Trek of Joy

Yikes, I shoot in those temps or hotter every day. If I can't get any video at all while out shooting stills in the sun, my R5 preorder is on life support as of now. I really like shooting with the EOS R, but I was looking at the R5 as my A-cam, not something for just cutaways or a stills only body. Every new bit of info makes it more likely I'll be holding on to the a7r3 and adding a a7s3 preorder - so close to dropping Sony's ergos, menus and shitty touchscreen.
Chris

Yikes, I shoot in those temps or hotter every day. If I can't get any video at all while out shooting stills in the sun, my R5 preorder is on life support as of now. I really like shooting with the EOS R, but I was looking at the R5 as my A-cam, not something for just cutaways or a stills only body. Every new bit of info makes it more likely I'll be holding on to the a7r3 and adding a a7s3 preorder - so close to dropping Sony's ergos, menus and shitty touchscreen.
Chris

Here is the original image without the censorship:

Sounds better than the R5 for video so far. What serious limitation will it be with? I don’t think many people have recovered from the R5 / R6 bombshell yet. Twice in 2 weeks would be deadly. 🤣

It says Steadyshot Inside right on the body, that looks like an IBIS confirmation to me.
Chris

The video didn't show a HDMI cable, the guy from the video commented on SAR that the external recorder was recording at 50p, so who knows. Seems weird to have an external only option that's almost impossible to record at the moment, how are all the Youtubers going to proclaim it the greatest camera ever if they can't test it? Unless there's an ass kicking Ninja VI about to be dropped, which would make sense because I recently bought the Ninja V.

This guy has a better image that shows 4k 10-bit internal at 100fps
 

The screen in that video says 10-bit 4:2:2 4k 100p, which would mean 120p for those of us in NTSC-land. If it can do it internally with no issues, this rises to the top of my list since I can shoot it alongside an a7r3 or 4 for landscape work. I have a Ninja V for external recording, but it can't do 4k120.
It also blows out a few of the rumors on SAR as false. Guess we'll see soon enough.
Chris
 

Its what they use in the FX9.
Like having a built in SteadXp
https://pro.sony/en_GB/insight/filmmaking-tips/pxw-fx9-tutorial-videos-video-stabilisation

To be fair, after months of no new releases, or news, we have had Canon, Sony, Nikon and Blackmagic all announce something.  If there's a little frenzy on the internet, then its understandable.  We've never had in such a short space of time, so much exciting news for forums to bitch over. 😁

IMO most of the hysteria is from unreasonable expectations - many from people that aren't going to buy the camera anyway - like the keyboard warriors that shoot other brands and just bash everything else, aka the SAR crowd. Remember when the a7's were trash because of the shitty colors, rampant overheating, single card slot, poor weather sealing, crappy battery and so on? Its taken Sony 4 generations to get most of it right, and they're still rolling 8-bit video. I just kept shooting with them. Its seems like people thought the R5 was going to be a C500mkII with IBIS and internal raw in a tiny hybrid body. There will have to be limitations without active cooling. Look at the a7s3 as the air that continually gets let out of the balloon when more specs leak. Its a $3500 12mp 4k60p camera with no internal raw and no oversampling. Makes the R6 look better and better IMO.
I'm torn between both as I shoot Sony and Canon - but that 120p internal and the raw internal option - even for just short clips which is all I shoot anyway - still makes me lean toward the R5. I'll wait for the full a7s3 reveal before making a final decision.
Chris

IMO most of the hysteria is from unreasonable expectations - many from people that aren't going to buy the camera anyway - like the keyboard warriors that shoot other brands and just bash everything else, aka the SAR crowd. Remember when the a7's were trash because of the shitty colors, rampant overheating, single card slot, poor weather sealing, crappy battery and so on? Its taken Sony 4 generations to get most of it right, and they're still rolling 8-bit video. I just kept shooting with them. Its seems like people thought the R5 was going to be a C500mkII with IBIS and internal raw in a tiny hybrid body. There will have to be limitations without active cooling. Look at the a7s3 as the air that continually gets let out of the balloon when more specs leak. Its a $3500 12mp 4k60p camera with no internal raw and no oversampling. Makes the R6 look better and better IMO.
I'm torn between both as I shoot Sony and Canon - but that 120p internal and the raw internal option - even for just short clips which is all I shoot anyway - still makes me lean toward the R5. I'll wait for the full a7s3 reveal before making a final decision.
Chris

First images of the camera. Looks like the body is a little fatter, but tough to say with any certainty.
 

Played around and got this configuration which seems to meet all the criteria...

It's a bit top heavy, but it's balanced (it literally stands up on the QR plate when placed on a flat surface).  You can get to the handle, at least from the left, without touching anything but the handle, and the big hole in the vertical support even lines up very nicely with the coiled cable for the mic making a convenient cable tidy!
It's not exactly compact or elegant though!

I've no doubt that this is a financially advantageous deal for AP but no amount of inducement would be worth jeopardising their core business of being able to push images to news desks around the world from anywhere in the world with the same speed and quality as their rivals.
The fact that they have determined that they can now do this with Sony equipment to the extent that they will change over their entire inventory is a huge statement.
Its also a big statement from Sony that they are confident enough to put themselves in that position of responsibility because them getting kicked out of AP will be a far bigger story than them getting in there.
It might not be of particular, or indeed any, interest in the here and now to most people on this forum but the ripples of this particular pebble being dropped in the pond might well become very relevant in the next few years.
Canon and Nikon have primarily only been concerned with what each other does for a long time which has only led to incremental developments to keep up with each other but they will have to react to this and take Sony far more seriously in what has been their own private battleground.
Not least because this will have put every other agency on alert about whether they can get a similar deal out of Sony....
Lenses were one of the reasons that Sony were never really able to take a seat at their table because they didn't have the full arsenal particularly when it came to the long primes but that is very different now.
Ironically, when you look at the lineup of RF and Z mount lenses, it is now Canon and Nikon that actually have the gaps in their lineup and have to play catchup with Sony when it comes to offering a complete system for anyone going mirrorless.
 

If they are bringing their new color science and it shoots full frame with actual high dynamic range, not bullshit marketing dynamic range, and the footage actually looks like fx9 - this exceeds expectations. It’s crazy to me that all we are hanging on is specs. The footage is what should exceed expectations - isn’t that all that matters? If the a7s3 and R5 shoot amazing looking video that get close to their big cinema brothers - we all win. In fact, with these 2 cameras we are all winning no matter what. It’s amazing the kind of tech we are getting in hybrid bodies.  

Yeah, he's done really well there persuading London to switch on its Christmas lights for him to shoot that test.

Doesn't Sony claim all their cameras have 15 stops? At best the improvement over the current cameras will be marginal or none, just like every other new sensor they've released in the last couple years.
We'll see once actual specs are really known, but every rumor slowly lets a little wind out of the a7s3's sail. If today's rumors pan out, the comments on SAR are going to be wildly entertaining when the camera is released.
Chris

Doesn't Sony claim all their cameras have 15 stops? At best the improvement over the current cameras will be marginal or none, just like every other new sensor they've released in the last couple years.
We'll see once actual specs are really known, but every rumor slowly lets a little wind out of the a7s3's sail. If today's rumors pan out, the comments on SAR are going to be wildly entertaining when the camera is released.
Chris

I'd search youtube for green screen lighting tips. As Mark mentioned, it needs to be well lit and even with no wrinkles. Plus there needs to be some distance between you and the screen, otherwise the edges around you don't key out very easily. A lot of the issues people have are from inadequate lighting and standing too close to the green.
Good luck.
Chris

Our avid action choreographer and director @hmcindie has done several high paced pieces. Many of them were some of my favorite posts for showing off a variety of cameras. Now one with the original Canon EOS R, testing its capabilities and showcasing the skills of the filmmakers. Awesome indie stuff. Interesting enough that this footage looks more compelling than Canons official footage for their new R5 and R6. This is a rolling shutter test par exellence. And great proof of handheld skills. No overheating camera, just heat of the action!
 

8k handheld samples from the same person that posted the woman on the beach at 120fps.
I'm curious - to the people that say the footage looks bad - what are you shooting with? IMO motion and color are fabulous with lots of detail. I've gotten so used to Sony's motion from shooting it the last few years, seeing Canon's just looks so much better IMO - I hate to say it because its subjective bullshit (like calling something organic), but it looks "more filmic" haha. All of the daylight clips are really clean and the flame shot at 6400 doesn't look super noisy either. 
Cheers
Chris
 

This is the best I could come up with as a handle only setup using my parts and not adding a side grip for two handed stuff, though I usually have the monitor attached to the front of the handle, a G3 wireless receiver on the back plugged into the camera, along with a grip on the right side. Its actually pretty well balanced as pictured and cables don't get in the way.  A smaller mic and XLR solution like the Saramonic would make things more compact. Smallrig makes a side handle with a shoe, typically I put the audio adapter with the mic on top of it on the right side. If I weren't shooting on a gimbal all the time I'd do a setup like bjohn's and make it a little more permanent.
ENG cameras used to be much larger, I shot on a Betacam with my first job, it balanced really nice on the shoulder and handheld stuff looked good because the large top handle made it easy to find that balance point, but its a different visual as you couldn't do things like simulated jib shots or shoot at waist level as easily because it was a little unwieldily - basically it was on the sticks, the shoulder or around the knees, other stuff required some contortionist stuff to get into position. 
That's a main achilles heel of small or mirrorless cameras if you need audio and onboard monitoring, once you add a monitor and XLR audio you start to get a little franken-rig thing going.
Chris

That's what I was thinking too, use it the same way we've used 4k > HD to reframe or oversample. I shoot lots of sunrises and sunsets, a 10 second raw 8k clip smashed down to an even better 4k shot sounds good to me. And you don't have to shoot raw, the 10-bit option shrinks the file sizes a bit. That combined with 120p and the oversampled 24p make this quite the Swiss army knife. So does 45mp stills at 12fps. 
Chris

I keep getting more and impressed by the actual image this camera is producing. I was kind of preparing to be "meh'd" by the footage, but the video quality looks fantastic in the few videos I have seen. The color science seems great and it seems to have a slight sharpness reduction which to me is fantastic - I hate overly sharp digital footage - i'm guessing this is due to the aa filter, similar to the S1H. It just slightly takes the edge off. I have said it before and I will say it again, it looks very similar to my C200 footage.