Vintage Jimothy

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
 
 

Skin tones look good to me. Even at iso 50,000 they look natural whereas previously there would be a strong yellow or green shift. Also that rolling shutter performance is incredible

Their MFT lenses work pretty well on Olympus cameras with PDAF. 

Had a play at local camera store where they have R5/R6 to play
The guy said R5 is the final production while their R6 is still pre-production one
My u3 card last 4 seconds on 8kIBP, on 4k50p ibp it is fine , guess u really need UHS-II for All-I or 8K IBP.
Auto focus is really good, can detect person's eye against the light (window) even though the person is really dark on the camera
IBIS on the 85 DS is much more smoother than the A7R4 we had with us. 
I can definitely fake a few gimbal/slider shot with the R5/R6 vs with my R. 
R6 with the 24-105 7.1 focus quite fast inside the shop at 7.1 aperture.
And after playing with 28-70 i m never gonna get this lens at all, it is just too heavy and big. The 70-200 2.8 RF is surprisingly light on the other hand.

Those are good points and helps us documentary/event people see that perspective. OTOH I'm not sure we have complete info on the camera. Is the thermal issue *only* when rolling or partially when it's powered up? Does it never happen when using an external recorder, or just not as quickly? I did a lot of narrative work last year and (like you) never rolled more than about 90 seconds. I see that point. But my old Sony A7R2 would partially heat up just from being powered on, which gave the heat buildup a "head start" when rolling commenced, making a shutdown happen faster. Is the R5 like that?
Also unknown is the cumulative heat buildup based on shooting duty cycle. Even if you never shoot a 30 min. interview, if you do numerous 2-min b-roll shots in hot weather, will the R5 hit the thermal limit?
More than the initial thermal time limit, the cooldown times seem troubling, esp. if hot ambient conditions amplify this.

I'm not here to put down anyone or defend my opinion.  
I'll post my work in due time.   I went to art college and work the same way as others on the EOS  in various fields of photography, videography and creative. 
We can all agree the R5 should not or cannot be used for long recording.

I never said stop the interview mid flow.
I said shoot with two cameras.   Lots of references for highly produced interviews shot with two cameras.  This keep the viewer interested in cutting to a different view during that 1-2 hour interview and I would hope you have great b-roll to work with also.  I might be wrong but I would think a 1 - 2 hour interview locked down, not cuts, would come out as a very dull interview.  
I perfectly understand that the R5 might not be for you. 
What do you shoot with now?  If money was no issue what camera would you use?
 

The S1H (that I personnally own) is weatherproofed and has a fan so it doesn't overheat. So Canon could have made this, but chose not to. 
And frankly even with this overheating "issue", I'm very interested in this camera, for 2 reasons : AF in video, and lens selection available (all RF + all EF lenses). 2 main problems with the Panasonic full frame cameras.

This thread is insane. All this over a chart without any actual tests.
I remember buying the a6300, a7s2 and a7r2 despite the internet overload about overheating, single card slots that no professional would ever use, 8-bit 4:2:0 video with blotchy zombie skin tones, crop on everything that's not 24p, only 4k30p and so on. I live in Florida and never had any issues despite using it on a gimbal all the time in the sun and shooting longer takes, it doesn't take much to swap batteries or turn the camera off when not in use, or not leav it sitting out in the sun all day. I took them to Africa on safari shooting thousands of frames and hours of video, also took them to Dubai, Egypt and Israel in August when it was upwards of 125f. Now we have a camera that shoots 8k raw, 4k120fps with amazing AF, class leading IBIS and can even shoot 45mp stills with bursts of 130 raw images or infinite jpegs if that's your thing, and its trash because you can't shoot an entire wedding in one take?
Wow.
Can't wait for the shitstorm with Sony's cripple hammer on the a7s3 and the pendulum to swing back to the R5/6 and how "I can work around the issues, its worth it for raw and 120p." This reads like a Sony Alpha rumors post.
LOL!

This is an excellent B-roll camera... If you want to record small file sizes and 8K resolutions.... what production are you even on??? Is the work you doing even worth it?
Get yourself a proper camera for that... you want a hybrid that does it all... get this... frick... all you need is an R6, right? Well this does that and more... so if you cannot afford to get memory cards.... and 20 min is too little... don’t look at this camera. Start looking at the R6. 
In my opinion, I would get this over R6 cause there is some future proofing on the camera itself... I pay one flat fee of $4000 and not worry about upgrading every 3 years (@ $2500 a pop). Use just 4K @ 60 (like most people here want) which it already has... and all you need to do is set it up in the menu... shoot... even docs can live with 1080p for now....When I need 8K in the future... I have it already... longer record times.... may be not, but in the future there would a C100 Mark 5 or 6 with that... and I can still use the R5 as a B-cam.

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. 
 

At least they readily admit the overheating unlike sony. 

While 20 mins overheating times in certain modes are a bummer and could be a problem for some people, I for one, am glad they took the “lets put the feature in” versus saying “heat limitations wouldn’t have allowed it” and released something less exciting or groundbreaking. They would haven been lambasted for it either way.
 It’s a lose-lose for them and they made the better decision here in my humble opinion.
Wether the headline is “R5 falls short: only offers 4K60p cropped” or “R5 has potential to overheat when recording 8K RAW(!) 4K120p(!), or oversampled 4K from 8K HQ mode(!). The later headline is forgivable!

The R5 will only overheat in 8K, 4K60p & 4K HQ. 
It shouldn't have any problems in regular 4K24p/30p.
Calling it unusable is a little extreme. What other hybrid camera can even approach these specs? 8K/4K120p FF no crop, DPAF2, RAW, 10-bit 4:2:2 internal.
Besides we've had 30mn recording limits for years due to EU laws. Hardly an issue for me personally..
That said, if Sony can do better, bring it on!

Clearly environmental factors play a role... Andrew K @5:06 says that over the three days he had with the R5,  the camera did not overheat.  
 

Incredible read. I got a good laugh when the author immediately referenced The 400 Blows and Yamanaka-san confirmed that it had been an influence on Sin-Sin, because that movie was the first thing that came to my mind after watching the short. 
Also, holy cow this short was originally set to debut at Cannes. I was already gushing over how great the short was compared to other company shorts made to promote a new camera in one of the other FP threads, but that little nugget of info speaks volumes as to how good it is compared to what else we typically see done to promote these types of cameras. 
Sigma hit a homerun with the cinematic qualities of the FP. While there's definitely a number of things they can do to improve for the next model, I'm very happy to see just how stellar a camera they made with the FP.

What bugs me especially about that video is that Caleb's actual review seems to be generally pretty positive and IMO fair when considering that a vast majority of his viewers won't need a full-blown CinemaDNG RAW workflow (though Caleb does suggest a rather straightforward and not particularly straining workflow with the RAW files in the review) and will likely be looking for an easier "Quality of Life" camera to use for their work. The issue is that video title is clickbait-y as hell and rejects the finer nuances of the pros and cons of his actual review. 
As far as I can tell without having had a chance to properly use one myself (yet), the thing with the Sigma FP is that it's basically a super cheap full frame cinema camera brain that also happens to be a very capable stills photography camera, unlike the Blackmagic Pocket 4K and 6K. It wasn't made with the intent of being super convenient across the board and inevitably that's going to turn away a lot of potential customers. We'll have to wait and see if Sigma will aim to make the FP's successor model more convenient in those Quality of Life ways. 
Also as an aside, it would absolutely behoove Sigma to release Sin-sin on Vimeo and soon. Obviously not many people use it, but it still gets some mileage (Matt Reeves used Vimeo to reveal the new Batsuit in a Costume Test footage earlier this year, for instance) and I think anyone wanting to watch the short with the intent of really examining how capable the FP is as an A-camera for a proper cinema production would want to see the footage in a format that presents as few artifacts caused by the site and compression as possible.

I think he's being a bit tongue and cheek! 
I like Caleb. I wish he didn't do the click bait titles, but he pretty much exclusively reviews cameras that he has bought.

I thought at first it was just Safari refusing to do 4K but yes it is only in 1080p. Wish there was a Vimeo-like site for high quality cinematic stuff, that actually worked.

Incredible all around.  I forgot to think about what camera it was filmed with.   The footage looks amazing.
 

'Sigma here and they should be congratulated for treating their customers like adults!'
Well said!

My review of the film:
https://www.eoshd.com/news/review-of-the-sigma-fp-4k-raw-film-sin-sin/

Stills from some past F3 projects, all with Leica R's and the 5" Video Assist. Such a remarkable camera: lovely to use, easy to grade, solid in low light, lots of dynamic range...for the money I paid, it's earned its keep 50 times over.
 
 

Incredible read. I got a good laugh when the author immediately referenced The 400 Blows and Yamanaka-san confirmed that it had been an influence on Sin-Sin, because that movie was the first thing that came to my mind after watching the short. 
Also, holy cow this short was originally set to debut at Cannes. I was already gushing over how great the short was compared to other company shorts made to promote a new camera in one of the other FP threads, but that little nugget of info speaks volumes as to how good it is compared to what else we typically see done to promote these types of cameras. 
Sigma hit a homerun with the cinematic qualities of the FP. While there's definitely a number of things they can do to improve for the next model, I'm very happy to see just how stellar a camera they made with the FP.

For me the 10bit CDNG is not obviously sharpened or extremely prone to moire and artefacts. Shooting at 25fps only.