Mako Sports

Currently in the honeymoon phase with my FS5. I bought mine mid summer last year and it took a couple of months to get the images I wanted from it. Here's a mix of games I shot a few weeks ago.
10 bit 422 240fps in 1080p with no crop has been amazing. 
Variable ND filter is a game changer as well. 
FS7 dropping in price is tempting ngl, but the FS5 is so much smaller and easier to travel with. 
FX9 inside of an FS5 body (which is definitly possible) is my dream camera.
Great DR, class leading cine cam autofocus, class leading cine cam lowlight performance with dual native iso, variable ND, great mic preamps, and a rugged body. 😵

I knew you'd be the 1st guy to respond, being the resident sound guy and all lol

Braw is also officially supported in Avid and Premiere Pro CC now

Had a big gig last Sunday, first time using the 100 - 400 G master. Focus ring was surprisingly not aids. All FS5 @ 240fps in 1080p.
Hoping the A7SX gets 240fps in 10 bit like the fs5
 

Didn't wanna make a new thread for just memes.. 
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Yeah tbh "cinema" cameras are kinda cancer for run and gun doc work unless you have a crew of 3 or more.
FS7 and C300mkii are the real top dogs for doc work. Can't beat built in NDs and XLR inputs if your a small to no man crew

Colour is subjective (I actually prefer Panasonic colour science since EVA, S1 etc), the rest of these you're just guessing, IBIS and DR of the S1, SH1 are going to be hard to beat.
Hope you're right as progress benefits all of us but your Canon love in and trashing of the BM Pocket is a little OTT

That would work for me. Be interesting to see what the Sony fx6 offers

Yet more Chinese 8K cameras:



Seems the Skyworth 8K is a rip off (but badly implemented) from the Z Cam E2-F8 that they borrowed from Z Cam under false pretenses, but using the Sharp 8K MFT sensor (however stupidly using an EF Mount instead!!!).
 

Time of day, good exposure and white balance. 

If you like lugging around very old heavy cameras, yes.

I knew you'd be the 1st guy to respond, being the resident sound guy and all lol

We have been seeing these R5 prototypes out there for a couple of months now. Maybe with the final R5 production model, Canon will sneak in a proper cooling fan? Without that, I don't see how Canon can do this 8k/4K properly. The Canon C200, C300, C500, C700, all REDs, All BlackMagics, Sony FS5, FS7, F5, F55, FX9, All Varicams, EVA-1...and S1H have cooling fans to control sensor and processing heat in 4k/6k/8k. If the R5 really can do all that they say it can with no line skipping and/or pixel binning.. .in a passive cooled body? That would make the R5...THE..greatest electronics engineering marvel that man-kind has ever seen! Absolutely no question at all! It will literally make all the fan-cooled Canon Cine models look foolish. (And any other fan cooled 4k/6k/8k camera too) Hmmm...or maybe it's just me that is foolish for expecting all this incredible R5 8k/4k 10bit and raw capability to be fan cooled in 2020.
I'm telling you guys....the devil will be in the details, asterisks and fine print that Canon will only reveal the day this camera actually hits the streets and all NDA's are expired.

This is truly going to be a revolutionary product for the low budget world if it lives up to expectations.
This packs so much into just one product (timecode! recorder! camera hop! IFB! etc), and all at a very very low price and small form factor. I can see a lot of people buying a couple of these to keep as spares in their sound kit to solve whatever random problem might pop up on sets unexpectedly. 

The biggest negative is that you can't pair a transmitter with more than four receivers, if you're like me a sound mixer then this low number can quickly become a problem. (although it would be good enough for "most" of the productions I work on, I'm not yet at the level when I'll regularly need dozens of comteks available to hand out on a regular basis!)

The C300 III specs look positively tame for $10k compared to the EOS R5 for less than half the price.
Just like the original C300 where people criticised it for crappy 8bit and weak specs compared to Sony!
It sold like hot cakes.
Conclusion, pros really don't care about image quality and just want to look impressive on set

R6 will have my attention... I'll stick with my beloved S1H for now... The ProRes Raw firmware will help me wait on more infos to make any decision... 
Beautiful times to be a filmmaker (but strange times overall with this health crisis and lock down)... 

RED is probably the worst when it comes to dynamic range claims. They say things like 21 stops of dynamic range lol. The latest RED offerings come pretty close to ARRI though, the Monstro has very clean shadows. 

When you posted this yesterday, I'd have mostly agreed with you!

"The FX9 will prove to be more popular than the C500mk2"

The C500mk2 is priced too high above the FX9, and the C500m2 won't be stealing many jobs away from the high end ARRI. 

This is the problem, you've got the likes of the FS7 which is "good enough" to get the typical run of the mill professional job done (corporate / reality tv / doco / etc) and you've got the premium high end. Anything in between is a tough spot to live. 

This is why the C500mk2 won't be a big smash hit, it is too much more expensive than the FX9. This factor might even prevent the FX9 from being a smash hit. Is better AF, FF, built in TC, etc in the FX9 enough to justify the higher cost of a FX9 over the cheapie FS7 which still "gets the job done"?

I'm skeptical. 

This isn't just a problem with cinema cameras, this problem of a weak middle ground inflicts a range of other products. For instance with audio wireless you have:
1) the entry level wireless which is "good enough" to just get the job done for videographers/cameramen/students, such as Sennheiser G4 / Sony UWP-D21 / Deity Connect
2) you have the high end premium gear used by audio professionals, Wisycom/Zaxcom/AudioLtd/Lectrosonics
What is there in between these two? The middle ground doesn't exist! If I want to buy good wireless that is cheaper than the latest cutting edge gear then basically my only option is to buy the cutting edge gear from the previous generation (a Lectro SMQV from ebay instead of a new Lectro SMDWB).



Of course, when discussing if FX9 will take the throne we need to also address the big elephant in the room which has arrived since yesterday:

Canon C300mk3. That's an even bigger threat to the FX9 taking the throne as the #1 cinema camera for low budget pro projects. 

FX9 vs C300mk3:
Identical price. (ok ok, FX9 is one dollar less!)
Identical power draw. (35.2W vs 31W. Low power draw matters, the 63W of the C500mk2 is not a good thing when you're a solo operator)
C300mk3 has better DR
Canon has internal raw, vs Sony's external raw (need's an expensive external extension too!)
EIS with the Canon is done internally for a smooth handover to post, vs done in post for the FX9. That's a point for Canon. 
I'll give the nod slightly to Sony for having the more versatile mount, but this is no longer the massive edge Sony used to have over Canon. Where with Canon in the past you were stuck with either EF or PL once you bought it (or sometimes, interchangeable but only by Canon themselves), but Canon now offers a user swappable mount between EF or PL (plus a bonus: or positive locking EF mount!! Giving you three options). 
NDs, Sony gets the nod again with the eNDs.
AF, the FX9 has greatly improved autofocus for a Sony, but probably Canon might get the nod here. 
Likewise FX9 has greatly improved color science, but perhaps Canon might have the edge for the win here too?

Is FF alone enough to make the FX9 win over the C300mk3? I don't think so, the C300mk2 is in with a serious shot to make a claim for the #1 spot for cinema camera on low budget productions. 

In a way, this coronavirus crisis is a blessing in disguise for Canon's C300mk3

A big factor in the failure for the C300mk2 to live up to the massive smash hit success of the C300mk1 was that the C300mk2 was released too late to the market. As by that point in time the Sony FS7 had already gained a grip on the market. (of course the C300mk2's high launch price and lack of 4K 60fps didn't help! But if the C300mk2 had came out a few months before the FS7 then the C300mk2 might have prevented the FS7 from becoming a runaway success)

Is the C300mk3 going to suffer the same fate again in being too late to the game? Perhaps not, FX9 has had a slow roll out due to needing a few firmware updates. 

But additionally almost nobody has been making big camera purchases in recent weeks, and likely most will be holding off on a new camera purchase over the next few months while the dust of this economic crisis settles. Sony won't be selling too many more bodies between now and July 2020 when the C300mk3 is meant to ship. 

Normally a company having most of a year as a head start over their competition gives them enough of a good solid lead that it is an uphill battle for anybody to overcome, but not this time. As much of that time has been lost in limbo while we're trapped by the impacts of the coronavirus. Canon C300mk3 has a real shot at this.
 
  

Sony knows in the current economic climate very few people are rushing out to pre order new cameras. They won't be losing many sales by delaying their news by a few days. 

And if Sony's announcement makes less of a splash than Canon's, perhaps it is only a "big" FX9 & VENICE firmware update they're announcing, at least that news won't be drowned out by Canon's announcement and Sony will get an entire news cycle devoted just to Sony.

He has a beef with them. Dont worry about it. Just use your camera. If you like it that's all that matters. 

Absolutely agree on this one.
I think there's an element of focus - the more you shoot the more you shift your focus from equipment to composition and the things you think about when shooting.  

I'm hoping the Sony announcement is for the fx6. That camera intrigues me more, and if it keeps the colour science and AF from the fx9 and prices itself under £5k it could be a winner 

None of you can appreciate this kind of dynamic range on a normal display. It is going to look horrible.
HDR1000 minimum requirement.
And I would not but much stock in Cinema5D's testing methodology for dynamic range.
The whole dynamic range technique is total bullshit in the real world... underexposing by 5 stops rather than lighting properly or appreciating good natural light. Nobody actually shoots a film this way. You would have a completely unusably dark frame on the monitor.
The Canon sensor isn't anything special. Really it isn't. The rolling shutter in 6K is about the same as an old GH4. The resolution is lower than 8K or what RED offers. The sensor size is smaller than the current state of the art larger format cameras like the 4K 10bit GFX 100. The dynamic range is no better than the sensor in a $2000 mirrorless camera. The S1H is $12,000 cheaper and good enough for a top-end Netflix show, in terms of the image. The Fuji GFX 100 has still a very powerful processor and 10bit codec in a much smaller body with great battery life. So forgive me if I don't jump up and down in excitement and rush out to spend $16k on the C500 II for creative reasons.

It's $16,000!
S1H arguably has the same image for $4k.

I pulled the trigger on the BM5 and decided i'll do a little review on it.
PROS
Very bright with a solid build quality. Colors are accurate and I love being able to load and store luts in the monitor. SDI + HDMI are also a bonus. Monitor comes with a few cables like a dtap and camera control. You will need to supply your own mounting hardware and batteries.
The False color is solid, no crazy latency issues either. The monitor is VERY sharp, so sharp you might need to dial it down. Depending on what your shooting you might not even need peaking as the perceived detail is enough to pull focus from.
I really enjoy the fact that you can do monochrome viewing + color peaking. Makes manual focus very easy. 
Use NPF/Sony L batteries = cheap and very abundant. 
CONS
There are some things that irk me about the monitor. For instance you have toggle through every view mode when using the waveform. (I only want to use the view mode when it takes up a smaller portion in the corner of the screen.)
With the focus peaking it will put the color edges around your camera screen icons which is annoying. I don't remember either of my SmallHDs doing that.
The Zebra setting has numerical values that make no sense, its not the typical 0 - 109 IRE.
The fan when set to high is pretty loud but that's to be expected with a 5 inch monitor that's 2200 nits! I leave mine set to medium speed usually.
The UI as a whole sucks compared to SmallHD's, its slower and not as intuitive. This is by far the biggest pitfall of the monitor and what keeps it from be a 5 star product.
I use it with my FS5 and A7iii. Its a fantastic monitor for outdoor viewing with the 2200 Nits. I shoot sports outdoors and a lot times under the mid day sun and I haven't had any viewing issues with it. With the FS5 I use batteries with a dtap port so I don't have to use extra NPF batteries on the back of the unit.
CONCLUSION 
Overall a very good value for $500, a good alternative if you want something more rugged than an Atomos Shinobi/Smallhd FOCUS but think the SmallHD 502B/503 ultrabright are to expensive. 

I used Premiere Pro for 5 years, recently had the chance to try Final Cut Pro X this year at school.
Even though I hate Apple I gave it a fair chance. Safe to say i'll be sticking with Resolve Studio.