SteveV4D

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.
 

This seems like a nice addition to Canon’s R series but i have to agree with Andrew that many things here do seem quite wrong. At least according to my own needs i can’t see this camera fitting any shooting scenario.
It seems like a camera that was designed to work like a RED Monstro but only for 20 minutes per session. I can’t imagine a shooting session where 8K DCI recording is needed but overheating is not an issue at all.
In hotter environments (and our planet has become quite hot lately) this translates to roughly 10 minutes of shooting. And we are talking about a combo that costs over 7.000 bucks if you count in a native lens plus some CFexpress cards. This feels like an OM Magic Lantern implementation to me (yep i have taken that route too).
I can’t blame Canon for trying to deliver a nice prosumer camera but i feel that this Full Frame - Infinite K madness is leading the industry away from our actual needs. There is more than enough tech around for any company to build a nice APSC camera with proper AF, IBIS, 4K DCI, decent autonomy and nice ergonomics. Who needs more in this price range (2000-4000$) after all?

The ability to match the color easily and swap the lenses is more important than the bit depth, and I'm someone who is obsessed with bit depth.

Recently was shooting a short and needed a gimbal shot to match my Sony F3, I shot on a friends A7s instead of the Z6 because of the ease of matching the two, because I knew the editor wasn't going to do an intense grade in post.

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. 😄

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. 😄

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. 😄

"Little issues"
Is it just me or does the information I posted on the blog post indicate a complete show-stopper of an issue?
Even a music video shoot can take for hours where the camera is constantly turned on. One take after another. I can see the overheating problem happening then too, about an hour into the shoot if the camera has been busy, and not just in 8K. The oversampled 4K and 4K/60p are a problem too.
The heat build up from multiple short clips will most likely be similar to the continuous recording issue.
It was with the A6300.
So I'd highly recommend seeing if it is up to the job before committing to it and selling RED gear.
You'd expect for £4000 the Canon would provide a bullet proof professional 4K camera - it's what we expect.
But it seems they forgot the bulletproof bit this time.
Bit of a u-turn hey?
This time it's the Canon Cripple Flamethrower!
FEEL THE HEAT

I mean...sigh...this is not the end of the world, I guess. You "CAN" still use the R5 for events if you plan it carefully.
Stage play - Use 2 R5's and start one 10 min later than the other. This allows one to force time stop before the other. Then just stager the record start/stops back and forth between them.
Your kids school singing play - Time your record stop when some other kid is singing to as to make sure your time is rationed in favor of your kids performance.
Wedding - Plan in advance with the priest. Setup a hand signal to let him know you are stopping. This triggers him to tell the audience...."we will now have a moment of silence for the bride and groom"...assuming the room is not hot, you can stop/start again without missing anything.
See?....the R5 "IS" doable if you PLAN your work and RATION your time wisely.
CT

Nitpicking?
Don't shoot the messenger!
It's hardly nitpicking if the camera goes off in the middle of a shoot is it?
What happens if you lose a shot and have to down tools for 10 minutes, and then can only go for a few minutes more before the same happens again?
How in any way is that fit for purpose professionally or for paid work?
And for live stuff, documentaries, interviews, it's a complete no-go, even in 4K.
I'd much rather have a fan in there like the Panasonic S1H and know it is fit for paid work, or even Netflix.
Can you imagine the EOS R5 getting Netflix approval, only for the entire production to be downed countless times in one session due to the overheating problems?

It's specs are obviously impressive, but what do specs matter if the camera is functionally limited? If you constantly need to give the camera a break to use these "groundbreaking" features, how is that practical?
Innovation is great, but it should be fully realized, not half baked and just thrown out there because you're trying to undermine the competition. 
I hope once we are able to really see this camera in action that it exceeds expectations. 

Rolling shutter isn't a single figure, but a range that goes from good to bad to awful.  How it sits compared to others will and should be judged.
As for whether is makes sense to everyone being irrelevant, er no.  Its very relevant.  And we are not talking about making sense.  We are talking about a tool that has features that are useful to video shooting and issues that could potentially affect video shooting.  This is relevant.  
An incredible piece of technology is in no doubt.  A good price is down to where you buy it and how important the camera could be for your work.  
The hype is also in no doubt.  Some of us would like to look beyond the hype. 😉

Rolling shutter isn't a single figure, but a range that goes from good to bad to awful.  How it sits compared to others will and should be judged.
As for whether is makes sense to everyone being irrelevant, er no.  Its very relevant.  And we are not talking about making sense.  We are talking about a tool that has features that are useful to video shooting and issues that could potentially affect video shooting.  This is relevant.  
An incredible piece of technology is in no doubt.  A good price is down to where you buy it and how important the camera could be for your work.  
The hype is also in no doubt.  Some of us would like to look beyond the hype. 😉

Sounds like this camera would turn them into an omelette if they did.
 

Well it’s all interesting...but that is as far as I am going to go right now. And until Spring 2021.
This year has been shit for work and if the remaining jobs go ahead, it’s still only max 25% turnover.
This is the biggest decision maker at this time but for now, XT3 is all I can afford and need.
The lack of both a dedicated stills/video switch is not so great for the hybrid wedding shooter and nor is the (lack of) ability to write video to the second card, both of which the XT4 can do.
So I am going to sit on my backside, watch with interest what Sony bring out, see if Panny bring the mythical GH6 into being and my prime interest, see if Fuji can bring an XH2 to market by April latest next year.
Plus the real world samples, tests and reviews of course.

Questions that come to mind are the obvious, and a few not so obvious.
What is the future of the GH line and MFT?  Will there be a GH6, and if so, when?
Will Panasoninc implement RAW in their cameras?
Will we ever get great AF in their cameras?
How will they respond to the R5 and the upcoming Sony A7S II successor?
Why does the GH5 require a paid upgrade to receive vLog, when a much cheaper camera like the G100 gets it for free?
Will possible future cameras like the GH6 and S2 require paid updates for extra functions?  What is the criteria in selecting what is a paid upgrade and what is free.  Given for example Blackmagic gave users a free upgrade for BRAW.  
How does Panasonic feel the loss of Olympus affect their investment in MFT?
 

Questions that come to mind are the obvious, and a few not so obvious.
What is the future of the GH line and MFT?  Will there be a GH6, and if so, when?
Will Panasoninc implement RAW in their cameras?
Will we ever get great AF in their cameras?
How will they respond to the R5 and the upcoming Sony A7S II successor?
Why does the GH5 require a paid upgrade to receive vLog, when a much cheaper camera like the G100 gets it for free?
Will possible future cameras like the GH6 and S2 require paid updates for extra functions?  What is the criteria in selecting what is a paid upgrade and what is free.  Given for example Blackmagic gave users a free upgrade for BRAW.  
How does Panasonic feel the loss of Olympus affect their investment in MFT?
 

Why aren't DCI 4k (Cinema 4k) and true 24 fps standard on all Lumix cameras?
Is it technically possible to have 48 fps outside of the High Frame Rate setting? Is this something that can be implemented via a firmware update?
What are some of the barriers engineers could potentially face bringing 8k technology to the Micro Four-Thirds format?

Congratulate them on making the first ever hybrid camera with a built in Timecode input! (the GH4 with its ugly YAGH doesn't count)

This was the GH5S, although it wasn't implemented quite perfectly. (as the GH5S needs to constantly recheck the current TC input for every new file started, not just do it once then the user needing to manually redo it. As this been fixed yet via firmware?? Or was it strangely a hardware issue??)

Hope the next GH6/S1mk2/G9mk2/etc also have timecode input support! (and done right too, not like the GH5S was at launch)

Has Panasonic thought about working with companies like Timecode Systems Ltd or Tentacle Sync so that their cameras can have frame accurate timecode over bluetooth? Definitely many ultra-compact handheld shooters would appreciate having less AKS/cables on their camera. (and instead a Tentacle Sync E or a Timecode Systems UltraSync BLUE could be kept in their pocket)

And on the topic of keeping things super small and compact, with a speedy setup, when will their mirrorless cameras get built in NDs? (at least 3 stages please! Or eND if possible) If their video focused bodies such as the GH5S/S1H had to drop their mechanical shutter so as to fit in NDs into the body, then most us would be perfectly fine with that compromise of no mechanical shutter. 

Also congratulate Panasonic on keeping the Panasonic DMW-XLR1  for the GH5 compatible as well with the GH5S/S1/S1R/S1H (the G9 didn't work with the DMW-XLR1 at launch, did a later firmware update fix that?). Ask Panasonic if they're planning on keeping the Panasonic DMW-XLR1 compatible with the future GH6/S1mk2/G9mk2/etc cameras as well? 

Lastly, the big question many of us want to know, is will Panasonic be releasing an EVA1 (or EVA2/EVA1mk2) with an L Mount or MFT Mount? Is sad that the Panasonic AF100 series was the last professional MFT video/cinema camera from Panasonic!

 
  
This!
  
Good questions. 
To give an example from the audio world, I was disappointingly saddened when Sound Devices had a change of tack with their product strategy, and started charging (very high!) prices for some firmware updates. 
  

Or when can we expect a "Varicam Mini"? (even if S35, that's fine)

As the Varicam LT is still a beasty big beast! A Varicam in the form factor of an Arri Mini (or even smaller!) would be interesting, and help support the Varicam LT/S35 lineup as well. (yes there is the EVA1 which can arguably serve the role of a "Varicam Mini", but it's not quite the same thing)

Has Panasonic’s plans for MFT changed or shifted direction with the news of Olympus selling its imaging division?
How does Panasonic plan to be competitive in the mirrorless market now that we are seeing the competition coming to market with more advanced mirrorless cameras and competing on features like advanced AF technologies,  10-bit 4:2:2, and internal RAW recording options?
Do they see advancements in  computational photography possibly breathing new life into their crop sensor cameras? If phones can do it why not mirrorless cameras?
Will we finally get full V-Log in a future GH camera that will help to unify the workflow and capture process across the LUMIX line?
Has Panasonic considered offering internal RAW and/or ProRes recording in its cinema flavored mirrorless cameras (GH5S, S1H) , even as a paid upgrade? A fairly large number of people would be happy to pay for the convenience if the price is right.
Panasonic has been the pioneer in bringing professional level features and capabilities to their mirrorless ILC cameras. What qualities or engineering strengths do you see helping push the LUMIX camera brand forward (especially since many competing cameras are all built around the same Sony sensor tech) in a very turbulent market?
By far, the number one complaint about LUMIX cameras is the autofocus performance. Panasonic’s DfD offers best in class contrast detection type focusing but it falls short of what people have come to expect from cameras using flavors of phase detection. How does Panasonic plan to stay competitive in the AF feature arena?
Anything exciting for LUMIX customers in the future that they want to talk a little bit about?

Questions that come to mind are the obvious, and a few not so obvious.
What is the future of the GH line and MFT?  Will there be a GH6, and if so, when?
Will Panasoninc implement RAW in their cameras?
Will we ever get great AF in their cameras?
How will they respond to the R5 and the upcoming Sony A7S II successor?
Why does the GH5 require a paid upgrade to receive vLog, when a much cheaper camera like the G100 gets it for free?
Will possible future cameras like the GH6 and S2 require paid updates for extra functions?  What is the criteria in selecting what is a paid upgrade and what is free.  Given for example Blackmagic gave users a free upgrade for BRAW.  
How does Panasonic feel the loss of Olympus affect their investment in MFT?
 

Questions that come to mind are the obvious, and a few not so obvious.
What is the future of the GH line and MFT?  Will there be a GH6, and if so, when?
Will Panasoninc implement RAW in their cameras?
Will we ever get great AF in their cameras?
How will they respond to the R5 and the upcoming Sony A7S II successor?
Why does the GH5 require a paid upgrade to receive vLog, when a much cheaper camera like the G100 gets it for free?
Will possible future cameras like the GH6 and S2 require paid updates for extra functions?  What is the criteria in selecting what is a paid upgrade and what is free.  Given for example Blackmagic gave users a free upgrade for BRAW.  
How does Panasonic feel the loss of Olympus affect their investment in MFT?
 

So yeah, another example of cutting and pasting, pretending it's his own 'inside info'.
Could be complete bullshit for all we know.
PS - on a lighter note, the GFX 100 with f/w 2.0 and 50mm F3.5 is reducing my will to buy the EOS R5 by a factor of a lot. Perfect AF, enormous epic look, and Fuji's colour science in 10bit is just... Cinema on a stick.

That's weird... I would have expected it to be out of focus then...
(Yes, I own an S1)

Actually I find it easy on the eye and reads better when browsing it on my phone, when compared to the old font.  Everyone's a critic these days.

Actually I find it easy on the eye and reads better when browsing it on my phone, when compared to the old font.  Everyone's a critic these days.