Robert Collins

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

It is always going to lag behind, because Sony crammed a FF sensor into a mount that was originally designed for APS-C

I think that Canon never intended this camera to be targeted at professional works. There are the 1D and Cx00, etc. line for that. 5R with hardware limitations, software limitations? Probably the potential user of this product will never need to record more than 1 minute of 8k raw and definitely will never work on Premiere with H265 files. This is the camera targeted to rich amateurs like parents recording graduations and soccer games, rich tourists, etc. where there are way more potential users for each potential one using it as a professional tool. After all, the Canon lenses are good, the PDFAF is good, colors are good. The aggressive marketing of Canon is good at selling products and probably Canon will sell a lot fo 5R and 6R. Just go to any camera shop and you will see 40% of the space taken up by Canon, another 40% by Sony, 10% by Nikon and the remaining 10% divided among Panasonic, Leica, Olympus.

In the photography stills world nobody talks about color science. Nobody says Panasonics jpegs are better than Canon or Sonys. That is because people are shooting 12/14 bit raws and you get to choose exactly what colors you want. I sort of feel in a 10 bit world straight out of camera colors are simply less important because you get so much more leeway to create the colors that you desire.
Of course there will be always be people who like to shoot jpegs or straight out of camera video but then you dont really need 10 bit at all.

Many years ago, when footballers were still earning only a bit more than the average working man, they used to have their wages further reduced in the summer period when no games were played.
One of the finest players of that era, Tom Finney, told a great story about his colleague Tommy Docherty trying to get a better pay deal for himself.
"Tommy came down from Celtic, and had a fairly good season with us. In those days we used to line up in the corridor before going in to the manager to find out our terms for the following year. I went in to see Bill Scott, the manager, and he said I'd be on the same terms as the year before, £12 a week during the season, and £10 a week in the summer, which was known as 12-and-10. Tommy went in after me, and was told he'd be on 12-and-eight. `I'm not signing,' he said. `I've just found out that Finney's on 12-and-10.' The manager couldn't believe it. `But Finney's a far better player than you,' he said. `Not in the bloody summer he's not,' Tommy said."
I've been reminded of that story again by numerous comments I've been reading about the S1-H and its AF system.
Yes, the R5 and A7Siii might have much better AF systems than the S1-H but not when the camera has overheated they haven't.
 

Looks like Canon made a marketing mistake, focusing on video specs - where the camera clearly has some drawbacks. As a stills camera it looks to be very impressive indeed.

I'm with you. Still waiting for that unicorn to appear, for a brief second the R5 was it and I had one that would have been delivered Thursday. Then it literally went down in flames. Given that we really won't see anything significant for another couple of years now that Canon has gone all-in with the R5/6, Nikon is drunk and passed out with the rumored Z6s/7s, all Sony has left is the a7IV which will be hit with the cripple hammer compared to the a7s3, and nobody else is making significant headway - I've accepted the fact that the one camera hybrid solution isn't happening anytime soon. One body will shoot mostly stills, one mostly video, lots of lens changes, and lots of damn sensor swabs since Sony's 3rd/4th gen cams attract dust like no other camera I've used. Holy shit the a73/a7r3's are a dust magnet compared to the a7r2/s2 I carried across six continents!
Anyway, needing to go two cameras means I've ordered the a7s3 and I'm now looking to shift my a7r3 to a a7r4 so AF and accessories are mirrored (pun intended) between the two with grips, underwater housings and so on. This will cover me for the next 2-3 years until someone gets it right in the next round of updates.
Cheers
Chris

Not sure if this video was posted, scrolling through the last few pages its mostly S1h/Netflix arguments that don't seem to relate to the Sony at all. As to the a7s3, if you need reliable AF, cameras like the Zcams, the Blackmagic's and likely the S1h are not something people are considering, its a completely different type of camera and shooting experience. Nothing is ever going to change that until they have reliable AF. I need AF for my work, none of those will ever be a part of my kit, and I'm obviously not alone. The excitement over this and the R5/6 is because you're combining great IQ with great AF with bitrates that many Sony shooters have wanted for years. Continually injecting cameras like Blackmagic's or Netflix approval into the discussion is just noise. Nobody is buying the a7s3 or a Pocket 4k for that matter to shoot the next season of Ozark. 
You're buying this over other options if you're already invested in the E-mount ecosystem and want the best video option without having to lug around one of the larger FS/FX cameras - or if you want reliable AF for your work.
Bonus the E-mount has the widest selection of native AF lenses that's more comprehensive than all other FF options combined. And with all the 3rd party support combining MF and AF lenses from Zeiss/Tamron/Sigma/Voigtlander/Samyang and others, that gap will keep getting wider. Second bonus if you shoot stills, the E-mount has you covered with a some of the best photo options money can buy.
I put this on my 65" TV, this guy put it through its paces and shot tons of 120p, no surprise since its one of the standout features. Just wish the poster had enabled captions - even YT's sometimes weird autocaption - so we can get a partial translation. But this looks like a proper review.
Chris
 
 

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.

I don't earn my living from video, but my main takeaway from both the Canon and Sony launches is this: if, for your bread and butter, you need things like 8K, massively over-sampled 4K, 10bit internal from a full frame, top-of-the-range AF, high frame rates, minimal RS and cinema colours all in a single A camera package that is reliable to professional standards and doesn't overheat... don't buy a hybrid in a DSLR/hybrid body shape, as with current technology all of the above just isn't available in that format. To get all that, you need a proper cinema camera in a proper cinema camera form factor. Sorry, but that's just how it is.

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

But the rest is EXACTLY the A7R IV - they switched positions between C1 and Rec, and...that it is.

No. The whole point for me and for millions of FF mirrorless owner in the world is to have a do it all camera. I hate to carry 2 body with me on 60 miles trek at 3000m in the mountain or on summit attempts. Granted, not millions of shooters are mountaineers, but millions of them are travelers, and hate traveling with 2 cameras if one could do it all. 

So not only I want to carry 1 body, but I want great IBIS. It remains to be seen if the A7SIII IBIS is the same shit as the A7RIV, or excellent like the R5. It remains to be seen if they included Venice color science, and completely changed the body ergonomics and buttons and menus. 

Since I never shoot more than 1 min clips I do not care about the overheating. BUT, if Sony could have a quad bayer that gives me 12mpx video and 48mpx stills, with much better ergonomics / buttons / menus, better color and better IBIS (basically matching the R5 on those aspects) then I would stay with Sony for 2 reasons: I am already in the ecosystem and I would rather have 12mpx video / 48 mpx stills with the obvious advantages it brings (rolling shutter...) than having just 45mpx. 

However, I value MUCH more having great IBIS, great body feeling and pleasure of using the camera than having a quad bayer only. It's not like Canon is much behind in spec like always before.

I remember an article from @Andrew Reid about how important having a camera with a good body and interface is, that it gives you the will to actually go and shoot and that bodies with poor ergonomics do not inspire you. I kind of agreed at the time. It seems you do not take this into account anymore in your R5/A7S III comments Andrew. I understand the frustration you have with overheating and your pro work that requires long recording, but I am sure you have plenty of gear for that job already and I am sure you will very much enjoy shooting a lot with the R5 for creative short videos. 

'Honest advertising' is an oxymoron. The entire point of modern corporate marketing is scientifically crafted deception.
Camera companies starting up a fund to pay a bunch of different people and create a different bunch of shills.
 If you can trick people into thinking your trickery is honesty, you can trick them even better.
Thinking of Olympus - at least keep it humorous.
 

In all seriousness I fully support the restrictions and I'm annoyed at myself for not knowing about today's addition to it.
Particularly as this lunatic has now reset my own danger of exposure clock again when it was only a few days from running out by screaming in my face.
The rage and hatred he had for me was incredible though as usually people only reach that point with me when we've been formally introduced at least
Oh well, he'll have plenty of justification when true boredom sets in on day 13 and I fly my drone off the roof to pick up stray dog turds off the golf course and drop them all over his garden.

I get that totally.
But what I mean by behind the curve is - why has it taken the country so long to start testing people in large numbers?
We have known about this virus for quite some time. I live in a 2nd world country - Thailand - but it has been possible for anyone to get a test here, if needed, for well over a month....

Have you considered the 'worst case' scenario? Well it turns out that the NHS in the UK have modeled the worst case. 
https://www.theguardian.com/world/2020/mar/15/uk-coronavirus-crisis-to-last-until-spring-2021-and-could-see-79m-hospitalised
Under this scenario it is assumed that 80% of the UK's population contract coronavirus over the course of the next year. According to Chris Whitty the UK's Chief Medical Officer this could lead to 7.9m people being hospitalized and 318,000 deaths.
Whilst this figure sounds (and is) horrendous it needs to be put in perspective. In 2018 there were 541,000 deaths in the UK - of which cancer was the most common cause with 150,000.
 
 

Well on a more positive note. We can see from China and S.Korea that when you tackle the problem head on with tests and restrictions you do seem to get it under control within a month to 6 weeks - hopefully numbers in Italy will start to come down.
Also a major panic in the asset markets, should mean we get some great investment opportunities for those that have some cash....

Well on a more positive note. We can see from China and S.Korea that when you tackle the problem head on with tests and restrictions you do seem to get it under control within a month to 6 weeks - hopefully numbers in Italy will start to come down.
Also a major panic in the asset markets, should mean we get some great investment opportunities for those that have some cash....

There is minor panic here in Bangkok. Most people are wearing masks (despite the fact that they are effectively useless for preventing you catching Coronavirus).

The schools have all been shut. My 6 year old son had to self-quarantine for 14 days when he returned from a holiday in Japan. I had dinner with a friend who has a birds nest business and in February sales were down over 90% compared to January. (In China, car sales are down 83% for the first two months (YOY)).
And this is despite the fact that Thailand has only had 40 cases of Coronavirus so far (mostly Chinese tourists visiting during Chinese New Year.) I doubt a Coronavirus could spread here with temperatures in the mid 80s (possibly explains why there are virtually no cases in India or Africa.)
But these worries/concerns/panics tend to be self-perpetuating - easy to stoke and slow to dissipate. The economic impact in Asia is going to be quite dramatic and I expect everyone of us is going to be impacted in one way or another.

I don't agree with Tony Northrup on a lot of stuff, but I do believe his take on the EOS R5 is probably pretty close to reality. I'm having a hard time believing the rumors on the R5. The specs could be correct but with a lot of asterisks. In other words, 8k time lapse, short duration 4k at 120fps or severely cropped, etc....
https://www.youtube.com/watch?v=uczXVIWSJyo

This is quite exciting....

I like the fact that Sony has finally decided to compromise the size for better thermals. Also they seem to have prioritized bit rate (hopefully) and frame rate over 6k or 8k....

Maybe this site should be renamed ANTI-EOSHD?
While Netflix is technically TV, Canon was all over the Oscars documentary category last year: 
https://***URL not allowed***/oscars-2019-all-nominated-documentaries-shot-on-canon-cameras/
And in this years 2020 nominees, one of the most talked about docu, American Factory (first film out of Obama's production company) was shot on... a 2014 C100 mk2:

..ironically it was picked up by Netflix at Sundance (and is currently streaming on the platform).
So while many seem to obsess over "Netflix approved" cameras, this seems to prove that shooting great content will always trump camera specs.

Since Tony and Chelsea switched to Sony for stills (with the A7r4) they have been using the EOS-R for video (whilst also still using the GH5 and Blackmagic.)
He posted a video about it about a week ago.
That being said - the fact that they are using different cameras for stills and video obviously speaks volumes about what they feel about Sony's video capabilities.
Sony has absolutely nailed stills photography (particularly autofocus) and seems to have got very lazy with the video side.

Well in the quote from you - you mention 'Sony photographers' so in a sense I can.
Sony's success is really built around 'photographers' rather than videographers as I see it. Clearly for video guys out of camera color is way more important.
But my real point is this. I dont think there are swathes of delusional Sony users out there believing that Sony's color is great much in the same way as I dont think their are swathes of Panasonic users out there thinking their cameras have great autofocus.