josdr

In just two days I become the most hated guy in this community, just because of I showed my profound disappointment and said loudly that the new BM camera was a waste of time, well, it is my opinion and is not going to change, I received downvoted like crazy, probably is a good idea that those downvoted are removed for good from this site.
@techie I hear you man, I hear you!

Let me correct that for you. "Can your camera filter  my pimples, make me more beautiful and the groom less drunk? - What do you mean No - it has 8k though"

Subscribed 🙂

You tubers and would be "content-creators" with fat parental credit cards.....

What ridiculous campaign would that be? Not believing reviews that corporate has ordained to its stable of paid youtubers ? A careful examination of the released specs of both R5 and R6 , coupled with a modicum of actual field experience and what else is on the market and technically feasible, show many severe shortcomings for both cameras that could have actually been avoided, and may indeed be rectified via firmware if Canon's cripple hammer is put to rest.
Healthy discussion with solid arguments is always good. Blindly kneeling to the altar of Canon,Sony, Fuji etc, is not..
 
 

I was holding off considering an X-T4 until this dropped. And I gotta say, as good as some of the specs are, it looks like the Cripple Hammer is making this a less attractive to me than I'd hoped, especially without RAW to set it apart competitors. 
Specifically, the lack of DCI formats (and no true 24p frame rate) is a big downer. There's no good reason for it, other than to protect the R5. The codec issue everyone is talking about is also a bummer. And the recording time limit is a huge issue. True, Fujis also have a recording limit, but I've used them for more than an hour (heck for about 4 hours on one concert shoot) and haven't had a problem on my X-T3 with just stopping the recording when it timed out and starting again and getting the full time again. It sounds like both of the new R cameras have unchangeable, shorter recording limits for immediate recording restarts. Is that right? I do a number of concerts and other long-format public presentations each year (once things get back to normal) and this would be a problem, for me anyway.
Considering that B&H has the X-T4 packaged with a Ninja 5 right now for $2,226.90, I could pick that up now with a new Metabones Speedbooster Ultra for $2,875.9 for the full frame look with my EF lenses vs $2,898 for the R6 with the V-ND EF adapter ($2,598 for the bare-bones adapter).
With the Fuji I'd get to choose between Super 35 and Full Frame looks depending on lens selection, access to decent, dirt cheap mini-cine lenses (Meike), recording directly to easy to edit codecs with the Ninja with all of the great features of a 5-inch monitor plus record backup files on SD cards, the strip down to a small, light setup when required, and the joy of having to cameras that match when it comes to livestreaming or editing a two-camera setup. Oh, and better 1080 high frame rate options.
The pluses with the R6 would be better autofocus (though even the Philip Bloom video shows that with careful lens selection and setup the T4 gives acceptable autofocus) possibly better IBIS (I'm not sold on this until unbiased third-party reviewers get their hands on production models, plus Fuji seems committed to churning out firmware updates to smooth out the T4's IBIS).
Dynamic range will probably be a wash or a Fuji advantage. Same with rolling shutter. Actually, Canon hybrids have had poor rolling shutter lately, so I'm not hopeful for the R6.
I think my choice is pretty obvious. Am I missing anything?

Μy Χ-Τ3 has been a rock. I am now filming a short film at 35C+ ground temp  weather, lots of direct sunlight, powered by an external usb-c power bank. It warms up but it works great and the video is just lovely...
P.S I do not do 30+ minute shots so I cannot comment on that...

My "previous gen" X-T3 shoots 400mbit h265 all-i  10 bit in 23.98 so I am quite surprised in what Canon did here. This is heavy handed to say the least . the r6 does not make sense for cinematography as it stands. They could have easily given it the 23.98 All i treatment . You are of course right in saying that " true 24p and ALL-I being more desirable for filmmakers especially as ALL-I has fewer motion artefacts"..
I would have loved the Canon AF but this makes it a no go...

You are right Δημήτρη. Probably Fuji will build this aps-c camera (with great colour science) in the form of the X-H2. The suitable sensor for that is already available by Sony. Nevertheless they do need some decent video glass that will not be ridiculously overpriced , a very Canon-like future of Fuji pricing.

You are right Δημήτρη. Probably Fuji will build this aps-c camera (with great colour science) in the form of the X-H2. The suitable sensor for that is already available by Sony. Nevertheless they do need some decent video glass that will not be ridiculously overpriced , a very Canon-like future of Fuji pricing.

This seems like a nice addition to Canon’s R series but i have to agree with Andrew that many things here do seem quite wrong. At least according to my own needs i can’t see this camera fitting any shooting scenario.
It seems like a camera that was designed to work like a RED Monstro but only for 20 minutes per session. I can’t imagine a shooting session where 8K DCI recording is needed but overheating is not an issue at all.
In hotter environments (and our planet has become quite hot lately) this translates to roughly 10 minutes of shooting. And we are talking about a combo that costs over 7.000 bucks if you count in a native lens plus some CFexpress cards. This feels like an OM Magic Lantern implementation to me (yep i have taken that route too).
I can’t blame Canon for trying to deliver a nice prosumer camera but i feel that this Full Frame - Infinite K madness is leading the industry away from our actual needs. There is more than enough tech around for any company to build a nice APSC camera with proper AF, IBIS, 4K DCI, decent autonomy and nice ergonomics. Who needs more in this price range (2000-4000$) after all?

just my 2 cent…
…the year is not really the best for many filmmakers nor photographers and I remember that 12 years ago, after the financial crisis, a small change (film - digital) was forced relatively quickly.
A technical purchase, no matter which one has to be worthwhile for a filmmaker. These Investments should pay off itself. I find the specs of the camera interesting, but I don't see that any of my clients would be willing to take the risk neither myself of using a camera with such „overheating is 1 tiger example“ issues. Especially now that we are shooting again after the Corona shutdown, my clients want like experimenting much less than they did 1-2 years ago. Even when I suggest the Sony venice for projects, I often hear - let's take a Alexa, because we know what we have. I don't think it will behave any differently in the "prosumer" segment. Not a good time to test real-world 8K overheating files with unexpectable difficult workflows.
 

Pricing is bad ,hopefully the competition with the new sony will bring it to more manageable levels. Any info regarding bitrates and whether R6 will record raw externally (dreaming lol)

A great composer. Rest in peace maestro

fuji should release a decent update for the X-T3.. It is getting ridiculous by this stage... And with so many new cameras incoming, it will buy them a lot of goodwill, when new Fuji bodies come...

I use my dr60d mk2 with a powerbank  tacked with scratch tape on its back. It works for hours running an ntg-2  (And you can easily replace the powerbank. )

I use my dr60d mk2 with a powerbank  tacked with scratch tape on its back. It works for hours running an ntg-2  (And you can easily replace the powerbank. )

Been a few years since I've used Tascam DR60D so I can't remember exactly how long the AA batteries lasted me then, but all you needed to do is slap a USB powerbank on it and your worries are over. Although, it took a firmware update first:

http://ironfilm.co.nz/firmware-update-for-tascam-dr-60d-mk1-fixes-recording-interruptions-when-running-on-external-usb-power-packs/

However, you don't need to do even that for the newer DR60Dmk2, works out of the box. 
 
For an ultra low budget talking head IVs, get this basic sound package:
Oktava MK012 HC
Deity S Mic 2 kit (get the kit, so you get the shockmount and wind protection for cheap too)
C Stand & sandbag
Boom Buddy
Boom Pole (even an Alu pole would be fine, as you're never holding it. Although I'd usually always recommend a carbonfibre pole)
Secondhand UWP-D11 / G3
Tascam DR60Dmk2 (but absolutely do stretch to a F4/F6/MixPre3 if you can)

For when you're shooting handheld, keep it basic and just have a V-Mic D3 Pro on the camera. 

The Fuji GFX 100 along with the Panasonic S1H is the most advanced mirrorless camera for video on the market at the moment. There are reports today that Fujifilm are working on a big firmware update for the GFX 100, with ProRes RAW on the list of features.
NEW BLOG POST:
https://www.eoshd.com/fuji/rumor-fuji-gfx-100-to-get-prores-raw-internal-recording-or-external/
 

Andrew, do mention in your interview with Fuji that they should do the decent thing and give us a firmware upgrade for the X-T3, especially for AF/video improvements. It will buy a lot of customer goodwill when the X-H2 comes along... Customer choice will also include new Canon and Sony  cameras at that point so customer goodwill will matter. Thanks!
 

A belated thanks for all your help! Sound is a difficult theme to master!

Nope, that is censorship Andrew, do not delude yourself. Respectfully. 

Nope, that is censorship Andrew, do not delude yourself. Respectfully. 

Yikes, I'd recommend you at least get this instead:
https://www.aliexpress.com/item/32814668466.html 
Yes, it isn't entirely unusual for me to show up to an indie shoot with more gear than the camera dept has!
 
The Rode Blimp is pretty cheap compared to the others on the market, if it makes you feel better, check out the pricing of these:
https://www.gothamsound.com/product/cyclone-windshield-kit-w-windjammer-large
https://www.trewaudio.com/product/cinela-pia-1/
I should really get one of them myself in the near future, but for now I'm surviving with a Rode Blimp v2 and an older Rycote Supershield. 
You should check out the Marantz Blimp:
https://www.bhphotovideo.com/c/product/1302687-REG/marantz_professional_zp_1_blimp_style_microphone_windscreen.html

I personally have no experience with it, but it is priced ridiculously cheap, and it seems to perhaps be a clone of the Rode Blimp v1? (which one of the negatives of it is that the shock mounts in it are not as good as the Lyres in the Rode Blimp v2, but for your purposes on a C Stand, this shouldn't be a deal breaker)
 
In the long run, perhaps a boom buddy and shock mount (which are each very cheap) will save you money vs how much duct tape you must surely be using up??

@IronFilm, slightly off topic, although mentioned in this thread... I recall you saying somewhere that the 32-bit float option was a bit overrated. I was toying with the idea of upgrading from my Zoom F4 to a mixpre-6 for the slightly better analog limiters, but then I was thinking that a mixpre-6 II might be the final destination purchase for a primarily audio doc producer like myself whose needs are already well covered by a 4 xlr in recorder, but can see the value of 32-bit float in situations when you're capturing a really loud concert or a passionate discussion with multiple talking heads.
Point is, if you were 90% satisfied with the F4 but willing to make one final upgrade on your primary audio recorder (though not a rush to upgrade either) --- would you upgrade to a used mixpre-6 or hold out for the mixpre-6 II?
And thanks for all the audio advice you offer us all on these forums!