..

I’m leaning more and more in that direction. I feel uneasy being dependent on mini HDMI and external recorders all the time for my image. 

And I have the perfect place to discuss it 😉

Well my L Mount buddies (buddy singular, possibly...)
Panasonic have announced they are no longer going to be manufacturing their lower end cameras that compete with smart phones. No surprises there.
Interpret that as you will but I read it as 'sub-M4/3'...but even then, for how much longer does even the latter have a future?
Plus they are actively collaborating on producing at least 'a' camera with Leica.
Well they have collaborated many times previously but I suspect this time, it really is going to be a collaboration, partly of survival.
I made a prediction over on the Leica forum that it will be two bodies; one S5 size and the other SL2 size.
I reckon they will go for a lower mp version and a higher mp version of each size, both hybrid. There would probably be one or two other differences other than just size.
Hopefully implementing PDAF.
The Leica version will probably cost more and they'll swing that by saying it has some 'extra sauce for photographers'...which it may well have just as the SL2 currently does over the S1R despite having the same sensor.
The Panny will be cheaper but can tout the fact that it will probably have some video thing it can do better.
Rangefinder?
I'd like to see one, but I suspect Leica will keep that format to themselves, but never say never.
Announced, end of this year/very early next, for 2023 availability?
I reckon they will be chasing just the pro market from this point onward. Or at least the well-heeled. Plus dentists, naturally.
PURE SPECULATION (re. the cameras) on my part other than the two announced facts on the Nikkei Report.
Too little, too late? Could be for me because unless the next gen system is:
A: Readily available by end of Feb 2023 and
B: Meets my min spec,
I'm going back to Nikon-land and the Z9 as it's the first camera/system to actually tick all my boxes with the only current compromises being initial cost and availability.

I'm not being deliberately problematic, just stating why the answers provided don't really suit me and how I shoot.  That's fine - not all solutions have answers (if they do then I want the 100g Alexa Pocket for $100!), but you don't find out unless you ask - sometimes you ask the question and someone comes up with an answer you hadn't thought of or didn't know about, so it's worth a bit of a discussion.
I'm perhaps putting more emphasis on this than what people might think is reasonable, but it's actually the tip of a large question for me.  Currently I shoot with IBIS cameras (GH5, GX85) in auto-modes but am actively considering moving to a more cinema-camera style of shooting without IBIS or auto-modes when it's time for my next upgrade as that can get me a bump in image quality, so there's many thousands of dollars in camera bodies / lenses / accessory purchases that depend on things like me being able to get acceptably stable shots in windy situations.
In this sense my problem isn't "how do I get good stabilisation with an OIS only lens", it's really "does OIS give me stable enough shots, in the situations I encounter, with how I shoot".  
Not so useful in conditions so windy I can't hold the camera steady with both hands! 🙂 🙂 
I think you nailed it by talking about being self-conscious, which definitely applies to me.  If I could change how I feel then I would do it immediately, but that's not how it works!  Getting older is gradually making me give less shits, but I'm not there enough yet 🙂 
In terms of running into Karen's, I've found they're everywhere in terms of giving you dirty looks and giving you the non-verbal equivalent of the viral videos you see, which just makes it not worth it for me.  That's why I like to do what I can to fly under the radar and not trigger it to begin with.  I also shoot a lot in places you're not allowed to be pro in, like museums and galleries and all the other types of private spaces that hold all the interesting things.  You never know when you're going to run into a power-hungry security guard who is going to teach you a lesson - unfortunately this seems to be the majority of security guards (although it probably isn't the case it certainly seems like it).

what about one of these ?

not as bulky as the tube based steady cams or  quite so obvious. If a slr balances on it your camera should do it easily. Plus probably less than $30 so its not a huge outlay if it goes pear shaped. 
I'm of the opinion that with the rise of youtube you see a lot more people waving cameras and phones around mostly phones but i see the occasional camera, also seen a few of those  dji osmo things as well.
I also think if you feel self conscious then it will show. maybe throw on some hi vis and a press shirt... you know face your fears 😀 
another thing i notice if people are around then they will look, however if their any where near the front of the camera they look everywhere but the camera  
If its any sort of event sporting or whatever there going to be other with cameras and or phones,  i like to think i look like a serious amateur. well thats what i tell myself anyway 🙄
Only issue i face i guess is pulling the drone out, That can be quite polarizing. Theres a 50/50 chance of running into someone named karen 😨

Further to what BTM said about doing something custom, if you can't do that then it's worth spending a few hours looking through the camera cage manufacturers websites (small rig, etc) and also scrolling through Google Images search results.  I've found in the past that there are rigging attachments that you only find when you see a photo of a rig when flicking through image results.
There is a real art to building out a rig that's functional but compact.  It's soooo much easier to build a rig when you don't care what it looks like, if there are cables hanging out everywhere, or how big it is.  

Yeah that's definitely an added bonus but not the main appeal to me when deciding in between those two. 
For me it is a balance of convenience & reliability during the shooting experience, and the final image output and workflow in post.
The C70 with its DPAF, NDs, battery life & XLRs in combination with DGO sensor and RAW capabilities really ticks a lot of boxes and for run & gun, corporate work, docu etc it is really a slam dunk of a camera for such usage. Which is why I had it at the top of my next camera purchase list.
The Komodo again is a sensor in a box. You will need to rig it although the dual hot swap batteries, PDAF, touch screen, iOS RED app & RF mount (that will allow Canons vari-ND adapter) are all great things to have on the field and are often missing on most cine cams. The simple yet effective traffic light exposure system also seems awesome. These are all features that have pushed me into considering the Komodo even for run & gun applications. 
And then of course the IQ from the footage. The file sizes of the compressed RAW. The global shutter. 
The image does feel 'just right' as you say. The 6K doesn't feel over sharp. The motion is beautiful. The CS, the noise. The R3D raw settings. The image also holds even under extreme grades which allows to get more subtle and creative I find, there is great nuance. The LUTs that RED provide are also great. Overall the whole experience just seems to take you closer to that high-end polished "ARRI" cine look. 
But that's just my reasoning and playing with files, not actual hands-on field experience. A lot of operators here or on YT that have both C70 & Komodo seem to favour the C70 for solo jobs and fast turnarounds. That is a major chunk of my work, I have to think practical too. But then again a lot of higher end clients keep asking for more cinematic look. They want the IQ they see in advertising on TV, Netflix etc. I'm also planning on getting back to music videos and more artistic projects with higher production value. So right now, I am really leaning towards Komodo. I also think working with that footage will excite me and that's also always a good thing!

Here is an interesting examination of the Fuji film simulations:
https://www.imaging-resource.com/news/2020/08/18/fujifilm-film-simulations-definitive-guide#eterna
discussing the subtle color shifts in certain hues, and "Why can't I just do this in Photoshop?"
with Imatest Master graphs and photo comparisons.
"Fuji has more than 85 years of color science experience, and a deep understanding of all the complexities of how film works..."
 
 
 
 

Filmic Pro is bettered by mcpro24fps on Android in my opinion. But neither are the same proposition as Motion Cam as neither shoot raw video, which is its own thing entirely. The way the image looks, the way it bypasses the phone's processing, the way you grade it, is all totally unique to raw.

But this video with 3 different cameras show maybe Filmic Pro might be a better option than MotionCam on different phones.
 

Thanks for your input, so you have both Komodo & C70?
From the little C70 footage I've worked with, it did seem kinda choppy as far as motion. I find that to be true with a lot of cameras though, its hard to quantify and pinpoint but then when you have ultra smooth footage like the Komodo it becomes very clear. The global shutter must help with that. 
I hear you also about certain cameras being means to an end.  My FS7 feels that way. Super un-fun camera to operate, but a money maker. I don't know that the Komodo would feel much more fun though, its pretty much a sensor in a box.

I don't know what to tell you man! Acting like you're against shooting "eye level," when literally every still photograph, every piece of 16mm, Super 8 etc, is all shot from eye level. You seem to have issues with literally every practical solution!
The "head on a swivel" type movements you can get with an EVF create much more interesting footage than swaying from the hip.
I think you need to prioritize the stability of the camera over the exact camera height. The Bolex 16mm cameras ergonomically are far better than other cameras I use regularly. You can use your body to get lower for lower angles etc.
To summarize, there's really only a few solutions that can solve your problem. The more you add, the smoother your footage will be.
- More Weight
- More Points of Contact (EVF / Pistol Grip.)
- Wider Lens

Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice.
I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.

Well I bit the bullet and picked up a used R5C. It was about $500 US cheaper than what a used R5 goes for in these parts and came with a Anker powerbank + a 512GB Sandisk Pro cfexpress card I purchased for an extra $350. Coming from using C300/100s I will say that I really appreciate having that classic Cine menu in such a relatively small body. I also feel like for the first time pretty much future-proofed when it comes to my A cam - and I see myself growing and learning with the R5C for a long long time - but also see myself potentially getting an R5 much later down the line as a B-cam.
I am not a reviewer/tester at all so I won't be doing any of that stuff - but here are some early thoughts after screwing around with it for a weekend:
(i) The battery life is definitely a pain in the ass and while not a deal breaker for me - I can see why it would be for many. I currently have three LPE6NH batteries but compared to my run n gun days with my 5D MKIII w/ ML RAW or even my 1DC - I don't have the same confidence going into the field with just the cam and 4 or 5 batteries. Sure I have the Anker battery but that's super clunky and all the external battery options require some degree of rigging. I agree with others who think Canon should create a special battery grip that allows something like an LPE17 battery to power the R5C. I'll also say that youtuber CAMMACKEY has built my fav rig solution so far! 
(ii) The R5C definitely feels alot lighter than my 5D MKIII but the fan makes it essentially the same size/footprint. I say this only bcuz part of me was really hoping it could be more of a stealth camera (like the XT3/4) that I could bring on trips without drawing unwanted attention (particularly thieves, beach robbers etc) but that is def not the case (which makes something like the XT3/4 an option I'll still consider once it gets to the $700-$900CAN range!)
(iii) On the topic of stealth I'd love it if Canon released an RF version of it's 40mm pancake lens bcuz that feels like a great combo for those looking for a smaller run n gun footprint (sure I could pop on the adapter but with the EF 40mm pancake it ends up being about the same size as the RF 35mm so I'd prefer a true RF pancake.
(iv) DPAF/face tracking is class leading of course altho performance with Canon lenses seems to vary. I also noticed that the AF speed adjustment option isn't available for my 50mm f1.2 nor my 28mm f2.8 (IS) altho AF Response is available. So far the DPAF/face tracking works great with the 28mm but was more fiddly with the 50mm (although I acknowledge that I'm still researching optimal settings, etc)
(iv) Looking at the photo side and the feel of the images coming out of the R5C, I gotta say I prefer the IQ of my 5D MKIII. This is totally subjective, and I acknowledge it might just be a settings thing. It's also important to flag that the new CR3 files won't open in the default Preview application on older Mac OSX's. I use High Sierra with no plans of upgrading so I'll need to find a proper photo app.
(v) The touch screen is great but I still feel like I'll want a Ninja V.
I think that's it for now and thanks again to everyone on this forum for their thoughts on this cam and every other thing you've discussed over the years. I was really on the fence with the R5C vs the R5 but so far I feel like I made the right choice for me - although it really was the price that sealed the deal.

When you are retired even 150 is a ball buster. I paid 109 dollars for my GH2, I had to eat dog turds and tree bark for 2 weeks to make it up. The yard is clean now, but the trees look like crap 😜

@TomTheDP Interesting video! I'm a bit late here sorry but after working with Komodo footage for the first time the other day I think I am seriously considering this camera for my high-end cine needs. I love the R3D raw options (skin contrast, highlight rolloff etc) and how ISO works in post, you can get really creative and overall the files have so much information yet the file sizes are so small. The noise is also really organic/filmic compared to let's say BMD or Canon RAW. The motion cadence is also beautiful. Really I'm just blown away by the IQ and how you can massage those files in Davinci. ARRI is still the golden standard, the benchmark, but this feels like its just right below it IQ wise and for resolution or high ISO probably better.
The compact size of the camera, the traffic light exposure system, global shutter, RF mount, 6K resolution and even on-board PDAF makes it a really tempting A cam for me personally. I was all set on a C70 but after playing around with Komodo footage, well it just feels like a huge step forward in IQ. I think I will just upgrade my R6 to an R5 for hybrid all-around mid-level projects and go with the Komodo for anything higher. Now of course I gotta figure out how to finance it all!

okay, a quick update gen 5 colour science, no problemo. I did have an issue installing bozzie's lut for the p4k, however i'm putting it down to an old slow sd card, once  i copied bozzies lut onto the t5 it installed onto the p4k no problems. 

Well if you've got lens IS + EIS you might not see a huge difference when shooting wide/medium but if you're on EF primes mostly like I am then shooting handheld without EIS will be shaky. And to me that defeats a big part of going mirrorless. Plus it took so long for Canon cameras to get IBIS, I really don't feel like going back to not having it. 8K60p is of very little interest to me, I don't wanna deal with those file sizes. Things like shutter angle however are clutch on the field, as is magnify while recording etc.
I mean don't get me wrong, there is a lot to like about the R5C, I've been praising it since it was announced. But R5's 1.6 update does throw some shade at it and may even trump it in some scenarios.

I hate the fake camera phone DoF look for stills & "cinematic" video modes. Just like beauty filters etc, it just screams fake and hence cringe. That said, standard photos on my iPhone 13 can look great with a little editing, especially for social media & sharing. I just got back from a big holiday family trip and 90% of my shots were done on the iPhone and only 10% with my Canon R6 (basically only for low light situations). The best camera is the one you have on you and I just didn't feel like lugging the MILC+lenses around, especially since we were on boats, beaches etc every day. I didn't even bring the Leica M as it made me nervous getting lost/stolen.
So yeah, smartphone all day for travel snapshots & camcorder moments. But for serious portraits, night & pro work, you still can't beat a mirrorless with fast glass. The phone lenses are the real IQ bottleneck imo. That Sony Xperia Pro1 caught my attention though, great option if you're in the Sony Alpha & Android ecosystem.

Who cares with such subject?! LOL ; ) Love the shooter's work BTW :- )