kye

....and if they did their temperature tests in a freezer or in the real world.
@mercer - here's the Canon S16 camera you always dreamed of!
Don't be silly - everyone knows that shooting kids sports games just needs a lot of reach and high fps, while feature films require a significantly improved image, leaving cats to be the most demanding of all.
Maybe a hybrid for the sports and films and the new Alexa for the cats?
Sounds about right..  unless RAW it's soft, soft, soft.
Overlays disappearing also sounds about right.  I wonder if anyone at Canon has a full grasp of which features work in combination with each other feature and mode?  It would have to be a 27-dimensional matrix of some kind.  I don't think even quantum computing can keep up with the complexities....

No, that's Dual Native ISO, not Dual Gain like the GH6 is.
Dual Native ISO is when the camera has two native ISO values that it can choose from and picks the best one to use at any given time.
Dual Gain (in the sense of the ALEV, Canon DGO, and GH6) is when the sensor has two outputs that each have a different gain and those two outputs are used simultaneously and combined with each other to create a higher DR image, in-camera, in realtime.
This is the info from ARRI - https://www.arri.com/en/learn-help/technology/alev-sensors
It's something people get confused between, because it's so rare and.... innovative.

....and if they did their temperature tests in a freezer or in the real world.
@mercer - here's the Canon S16 camera you always dreamed of!
Don't be silly - everyone knows that shooting kids sports games just needs a lot of reach and high fps, while feature films require a significantly improved image, leaving cats to be the most demanding of all.
Maybe a hybrid for the sports and films and the new Alexa for the cats?
Sounds about right..  unless RAW it's soft, soft, soft.
Overlays disappearing also sounds about right.  I wonder if anyone at Canon has a full grasp of which features work in combination with each other feature and mode?  It would have to be a 27-dimensional matrix of some kind.  I don't think even quantum computing can keep up with the complexities....

I reckon this will be priced a fair amount higher than the Mini LF if it's the full version of this camera (i.e. it replaces the Alexa SXT, not just the Mini) and there demand will outstrip supply by quite a lot. Arri can only build so many cameras plus there's the chip shortage to contend with still.
Rental companies will be looking to replace their fleets of Minis (and SXTs) and they have deeper pockets than your typical owner operator, so I'm guessing the strategy would be to price-out most of this market to manage the demand somewhat.
As usual, it'll probably be hard to even rent one when they come out as they'll all go to high end features/tv/commercials.
At least the LUT salesmen have a new colour science to try and match the Pocket 4K to! Boomtime for the LUTboys.

....and if they did their temperature tests in a freezer or in the real world.
@mercer - here's the Canon S16 camera you always dreamed of!
Don't be silly - everyone knows that shooting kids sports games just needs a lot of reach and high fps, while feature films require a significantly improved image, leaving cats to be the most demanding of all.
Maybe a hybrid for the sports and films and the new Alexa for the cats?
Sounds about right..  unless RAW it's soft, soft, soft.
Overlays disappearing also sounds about right.  I wonder if anyone at Canon has a full grasp of which features work in combination with each other feature and mode?  It would have to be a 27-dimensional matrix of some kind.  I don't think even quantum computing can keep up with the complexities....

This one will capture higher color depth and more dynamic range according to ARRI. That has always been consistently the same on any given ARRI camera until now.

Well for the average person you are going to get a Ton more keepers using a smartphone than a normal camera. And now even for people that want to experiment they have a lot more options now than before. How many cameras can shoot Pro Res that are affordable? Raw on Android phones. 
I have just reached a point where I just want to carry the least I can get by with. I am not going to have even a Sony RX100 with me all the time. I bought a new Tripod for the phone, heck it is like 2 pounds instead of like 8 pounds for my Manfrotto Carbon Fiber. It is just easier. That to me is a huge plus. Nobody is really going to buy a damn 30 pound old Alexa.  I have had stuff like that in the past. It is a total pain in the ass to set it up tear it down, and there is always something that goes wrong using it. All that work, drive 30 miles to shoot and the battery is dead, forgot the media, forgot the monitor cable, on and on. Nah I want footage not problems. I am willing to sacrifice some quality for that. Hell not counting the overall cost is peanuts and heck you can even call people with it.
And yeah my senior moments are getting worse by the day. Old age sucks I can tell you that.

Somewhere, someone is asking the question, “this or the new Arri? I shoot kids sports games, cats and feature films”.

So 100% trust in the clickbait weasels after the R5 debacle then I see!

Canon might have released their first ever camera which tempts me. Maybe. (let's see how many hidden gotchas there are... )

But my will power shall remain strong to resist!

 

Wow - hugely impressive results (as usual).
I must admit that the allure of a zoom lens has entered my thoughts of late, just through the sheer convenience of being able to see something and then capture it without delaying so much that the composition has evaporated.
The FZ2000 really is something!
Yeah, first time I've seen an anamorphic offering with enough squeeze and low-enough weight that I'd even contemplate it for guerrilla hand-held work.  I was hoping that the cheap Chinese manufacturing would eventually make anamorphic glass affordable and then accessible and it looks like it's finally happening.  Super interesting!

No, that's Dual Native ISO, not Dual Gain like the GH6 is.
Dual Native ISO is when the camera has two native ISO values that it can choose from and picks the best one to use at any given time.
Dual Gain (in the sense of the ALEV, Canon DGO, and GH6) is when the sensor has two outputs that each have a different gain and those two outputs are used simultaneously and combined with each other to create a higher DR image, in-camera, in realtime.
This is the info from ARRI - https://www.arri.com/en/learn-help/technology/alev-sensors
It's something people get confused between, because it's so rare and.... innovative.

Odd that my YT feed didn't have a few rows of time-released review videos...  maybe Canon didn't hit the usual suspect camera reviewers?
Interesting cameras though if they're able to give reasonable quality 4K footage for a reasonable price, as opposed to 8K60 RAW that basically no-one needs.

I'm having a vague recollection that we've had this conversation before?
I remember someone saying that 1) colour was a very high priority for them, 2) canon colours weren't good enough, and 3) they weren't willing to learn to colour grade.
I remember the thread went no-where because it's not a solvable problem.
Interesting video.  I'm reminded of the GoPro promo videos where each 10s section was shot by a 5+ person production team over the course of a week - highly highly highly cherry-picked shots.
I think for someone who doesn't want to do any work in post, a phone will actually be less usable than a larger sensor camera.  Yes, the footage can look great, but if you wave the camera around and then just apply a LUT in post then an Alexa will create the most usable shots, an ILC camera will create less, and the phone will create the least, just because it has a narrower set of circumstances where all factors are within its sweet spot where it creates a great looking image.
If only they were limited to being a senior - I've been having them my whole life!

APS-C is still alive? Hopeful for some "pro" RF-S lenses in the future to pair with the C70. For now.. we a 7k oversampled 4k image on the R7 with uncrossed 4k at 60fps. Clog3 and no time limit. Wonder if the IBIS is less "wobbly" with the smaller sensor... 
 
 

Actually, there are a few vocal pros posting here of late, but the majority are not pros.
You mentioned not wanting to learn colour, but @Djangos advice is right - shoot in LOG and just use a LUT.
The reason that SOOC doesn't work with "cinematic" and "family" and "video" is that SOOC profiles have limited dynamic range and this has a very video look to it, which is the opposite of cinematic.  It is possible to get great looking SOOC footage, but you have to control your lighting and guess what - that's not what you're doing when you shoot family stuff!
Shoot LOG and use a LUT or transform.
"learning colour" isn't what you think it is either.  "learning colour" is kind of like saying "learning painting".  It takes 2 minutes to learn to hold a brush and paint stick figures, and many lifetimes to learn to paint like Rembrandt.  If you want your footage to look cinematic then you're going to at least have to learn how to adjust whitebalance in post.  One of the least cinematic looking things I see is when people don't do that on their videos.
What about video?  OP said he's 70% video and 30% stills.  

The FZ2000 actually has a large number of options for controlling the zoom too.
There is the barrel on the lens itself (which can be selected to be continuous or stepped focal lengths), the zoom lever for progressive speed and two Fn buttons on the side for three different slow creep zooms and there is even a setting for ease in and out.
Or if you want to get more traditional it has a LANC port for start/stop/zoom control handles.
Its the switchable ND that is the major draw as, for all the talk about "hybrid" cameras on here, its the feature that makes it one of the very few real hybrids out there as you can instantly switch from stills to video at the same ISO without arsing about.
The fully articulating screen is a really big bonus too and for the role I'm looking at it doing as being one single versatile camera then I've got few complaints about it.
For anyone looking for a more compact 1" with a large zoom range then the Panasonic TZ100 is worth a look, particularly as it can take my Cinelike D hack.

No, that's Dual Native ISO, not Dual Gain like the GH6 is.
Dual Native ISO is when the camera has two native ISO values that it can choose from and picks the best one to use at any given time.
Dual Gain (in the sense of the ALEV, Canon DGO, and GH6) is when the sensor has two outputs that each have a different gain and those two outputs are used simultaneously and combined with each other to create a higher DR image, in-camera, in realtime.
This is the info from ARRI - https://www.arri.com/en/learn-help/technology/alev-sensors
It's something people get confused between, because it's so rare and.... innovative.

Wow - hugely impressive results (as usual).
I must admit that the allure of a zoom lens has entered my thoughts of late, just through the sheer convenience of being able to see something and then capture it without delaying so much that the composition has evaporated.
The FZ2000 really is something!
Yeah, first time I've seen an anamorphic offering with enough squeeze and low-enough weight that I'd even contemplate it for guerrilla hand-held work.  I was hoping that the cheap Chinese manufacturing would eventually make anamorphic glass affordable and then accessible and it looks like it's finally happening.  Super interesting!

What resolutions were the non 8K R5C Raw images shot at and what's the zoom percentage?
R5C 10-bit and Z9 can do 8K and GH6 6K yet they all look substantially lower resolution than the Canon 8K RAW.
I ask cuz that plays hugely when comparing the fixed noise patterns etc.

That seems like a decent price, did you find it locally? I'm very curious about your thoughts on the Raven. From what I've watched online, the Scarlet and the Raven have a really interesting IQ. I'm looking forward to your tests!

Decided to get a proper RAW cine camera. It was between RED and Blackmagic. The RED seems to have more mojo, especially the older EPIC and Scarlet. I am also trying a RAVEN out.
The older REDs are not expensive now. Paid £1790 for an EPIC-X, with 5K 120fps RAW.
But when building it out, that's when the costs start rising.
But for under $3500 you can definitely get a good kit.
It's about the dynamic range and RED raw for me. The colour science is also very nice.

I think it's more about ergonomics than the image tbh.

If he's serious about making a film then it makes absolute sense. I love mirrorless for practical reasons but for that cinematic aesthetic nothing really beats ARRI, RED, VENICE & VARICAM paired with cine glass imo. There is a reason why they are standards in big productions and not an A7S3, R5C, GH5 etc.
Hopefully he will share with us what pushed him in that direction!

Bit of background....
I've been doing stuff on and off for a while with the FZ2000 in pursuit of it being the modern equivalent of my Dad's old cine camera. 
Something to take on holiday as an integrated system without any other accessories.
Also something that I could shoot in with a single profile and then create a single "development" step for it so it would be the equivalent of my Dad sending his exposed Kodachrome cartridge off and getting the finished product back from Kodak, with the goal of that single consistent look without noodling about in post. 
The FZ2000 has an awful lot going for in that respect as it has internal ND, decent codecs, v-Log and of course the stabilised 24-480mm lens, hence it being in here.
Had an opportunity to give it a go in the tourist cine camera role this weekend at the F1 Classic Grand Prix in Monaco and here are some frame exports from the footage, shot in v-Log using the 200mbps all-i HD codec.

These days, of course, I'm on the punter side of the fence rather than the press side of it so its a lot more restrictive in terms of shooting but that is where the massive range of the lens on the FZ2000 comes into play in enabling you to get a lot of shot sizes quickly and maximising the coverage you can get.
When shooting in HD, the very clean digital zoom extension gets you out to around 1000mm equivalent and the image stabilisation makes hand holding at that range realistic. Shot in 180 degree shutter as its more about the event itself (and is purely for motion rather than for stills extraction) than the cars so the motion blur on the cars is not a defect 😉 
The lens itself is very sharp so I've got a 1 strength Glimmerglass filter on it permanently to take some of the edge off.