Video Hummus

Well ARRI already have the 4.5K LF & the 6K Alexa65. So to me that statement was already made a while ago.
Well technically they all needed to be above 4K as their Netflix original content minimum requirements.
This is why so many Netflix DPs dropped the Alexa for RED/Venice. Changed the whole game.
There are real benefits to higher resolution too.
Now wether or not this matters to you the end user watching a show on your 7" iPad is a different story.
 
You're always trying to pigeonhole people in two categories it seems. Very black & white logic. 
Higher resolution is simply an inevitable reality. Tech moves forward. So do requirements. 
That doesn't mean you are directly concerned or that non +4K footage has become obsolete.
Cinema is still 2K, terrestrial FHD and everything goes on the internet..

Ironically almost none of those examples were shot on ARRI cameras:
Sabrina - RED Helium
Sex Education - Sony Venice
Witcher - RED Monstro / Alexa LF
Squid Game - RED Monstro
Bridgerton - Sony Venice
The Crown - Sony Venice
Mindhunter - RED Helium
All high above 4K resolution cameras. 
So perhaps we can conclude 6K/8K high resolution capture does not necessarily equate to over sharp/clean footage. And that great IQ results can be achieved outside of the ARRI CS realm.
Maybe the key to that million-dollar budget Netflix show aesthetics evoked here isn't about ARRI color science at all but rather the incredible top budget cine glass from Cooke, Zeiss, Panavision, Arri, Leica, Angenieux etc. Without even getting into staging/lighting and post/grading skills.
Just some food for thought..

Z9 sounds great.. if you can afford it.. own Nikon glass.. and manage to get a hold of one before hell freezes over!
The best thing about RF mount.. is adapting EF glass lol. Added benefit if you use the Vari-ND adapter or speed booster on C70.
Also 10-bit codec & 8K RAW plays very nice in Resolve on M1 Macs.
That said I totally get feeling burned with Canon, especially R5. 
I do own an R6 that also technically overheats but I manage to work around it and it cost me less than half an R5.
It was always a stopgap and now thinking of replacing it with R5C & maybe C70 down the line.
My other main system is Sony but none of the latest alpha/FX cameras interest me at all enough to upgrade.

Tough crowd to please that's for sure!
I think some of us need to just recognize we’re a diverse group of people here with different requirements/priorities and invested in different camera systems. 
If creativity is in limitations, fine. But then let's not complain about lack of IBIS. When there's a will there's a way right?
Bottom line is that pros get the job done, with the best tools they can afford. It’s often more enthusiast that obsess with comparing specs, charts, pixel peeping footage etc.
If anything 10-bit 4:2:2 & RAW allow much greater creativity in post. I never see those codecs as crutches for poor exposure or WB.
8K nobody is forcing it on you. Camera also does 6K/4K/3K. It can certainly have its uses though, from cropping, reframing to extracting stills. Does that make one lazy? I don’t think so, just opens up more alleys in post. 

So why don't you have one and are shooting on one? Sounds like your perfect camera!
You sure about that? It's all about the aesthetic and emotion. What if the client watches the corporate talking head video on their 30 seat private theater instead of on their laptop on YouTube?
That dude wasn't describing a videographer. He was describing someone that doesn't know how to use a camera.

Lol... and what other hybrid camera's CS better competes with the $36K Alexa Mini or $150,000 Alexa 65?
You have to be somewhat realistic in your expectations.
I also feel your judgement is clouded by comparing Canon footage shot with a kit lens and a quick grade vs Hollywood movie shot on $30K cine primes and professionally graded by a pro colorist.
When you take the same lens and apply a simple primary grade the difference isn't as big as you may think.
 
This actually means a lot coming from an actual ARRI Alexa owner.
Sorry, but that's such a backwards way of looking at things.

Sorry to hear this. Seems like one of these:
https://www.bhphotovideo.com/c/product/1348544-REG/ruggard_edc_50l_electronic_dry_cabinet_50l.html/overview
Would be a good investment for collector lenses or equipment. I'm sure you could make something yourself for like $10.

Exactly, jesus the amount of pedantic rehashing of bullshit that goes on in this forum.
We all know Andrew will have nothing nice to say about any Canon camera or any camera from any company that has slighted him in the past. Thats fine. Opinions and morals and all.
No one on this forum is shooting Oscar level cinema of any kind and if they are they aren't arguing over who needs 8K from a $4.5K entry level cinema camera from Canon debating over screen grabs of a YT video. Hardly anybody is using parfocal cinema zooms to shoot weddings and get the "pure" zoom or punch in. If you are, please stand up so we can applaud you for your dedication to purity.
 

Right but don't take as a resolution example that re-graded screenshot from a 4K graded compressed YT image.
The crop and grading possibilities from actual RAW 8K footage is on a complete other level!
Again those are just screenshots from a 4K YT video.. wasn't really trying to make an argument for 8K there, just a regrade for fun..
Netflix is where it's moving tech wise and their requirements are +4K with most popular shows/films shot on RED (Monstro/Helium/Weapon) 8K, Venice 6K & Alexa 65.
Hollywood cinema has much lower requirements as the majority of theatres still use 2K projection hence Alexa's long withstanding popularity.

Maybe I'm alone here but I totally embrace 8K. Can think of quite a few practical uses for it. If you don't need it you always got oversampled 6K/4K.
That 8K50p RAW is something else. I've been working with (R5) 8K RAW footage recently and I'm loving it. It's that same effect of going 4K from FHD. It can't be unseen (even though I'm on a 5K monitor) and now regular non-oversampled 4K almost feels too soft. 
The really nice thing about R5C is you can jump from 8K/6K/4K/3K in all codecs with FF/S35/S16 crop factors. 
That just gives you so many options. Slashcam article also reveals 4K60p is no longer line skipping and 4K120p also takes a leap forward in IQ.
I'm really starting to warm up to this camera, I was all set on C70 but I'm sort of GASing harder for R5C now.
Couple grades from that video just for fun.. (model deserved better)
 
 

Z9 & R3 are indeed the current flagships at D6/1DX3 equivalent prices.

 
..very nice specs on both but again on video side, you're not going to get WFM, false color, LUT support, dual ISO, time code, magnify during record etc. These are very important cine features imo.
That is where R5C beats both, for much cheaper. But yeah no IBIS or instant photo/video switching.
So yeah, there is no perfect hybrid. Always a compromise somewhere!

I think this is the way to go. MFT will always kinda suck in lowlight. Would much rather have expanded dynamic range.

I think this is the way to go. MFT will always kinda suck in lowlight. Would much rather have expanded dynamic range.

You could rent an R5C and a lens and try it out.
Look at the wobble.

You could rent an R5C and a lens and try it out.
Look at the wobble.

Not sure what you mean. I don't see a correlation in between resolution and sensor size.
What computer specs and Resolve version are you on? Because I can tell you that on a cheap $999 M1 MacBook Air, I can drag and drop an 8K Canon RAW file in Resolve 17.3 (which is optimised for M1 Macs) on a 4K timeline, do some tweaks, add some LUTs and I get 100% playback with zero dropped frames. That's on the most entry-level Mac you can buy today.
 
 

I'm sure they will all change their toon when Fuji releases their next MF camera and lenses and they need to "review" it. I'm sure Chris will say. something like: "...and you get that unique medium format look...".
Don't watch the marketing monkeys.

I'm sure they will all change their toon when Fuji releases their next MF camera and lenses and they need to "review" it. I'm sure Chris will say. something like: "...and you get that unique medium format look...".
Don't watch the marketing monkeys.

I guess I’m just looking at it as a sum of its parts. As I see it OIS is already achieving its maximum benefits with very tiny incremental improvements (you can only move the glass around in the barrel of the lens so much). Same with IBIS. The sensor can only shift so much. Digital IS is all done in software. It can use feedback from gyro, accelerometers, OIS, and IBIS to achieve better results, limit the crop, limit the wobble, etc…
I love IBIS. I’m not particularly bothered with it missing in the R5C because canon already has excellent lens OIS and I use native RF glass handheld. Digital IS helps a bit and is one button click away to disable. You can’t truly disable IBIS the way it is implemented in current cameras. There are no mechanical locks in place and a magnetic lock will still wobble with the kinds of magnets and power draw limits in cameras.
So each their own. 

Cheers.

No camera is perfect. I think this is certainly a better effort than what Sony did with the FX3. There is Cinema RAW in there at roughly 3:1, 6:1, and 10:1 compression. There is DPAF v2 with object, face, head, eye detection. Oversampled 4K from 8K up to 60p. 8K60p RAW is there but with need of external PD power via USB-C (not ideal but it is there).
The R5C is an imperfect step forward but one in the right direction imho. It’s a proper cinema camera in a Large mirrorless form factor. The FX3 doesn’t even have shutter angle for fucks sake let alone false color. So here we are: the non-overheating R5 everybody wanted WITH full fledge EOS Cinema mode and people are still not happy.
Perhaps it’s the S1H people wanted without the garbage AF?…With internal RAW to boot and even better exposure tools? No IBIS but I’ll take that over out of focus footage or being stuck to MF for everything.
I’m excited. Let’s see what Sony does. Let’s see if Nikon can actually pull it off with Z6/7 mark 3. MF cinema from Fuji? PDAf from panasonic? Hell will freeze over but we can dream right?

But there is only OIS + digital stabilization so IT's clearly a piece of shit camera!
I'm not a brand fanboy but sometimes people just like to hate. I loved my Panasonic MFT cameras, but they sat on their asses for too long so I moved on. Canon is clearly upping their game. It's a good thing. Maybe Sony will finally put shutter angle in their FX3 camera.
 

Then use one of the 30 other bitrates the camera offers including some in 8K HEVC! Not that hard. Use the 8K RAW when it benefits you. Use the more compressed formates when storage space is a concern. It's not like this cameras has 3 bitrates options to choose from.
Yes trade offs for each system. I think you underestimate the sophistication of gyro and image processing but with regards to practical applications you are going to be using a stabilizer of some kind anyway. 

I think the EIS is linked to AF or a combination of things because you can have a the camera on a tripod and get it to jump suddenly. I think it is a bug with the current implementation. Also, in one of the interviews Canon Rep mentioned the EIS is using gyro in the camera. I wonder if we will be seeing future firmware updates to improve its effectiveness?

In the ProAV video the stationary handheld OIS + Digital IS versus IBIS and the results for the digital was just as good if not better without weird warping corners which you would have to crop to get rid of anyway.
I'm not saying Digital IS is going to completely replace IBIS. They each have their trade offs and IMHO optical IS + Digital IS seems to offer less artifacts at wider focal lengths than IBIS can in video. Until we have IBIS mechanisms that can be completely lock down then there will be a market for both. IBIS is clearly beneficial but its not going to suddenly make your camera into a gimbal stabilized beast, not yet anyway.