UncleBobsPhotography

Good points. I've heard reports that watching a HDR uploaded video on a non-HDR display will look worse than watching a video which was graded for non-HDR in the first place, which makes it a bit pointless since most viewers most likely will not watch it on an HDR display anyway.
I've noticed more and more YouTubers using 1080p60, and usually it looks pretty good. If your primary audience is YouTube, then shooting in 60p might be a good idea.  Personally I wouldn't upload in 50/60p unless I shot it in 50/60p. One advantage of upping the frame-rate over the resolution is that YouTube will default it to 60p, while it will very seldom default to 1440p or 4k. Then there is of course the artistic choice of whether 24p, 30p or 60p looks better, but that's a whole other discussion.

True, but for each combination of resolution/framerate/DR there is very little you can do - that's what I mean by a brick wall.
True, but probably not very useful.
If you upload at a higher resolution then that resolution will have a higher bitrate, but the other resolutions don't.  ie, if you upload at 1080p and watch at 1080p you get a certain bitrate, if you upload at 4K and watch at 1080p you get the same bitrate as before.  You're only catering to the people with higher resolution displays, or those who manually override the resolution settings to stream in a resolution higher than their display.
Exporting and uploading at a higher framerate probably hurts the aesthetic more than the extra bitrate helps, so that's not a particularly useful thing.  I guess you could upload at double the framerate you shot at and just have every second frame the same in the file, but they'd move because the compression would make them different so it would still be a strange effect.
Higher dynamic range is an interesting idea, but I'm not sure how you guarantee the same colour grade between those watching in HDR vs 709, so that's probably a wild-card too.
YouTube is free, and the quality is "good enough".  I think the strategy is to do our best and just work around it.  It's not bad, and the content is what matters, rather than the image, after all 🙂 

You need to prioritize. You can't have everything. It seems like your understanding of cameras is not that great, and in that case I would put off investing too much in cameras until you understand what you actually need. If you really need to get close to a subject while it's pitch dark, you should get a lens with a shorter zoom range and larger aperture. Learning how to use noise reduction properly is also much more affordable than quadrupling your ISO performance.
An all-in-one 1" camera and putting the rest of your budget into sound equipment might be good. This is not at all what you asked for, but it might serve you well.

You need to prioritize. You can't have everything. It seems like your understanding of cameras is not that great, and in that case I would put off investing too much in cameras until you understand what you actually need. If you really need to get close to a subject while it's pitch dark, you should get a lens with a shorter zoom range and larger aperture. Learning how to use noise reduction properly is also much more affordable than quadrupling your ISO performance.
An all-in-one 1" camera and putting the rest of your budget into sound equipment might be good. This is not at all what you asked for, but it might serve you well.

You need to prioritize. You can't have everything. It seems like your understanding of cameras is not that great, and in that case I would put off investing too much in cameras until you understand what you actually need. If you really need to get close to a subject while it's pitch dark, you should get a lens with a shorter zoom range and larger aperture. Learning how to use noise reduction properly is also much more affordable than quadrupling your ISO performance.
An all-in-one 1" camera and putting the rest of your budget into sound equipment might be good. This is not at all what you asked for, but it might serve you well.

Thanks
Yes but it has a spread so it depends on distance to subject.
Again, depending on subject distance and the focal length and aperture, you can grab focus using AF-S by aiming the camera (or turning the unit if you prefer) to the subject at the edge of frame and there should be enough latitude for it to be in focus.
It is all situational though so, in general, it should be considered centre zone only with the additional option to grab and lock focus of an edge subject or use the thumbstick to manually tune focus.
Its a set of additional tools rather than the magic bullet but as I've mentioned there are actually two AF units coming and the second one is very different both in terms of functionality and certainly in price.
 

Very impressive.
I assume the ToF sensor measure the distance straight ahead? Is it feasible to adjust the focus point position? I guess turning the unit would not give accurate results with a flat focus plane. Excuse my ignorance if I don't understand how it works.
 

AFX is the long overdue focus control expansion option for our PBC system for BM Pocket4K/6K cameras.

With AFX and its included handheld remote you can control manual focus of MFT/EF lenses but also operate our newly created Single and Continuous AF modes for the camera.
These new AF-S/C modes are made possible by the AFX’s integral ToF sensor which constantly measures object distance from the camera.
As well as allowing you to control focus using the thumbstick and AF-S/C switching, the handheld remote also enables you to map any of the camera controls such as ISO/Aperture/WB etc to five of its hardware switches as well as being able to toggle Record Start/Stop from one of its two finger trigger buttons.
All communication between the AFX, the handheld controller, the PBC and the camera are performed wirelessly and, as with the PBC, the AFX runs from its own internal battery or USB.
The AFX will be priced at €199 (plus the cost of the PBC for new adopters) and pre-orders begin next month.
Here are some basic examples of the AFX in manual focus, Single and Continuous AF modes.
In AF-S mode, current focus is held until you press the trigger button so is equivalent to half shutter press/Back Focus Button on a regular (D)SLR or mirrorless.
More to follow as the pre-order date approaches.
 
 

Propably with a hefty participation fee. The cynic in me has started to believe that most awards are scams/heavily biased.
How can the camera of the year not win best APS-C when it happenes to be an APS-C camera? I guess no camera is allowed to win more than 1 category?
 
 

Are you using the actual "Media player classic"? https://sourceforge.net/projects/mpc-hc/
It's odd how a 5 year old media player is the most suitable one for running these "new" formats.

Assuming the R5 does in fact overheat and that additional cooling is beneficial, I just thought of a fan-placement I haven't seen before (perhaps with good reason). I usually use a dummy battery because I prefer to use LP-F batteries. A radial fan would actually fit inside the dummy battery. Cutting down on the left size of the exhaust might degrade the performance somewhat, but it should still work.. It is also half the height of the dummy battery (picture 2), which makes it possible to make half the height for exhaust and half for intake. The dummy battery already has 7.4v, hooking up a 12 V fan gives a nice breeze without much noise. It might be too noisy for the internal microphones, but is silent >10 cm away. This is not the hottest place on the camera, but any cooling is better than no cooling and the advantage of this over other cooling methods is that it would have zero impact on the ergonomics of the camera for anyone who is already using a dummy battery.
To make this work, the dummy battery should have the casing removed in the direction it's supplying the main cooling. Alternatively it could be open on both wide sides but have barrier in the middle to separate the intake and the exhaust, giving it the shape on an H pillar.
Sorry for the oversized images, I couldn't figure out how to resize it.

 

There goes Blackmagic once again ignoring the hot new trends of the current year and doing their own thing instead!
1080 per camera is too little for VR
Record internally, and use a switcher/combiner for the director/you to monitor what's happening in the scene. 
 
Z Cam E2 really is the best option right now for multicam 360VR setup on a "low budget".
 
Careful now, you can't say that in 2020!
 
Hard to know when a much better option than the E2 will come out. 
If I was to take a wild guess:
If the GH6 comes out with a new sensor (which is by no means at all certain, the GH6 might be sticking with the GH5 or GH5S sensor but pushing it further) then perhaps a year later Z Cam (or maybe BMD, but unlikely, think they'll stick with the "Pocket" form factor rather than making another Micro successor?) will bring out a "Z Cam E3" which will be better than the E2 in every way. 

That's your best bet to wait for? There are always other outside chances, maybe Kinefinity brings out a surprise "Terra Micro" which is amazing? But unlikely. 

So either get an E2 (or dedicated 360VR camera, not a multicam setup) or pin your hopes on maaaybe something better coming out (which is still going to be a year or two away). 

Everybody here agrees that the R5 has overheating problems, but whether or not it's a deal breaker depends on the users usecase. For me, the R5 seems to offer something very useful and I have therefore ordered the camera fully aware of the overheating. It seems like this makes me a canboy from your point of view, and you seem to refuse to acknowledge that the R5 might work well for users with different needs than you. My last Canon camera is the 6D from 2012 and I own newer cameras from both Sony and Panasonic. The R5 will enable me to retire my Sony camera and 6D, while my GH5 will cover the the cases where the R5 falls short.

I think the E2 is likely the best option to be honest as it ticks the boxes for being compact, doing 4K60p and being easily synchronised.
The Master/Slave modes will take care of the sync-start and synchronisation

You would need to absolutely double check with them but this should then mean that their Android/iOS phone app can be attached to the master (front camera for example) to give you monitoring and pressing record on that screen will start the recording on the front and rear cameras.
Again, you'd need to absolutely confirm it with them but you should also be able to use another Android/iOS device on the rear camera and have them back to back if needed.
As it can run on Android it won't cost a fortune to have two devices if you want to set it up like that.
 

This thread details the teardown process, modifications made and some important findings:
http://c.tieba.baidu.com/p/6848700307?pn=1


He replaced the two thermal pads that did not fully cover the CPU with a dollop of thermal paste and noticed significantly better and more even heat dissipation.
Most important finding: despite the temperature drop and improved heat dissipation, 8K/4K HQ still cut off at 20min mark, suggesting a firmware limit is also in place.

Is this really the issue though, or does the CPU (presumably a SoC in reality) never get so unhappy it needs a heatsink (and they can run at 70C case temperature, 100C internally, probably way more than assorted other components in the camera body). (BTW 45C and above is not something you want to touch.)
As there are YouTube videos showing you can record 4k HQ for 4 hours to an external recorder provided no cards are in the camera that suggests the issue is:
(1) The super-whizzy cards get too hot and aren't rated to record reliably when hot, so the camera stops trying to record
(2) The SoC gets a lot hotter when doing H.265 compression
(3) Both
Someone needs to record 4k HQ to a fast SD UHS II card with the other slot empty, IMHO...
 

I shouldn't even reply given the tone in which you write.
None of what you state above disproves (or is in contradiction) to what I wrote. Here's the company registration info on Cinemeridian:
https://opencorporates.com/companies/us_ca/C3626603 
The registered company address is: 
20 MURAL ST UNIT 7
RICHMOND HILL ON CANADA L4B 1K3
...which is actually the company address of Ienso Inc.. That means that Cinemeridian (the company that produced Digital Bolex) was a full subsidiary of Ienso. The company registration page also tells Cinemeridian is: 
Branch of CINEMERIDIAN INCORPORATED (Delaware (US))
i.e., using a matroska puppet construction for the company.  If we're looking up the registration of Cinemeridian Inc. on https://opencorporates.com/companies/us_de/5047665, we get:
108 WEST 13TH ST, WILMINGTON, New Castle, DE, 19801
 
As I wrote, this was probably done for tax reasons, since Delaware is considered a tax shelter state within the U.S.: https://www.investopedia.com/articles/personal-finance/092515/4-reasons-why-delaware-considered-tax-shelter.asp
A company "Digital Bolex" never existed, since the trademarks for Bolex remains with the original Swiss Bolex company, and their trademark was only licensed for the D16.
One of the launch videos for D16, which was posted here in this thread before by someone else, was uploaded and advertised as " the first film shot on the new Digital Bolex" (it still says so on the Vimeo page):
 
...but if you only look at the very beginning of the video - actually right at 00:01 -, you see that it was shot with the Prosilica GX2300:
 

 

 
So, if you would use moral categories (which I didn't do, but many people here in this thread), then Digital Bolex lied to its customers. (The statement "the first film shot on the new Digital Bolex" is objectively untrue.)
But I also wrote that in the end, the D16 was a real camera and people were happy with it - in fact, I wouldn't mind having that camera myself! 
 

At the weekend I bought the enigma that is the EOS R5 for myself. Foto-Meyer in Berlin were able to find me a rare unit. A huge thank you to them! What all EOS R5 owners have in common is that they have paid a lot of money for a professional video tool. We pay the money, we get to decide what happens next, and I'll be reaching out to Canon and making this clear. We need to ask them to work on a solution for overheating. It's worse than you can possibly imagine.
Just need to get something straight - my purchase is NOT an endorsement of the EOS R5. I bought it purely to cover the camera on EOSHD and to help work on fixes for the many issues this camera has. It is in no way a dependable tool for 8K, RAW, oversampled 4K, 4k 60p or 4K 120fps in the state that it's in. At the very maximum it is a pixel binned 4K 30p camera similar to the Sony A7R IV with the benefits of Canon's colour science, 10bit codec, top LCD and better ergonomics. Actually that doesn't sound so bad does it?! But this is not how it's sold to us - it is supposed to be a $4k all singing, all dancing, cutting edge 8K/4K video tool and that's how it should perform in the real world.
Read the full blog post:
https://www.eoshd.com/news/i-bought-a-canon-eos-r5-and-it-overheated-in-the-wifi-menu-also-a-look-at-potential-solutions/

The canboys object for one reason only - because people are saying negative things about their 'special one'.
Would they be objecting if it was all positive? Of course not. They'd be joining in.
They just want to shut down anything other than the Canon party line.
Andrew has created a forum where different opinions can be aired. This IME is reasonably rare in photography forums which can be the very definition of manufacturer party line echo chamber. If people want that (and it appears some here do) you have many other options. 

Everybody here agrees that the R5 has overheating problems, but whether or not it's a deal breaker depends on the users usecase. For me, the R5 seems to offer something very useful and I have therefore ordered the camera fully aware of the overheating. It seems like this makes me a canboy from your point of view, and you seem to refuse to acknowledge that the R5 might work well for users with different needs than you. My last Canon camera is the 6D from 2012 and I own newer cameras from both Sony and Panasonic. The R5 will enable me to retire my Sony camera and 6D, while my GH5 will cover the the cases where the R5 falls short.

Everybody here agrees that the R5 has overheating problems, but whether or not it's a deal breaker depends on the users usecase. For me, the R5 seems to offer something very useful and I have therefore ordered the camera fully aware of the overheating. It seems like this makes me a canboy from your point of view, and you seem to refuse to acknowledge that the R5 might work well for users with different needs than you. My last Canon camera is the 6D from 2012 and I own newer cameras from both Sony and Panasonic. The R5 will enable me to retire my Sony camera and 6D, while my GH5 will cover the the cases where the R5 falls short.

Everybody here agrees that the R5 has overheating problems, but whether or not it's a deal breaker depends on the users usecase. For me, the R5 seems to offer something very useful and I have therefore ordered the camera fully aware of the overheating. It seems like this makes me a canboy from your point of view, and you seem to refuse to acknowledge that the R5 might work well for users with different needs than you. My last Canon camera is the 6D from 2012 and I own newer cameras from both Sony and Panasonic. The R5 will enable me to retire my Sony camera and 6D, while my GH5 will cover the the cases where the R5 falls short.

Everybody here agrees that the R5 has overheating problems, but whether or not it's a deal breaker depends on the users usecase. For me, the R5 seems to offer something very useful and I have therefore ordered the camera fully aware of the overheating. It seems like this makes me a canboy from your point of view, and you seem to refuse to acknowledge that the R5 might work well for users with different needs than you. My last Canon camera is the 6D from 2012 and I own newer cameras from both Sony and Panasonic. The R5 will enable me to retire my Sony camera and 6D, while my GH5 will cover the the cases where the R5 falls short.

I disagree.
It depends on how you define 'professional works'.
Making a feature film with it? Then probably not. As a C cam or similar on a Netflix series or Hollywood blockbuster, then why not, but as the principal filmmaking tool, of course not.
But is a wedding videographer not producing professional work?
Or a travel documentarian?
Or journalist?
Or sports/fashion hybrid shooter?
All of the above are EXACTLY who this camera was targeted at and the R6 that sits below it.
Otherwise what was it for, occasional snaps of cats and kids (yours own and not strangers) at the park?

Sure.
RED sued Jinnitech for their JinniMAG saying it was patent infringement (On a patent application filed days after RED sued him!) and several other bogus claims.
Turns out the judge threw out all the alleged charges against Jinni and the case was official closed.
He goes into detail about the company structure. Shows evidence that two corporate officers are lawyers, who apparently have almost no identity on the internet (their LinkedIn page is now deleted...their website is broken).
He shows evidence of him trying to get a minimag replaced and asking for a breakdown of the cost to fix it since they quoted him $1,600 dollars. He presses them on why he is basically told to shove off and that since he threatened them with legal action that they are refusing services to him (apparently illegal).
He shows evidence that REDs terms of service violates US UCC law which prohibits unconscionable contracts.
He goes into great detail about why they are...anyway the short of it is the terms are service are about as scummy as you can write them.
The bomb though is he says he filed suit against RED and the case will be held in December of this year.
He then goes on to say that days after the suit was filed against RED.com Inc that RED dissolved that entity, And filed a new business entity in Nevada under RED.com LLC and Jim Jannard is not listed as the corporate officer and in addition they listed the capital of this new company has having $0.
Dissolving you’re multimillion dollar company ahead of a potential class action lawsuit says something about how RED is run.