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The trailer looked awesome.
I'd never be able to tell that it was recorded with consumer cameras.
I don't know about you but to me this goes to show that having an experienced colorist on board hugely elevates the production value.
Surely, a well-seasoned DP that knows how to properly expose the camera helps tremendously, too.
Great piece.

Take it with a grain of salt, BUT despite the clickbaity title (which is totally intentional), it's a solid piece of advice and shows how a professional DP tackles basic color grading.
 

To put it simply:
WOW.
It takes some time for your eyes to adjust to this crazy aspect ratio, but after a short while you'll be fully immersed.
Great vibe, it has that 'True Detective' feel to it.
Not much really is shown directly, instead you have to rely on your imagination. That works for me.
Overall: I was left longing for more.
Much, much more.
All shot on a GH5 and an anamorphic adapter that sometimes go for as low as 200$ - Schneider Cinelux WA (beware, it's huge and quite impractical).
 
 

This guy didn't really do it in post, but I didn't want to create another thread.
First time ever I've seen someone trying to actually recreate what Pro Mist filters are about.
And he did it with a spray paint, lol.
Side note:
I knew Sony give yellowish skin tones, but I didn't expect a Simpson-ish jaundice.
 

Wow, it's superb!

Take it with a grain of salt, BUT despite the clickbaity title (which is totally intentional), it's a solid piece of advice and shows how a professional DP tackles basic color grading.
 

Regarding shooting music videos:

Love it!
 
BTS:
 

Exactly.
I hope they'll continue to develop it and introduce this kind of codecs into their future cameras, as well.
Seconding that.
 
To me, Panasonic S1 is a hugely underrated tool.
Everyone quickly jumped to the S1H bandwagon and forgot all about the basic model.
If I were to upgrade from X-T3, most likely I'd choose the S1.

You can easily soften them up in post.
I quite often decrease Midtone Details (subbed as MD in Resolve) and add a tiny bit of blur to take the digital edge of my footage.
Truly works wonders.
Our fellow member, @Ryley K , posted an impressive tutorial on how to emulate film. One of the steps there includes adding a faux OLPF effect.
I highly recommend taking a look at it.
 

Hiya!
Another extensive post coming from me - brace yourselves!
Long story short: I tried to minimize my 35mm eqv. setup and see what potential drawbacks would this bring.
 
Left side: newly acquired Newyi 25/1.8 CCTV C-mount lens bought for astonishing 23$.
Right side: Zhongyi Lens Turbo II + Nikkor 35/1.8 G (officialy it's a DX lens [meant for Nikon APS-C cameras], but it happens to cover FF quite nicely).

 
Goliath vs David:

 
Operation-wise, it's difficult to pick a clear winner.
Newyi, being a CCTV lens, is so tiny that it's rather tricky to wield, even with my  small fingers. Aperture ring is stepless and smooth, whereas focus ring is a bit stiff near infinity.
Can't say a bad word about focus throw or focus zones overlaying one another - those are all good and allow to precisely nail the focus.
Nikkor, on the other hand, isn't the most intuitive lens and is rather quirky to operate manually. There are no focus marks and the focus ring has little steps that can be felt while fine tuning.
There is no aperture ring and the only way I can affect the aperture is via an AI - EOS adapter with built-in aperture lever.
Having said that, Nikkor simply feels better in my hands. It may be bigger, heavier and not meant for manual use, but it is what it is.
 
Newyi is advertised as a f/1.8 lens, yet it doesn't gather as much light as it really should.
The same scene, shot in the same conditions, required a shutter speed of 1/60 when I used Newyi wide open, compared to a shutter speed of 1/105 when I used Nikkor (via dumb adapter, not a speedbooster).
Speedboosted Nikkor gave me a reading of 1/160.

That's a 2/3 EV of difference, which makes Newyi rather a T/2.2 (if not less) lens, not a T/1.8 one.
Speedboosted Nikkor is almost a T/1.4 beast.
 
Field of view between those two is almost identical.
Nikkor has some serious barrel distortion, but it's due to it being a DX lens.
 
Sharpness and contrast:
Wide open Newyi is not only tack sharp in the center, beating the Nikkor easily, but also free of any noticeable aberrations/fringing.
Unfortunately, it's less contrasty and introduces some ugly beige/red tint to the shadows.
Some 100% crops.

 

 
Those are my thoughts after owning the Newyi for 3 hours.
I really wanted it to replace its bigger competitor, but to me contrast, color rendering and ability to gather more light is more important than sharpness and portability.
 
Nonetheless, the fairy tale has a happy ending and Newyi managed to find a new host - Sony NEX-5.
I hope my sister enjoys it, lol.

 
Here is a photo taken with it on a NEX-5:

And a 100% crop:

The S1H second hand is a lot cheaper than this, you'll find them for 2700 USD or so.
It has an internal fan, all anamorphic modes you could think of, VLOG. External recording for boosted settings, but plenty of good internal ones including a 6K mode for big plates. Excellent colour and DR, it's wonderfully usable.
The only down sides are shit autofocus and the battery life could be better. The stills are amazing too.
It doesn't yet have raw recording because something is up behind the scenes, but it's designed to work as a pro camera, and is the model of how a hybrid camera should work, for me.
If you want a balanced hybrid for professional use, it's the best all-round choice right now. If you want raw for cine-style use with a bigrig, there's the Sigma FP which is phenomenally specced.
The new Canons look like more of the usual "we can't make this too good or no-one will buy our camcorders" rubbish from Canon. Same old same old, looks great on paper before it's released (cue ridiculous YouTuber wide mouth wide eye infantile thumbnails) and turns out to be hobbled in order to make you buy a more expensive model.
They want you to buy a C300 MK iii. It's where all their great new tech is, including their own version of the Arri dual-gain architecture.,
Fuck em.

The thing is with what will you intercut it with. 90% of movies/advert shots are done on the Alexa 2.8k sensor. Most people on forum like this don't understand that. 99% of production won't deal with 8k footage.

@Antoin e I don´t get it. Something in those f3 images sings to me. That´s all I get:) Cannot wait to get mine into gears.

Saw this on the Facebook group from Kinson Loo. 
If you want to applaud a company for innovating, applaud them. They're pushing boundaries and delivering. 

Of all the cameras already mentioned that also take photos and fit your budget, the Fuji XT3 wipes the floor with the rest if video is important to you (imo). It doesn't have IBIS though

APOLOGIES ALL.  The test above was GH5 4K 150Mbps h264, not the 5K mode.
I just shot a few other tests in other modes and came back in Resolve to look at the files and saw 3840x2160 next to the file I used for the above.
Good news is that I now have 1080p ALL-I, 1080p Long-GOP, and 4K ALL-I clips to analyse, so we'll see if there are differences.

I have the GH5, A7III and NX1 and I shoot in 4K. I'm very sensitive to motion and I always found the A7III 's motion cadence very very bad. I thought it was because of the high rolling shutter but my NX1 (hacked) has worse RS, and yet the motion cadence is better. Among them, my Gh5 has the better motion cadence (even with IBIS off), frames are still sharp even while panning. 
 

I'm good at the technical, not so much with the creative.
If you can, please download the clip and see if you can see the jitter.  What is visible is something I need other people to help with.  If there's enough appetite (especially amongst new camera fever season) then I might even generate some A/B tests and see what levels of jitter are visible.

Wow, you're quick!
I didn't expect seeing any actual tests conducted this month, let alone the same week of posting.
Even though it's very technical and all those numbers take some time to digest, you manage to show the results in a very clear and interesting way.
Congrats.
Can't wait for more!

I've put the GH5 to the test.
Setup was GH5 in 5K h265 mode (to stress the camera and get the most resolution), Voigtlander 42.5mm 0.95 lens focused at f0.95 then stopped down a couple of stops to sharpen up.  This produced shutter speeds in the 1/10,000s range and shorter.
First test was to pan and track a stationary object, in this case the corner of a bolt in the fence which was a sharp edge with high contrast.  I put a tiny box around it, I think it was about 3-4 pixels wide/tall, and tracked it on a 4K timeline at 300% zoom:

and here's the results:

Observations:
Test produced good data, with images being sharp even in mid-pan and margin of error was small (only a couple of pixels) compared to large offsets (60-120 pixels) Test was hand-held and between myself and the IBIS we did a spectacular job (I think it was all me, but... 😉 ) As offset was both horizontal and vertical I reached deep into my high-school geometry to calculate the diagonal offset using both dimensions There is evidence of 'ringing' in the movement shown in the fluctuations between ~110 and 120 This ringing may well come from the IBIS mechanism, as ringing is a side-effect of high-frequency feedback loops (of which IBIS is a classic example) Discussion:
This 10px P-P of jitter is there in the footage, so the question is if it would be visible under more normal circumstances.  
Let's start with motion blur.  If I had shot this with a 180 degree shutter then the blur would be approx 60px long, making the jitter a 16% variation of the blur distance, which is small but isn't nothing.  Also, if the shutter operated like a square wave with each pixel going from not being exposed to being fully exposed instantaneously then the edges of the blur would be sharp, although much lower in contrast.
What about timing?  10px out of 115 pixels is 8.7%, which if this jitter came from the timing of the frames rather than the direction of the camera then it represents a change of about 3.6ms when compared to 24p which has a 41.66ms cadence, so at a given frame it might be ahead by 1.8ms and two frames later be behind by 1.8ms.
Would this be visible?  I don't know.

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.
 

Amen brother. For so many...too many, the glass always seems half empty and the focus is on what they have not been given.
There is always going to be some kind of compromise whatever choices you make.

My thoughts:
 I don’t really get how people are upset that 8k raw overheats...why are you looking at a small mirrorless camera if you need long captures of 8k raw to begin with? Buy a real cinema camera. I think everyone is forgetting what this camera is and what was asked of Canon. Everybody is getting mad at canon for giving us what the majority of people asked.
 
People wanted a canon mirrorless camera that was full frame with amazing IBIS, dual pixel autofocus, high megapixel count for photos , and could shoot 4K 4:2:2 10 bit uncropped, with a swivel screen. So, they did that. They did exactly that and more. So then they thought, well we could give them a full raw 8k readout of the sensor and have them record as long as they can before it overheats, better than holding it back. Also, we can throw them 4K 120 as well and also have them go as long as they can before we max out. I mean, might as well give them everything the camera can do, instead of just not unlocking it and having the magic lantern folks do it for us, right? 
 
So they threw in some crazy bonuses nobody was asking for and here we are, people bitching. The camera everyone wanted is here. The full frame autofocus beast with great IBIS, 10 bit, no crop, and great at photos true hybrid by canon is here and we are upset. Are we complaining that they have the overheating numbers written down? Because there is no way It’s a shock that 4K 60p 4:2:2 10 bit with dual pixel autofocus will overheat near the 40 minute mark...or are we surprised that 8k raw in a mirrorless full frame with IBIS engaged, dual pixel autofocus,  and no crop in a small mirrorless overheats? I mean, what are we mad about here? 
This is the camera that everyone wanted. There are several frame rates and resolutions that Canon threw in that will be very useful within the limits of this specific camera and yes they have limits, but at least they are unlocked and not behind a magic lantern hack like the old 5D. As someone that shoots an equal mix of photography and video, this is a dream camera. I get a high megapixel camera and high quality video, with all of canons special sauce including their great autofocus and colors. I see no mention of limits for standard 4K 24p and 35 minutes of continuous 4K 60 is more than what I need. If it’s not for you, than that’s fine - keep waiting. 
 
There is so much negativity in the world right now, that I’m honestly not surprised that Canon finally doing something good gets shit on. I expect nothing less at this point. 

You are too hard on them and I have a hard time understanding that much frustration. A 8K badge on the box? What about 4K no crop? 10 bit 422? 4K60 and 4K120 with best in class AF? Best FF IBIS on the market? Top level color science and top level ergonomic. 
You are omitting a lot of things. They did not trade reliability for a badge. They did what the world asked: best in class video and photo spec in a mirrorless body, period. Those are indeed more than best in class, and to achieve that some of the features have time limitations. 
Canon has been a joke and frustration for now many years. I welcome with a lot of positivity the great options they bring to the table today. They deserve a round of applause. 
 

I've done rolling interviews, one after another for over an hour.  Plus I've done at least one interview that lasted nearly 30 mins due to various reasons.  But you're right, I can work around the R5 limitation.  I just use another camera. 😄