rawshooter

Yes, in Egypt, right?

Yes, in Egypt, right?

Yes, in Egypt, right?

Yes, in Egypt, right?

I call you out as a fake and liar.
If you were a professional colorist, then you would know that in the age of RAW cameras, colors are what a colorist makes of them. A camera's out-of-the-box "color science" hardly matters to colorists if you work from 10bit/12bit Log or RAW; it only matters to quick turnaround-documentary and ENG video makers who rely on the camera's factory color profiles and do not have post-production colorists. 
Judging colors by YouTube videos, in highly compressed 8bit 4:2:0 Rec709, is ludicrous anyway. Any RAW cine camera today - even Blackmagic's $1200 Pocket 4K - covers more than the Rec709/sRGB color space. Difference in color gamut will only become visible in greater bit depths than 8bit, with better color subsampling than 4:2:0 and wider color spaces such as Aces, P3 and Rec2020.

I call you out as a fake and liar.
If you were a professional colorist, then you would know that in the age of RAW cameras, colors are what a colorist makes of them. A camera's out-of-the-box "color science" hardly matters to colorists if you work from 10bit/12bit Log or RAW; it only matters to quick turnaround-documentary and ENG video makers who rely on the camera's factory color profiles and do not have post-production colorists. 
Judging colors by YouTube videos, in highly compressed 8bit 4:2:0 Rec709, is ludicrous anyway. Any RAW cine camera today - even Blackmagic's $1200 Pocket 4K - covers more than the Rec709/sRGB color space. Difference in color gamut will only become visible in greater bit depths than 8bit, with better color subsampling than 4:2:0 and wider color spaces such as Aces, P3 and Rec2020.

I call you out as a fake and liar.
If you were a professional colorist, then you would know that in the age of RAW cameras, colors are what a colorist makes of them. A camera's out-of-the-box "color science" hardly matters to colorists if you work from 10bit/12bit Log or RAW; it only matters to quick turnaround-documentary and ENG video makers who rely on the camera's factory color profiles and do not have post-production colorists. 
Judging colors by YouTube videos, in highly compressed 8bit 4:2:0 Rec709, is ludicrous anyway. Any RAW cine camera today - even Blackmagic's $1200 Pocket 4K - covers more than the Rec709/sRGB color space. Difference in color gamut will only become visible in greater bit depths than 8bit, with better color subsampling than 4:2:0 and wider color spaces such as Aces, P3 and Rec2020.

Do not do it. We have the shadow flickering bug that affects only some cameras - so in case this needs to be fixed in hardware, you will be out of luck.
Besides, have you fully read the statement by Sigma? Any repair of a grey market camera does not only need to be paid out of your own pocket, but you'll also be charged $250 extra. That means that the money you saved will evaporate as soon as you need the camera to be serviced.

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

Do not do it. We have the shadow flickering bug that affects only some cameras - so in case this needs to be fixed in hardware, you will be out of luck.
Besides, have you fully read the statement by Sigma? Any repair of a grey market camera does not only need to be paid out of your own pocket, but you'll also be charged $250 extra. That means that the money you saved will evaporate as soon as you need the camera to be serviced.

@Devon, I am not Andrew, but a gray market camera simply boils down to a camera without warranty, so you're getting a discount for the risk of likely having to pay repairs or replacements out of your own pocket if your copy should be defective.
Postscript - Sigma very clearly states that their warranty does not include gray market cameras:
https://www.sigmaphoto.com/article/important-information-regarding-gray-market-sigma-products/
"As of January 1, 2017, any product that is not imported by Sigma Corporation of America or purchased from an unauthorized Sigma USA Dealer will not be serviced under warranty regardless of the service required. The Sigma Corporation of America Service department will service these products for a minimum $250 charge in addition to the required parts and labor charges at the owner's expense."

@Devon, I am not Andrew, but a gray market camera simply boils down to a camera without warranty, so you're getting a discount for the risk of likely having to pay repairs or replacements out of your own pocket if your copy should be defective.
Postscript - Sigma very clearly states that their warranty does not include gray market cameras:
https://www.sigmaphoto.com/article/important-information-regarding-gray-market-sigma-products/
"As of January 1, 2017, any product that is not imported by Sigma Corporation of America or purchased from an unauthorized Sigma USA Dealer will not be serviced under warranty regardless of the service required. The Sigma Corporation of America Service department will service these products for a minimum $250 charge in addition to the required parts and labor charges at the owner's expense."

There's one huge question mark: This camera has a 45 MP sensor - which even with the best and newest technology means a smaller pixel pitch, lower full-well capacity and more noise/worse low light/less dynamic range than a comparable 24 MP sensor. 
Canon's sensor tech now has a long history of rather dramatically trailing Sony's. (Just compare the 26 MP full frame sensor performance of the relatively new Canon EOS RP with Sony's 24 MP full frame sensor.)
So Canon needs to have suddenly caught up or even leapfrogged Sony if the R5's sensor should have a comparable dynamic range and low-light capabilities to the A7iii, the Panasonic S1/S1H, the Nikon R6, the Panasonic S1/S1H and the Sigma fp (all of which use the same Sony sensor or variants thereof). 
In the worst case, this will be a camera developed for (a) stills photographers and (b) the (cancelled) Tokyo Olympics with its Japanese 8K broadcast standard, with 8K resolution and high megapixel count having been given priority over real-world performance. Which would also help Canon sell its C100/C200/C300 camera range despite all...
Just sayin'. We can't really tell anything before the camera will be here and tested in the real world.

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.

For getting rid of the resolution loss caused by Bayer interpolation, you only need 144% more resolution on the sensor than in the final image. This is why Arri designed the original Alexa sensor with 2.8K resolution for 2K final delivery.
This conversely means that the Canon R5 won't deliver true 8K either - but actually "only" 5K optical resolution. For 4K delivery, 6K sensor resolution (i.e. the 24MP of the current, ubiquitous, run-of-the mill Sony full frame mirrorless camera sensor) is perfect.
Btw., still only very few films are mastered in 4K. What you mostly see in 4K cinemas are blow-ups from 2K. Even "Bad Boys for Life", the currently highest-grossing mainstream Hollywood blockbuster, was mastered in 2K and mostly shot with 2K cameras. And, believe it or not, even IMAX Digital projection is "only" 2K.

The question is: Who actually needs 8K? Sports broadcasters, nature documentarists - maybe. 
I think @Andrew Reid wrote here some time ago that we already have enough (or even too much) resolution with today's cameras when filmic images are the goal.
Beyond that, you're rather getting problems because you see every pimple on the face of your protagonist, because you can no longer film hand-held (since motion blur will kill your 8K resolution - it already kills 4K), because your 8K will only be visible with deep focus/depth of field (since shallow depth of field will blur out 90% of your 8K).
So in order to make actual use of 8K, you'll easily end up shooting boring, static, oversharp and flat video images like in the bad old camcorder days...
There's a reason why Arri never went beyond 2.8K on the Alexa's s35 sensors and even kept the full frame sensor of the Alexa LF at 4.4K (much less than even the 6K/24 MP prosumer Sony full frame sensors)...
So of whom did Canon think as the target buyer for this camera? "Us", or some journalists who need a hybrid camera to deliver both hi-res stills and 8K video to their employers?
Again, I don't wanna spoil anyone's enthusiasm, but just temper expectations before we get to see and test the real thing.

There's one huge question mark: This camera has a 45 MP sensor - which even with the best and newest technology means a smaller pixel pitch, lower full-well capacity and more noise/worse low light/less dynamic range than a comparable 24 MP sensor. 
Canon's sensor tech now has a long history of rather dramatically trailing Sony's. (Just compare the 26 MP full frame sensor performance of the relatively new Canon EOS RP with Sony's 24 MP full frame sensor.)
So Canon needs to have suddenly caught up or even leapfrogged Sony if the R5's sensor should have a comparable dynamic range and low-light capabilities to the A7iii, the Panasonic S1/S1H, the Nikon R6, the Panasonic S1/S1H and the Sigma fp (all of which use the same Sony sensor or variants thereof). 
In the worst case, this will be a camera developed for (a) stills photographers and (b) the (cancelled) Tokyo Olympics with its Japanese 8K broadcast standard, with 8K resolution and high megapixel count having been given priority over real-world performance. Which would also help Canon sell its C100/C200/C300 camera range despite all...
Just sayin'. We can't really tell anything before the camera will be here and tested in the real world.

There's one huge question mark: This camera has a 45 MP sensor - which even with the best and newest technology means a smaller pixel pitch, lower full-well capacity and more noise/worse low light/less dynamic range than a comparable 24 MP sensor. 
Canon's sensor tech now has a long history of rather dramatically trailing Sony's. (Just compare the 26 MP full frame sensor performance of the relatively new Canon EOS RP with Sony's 24 MP full frame sensor.)
So Canon needs to have suddenly caught up or even leapfrogged Sony if the R5's sensor should have a comparable dynamic range and low-light capabilities to the A7iii, the Panasonic S1/S1H, the Nikon R6, the Panasonic S1/S1H and the Sigma fp (all of which use the same Sony sensor or variants thereof). 
In the worst case, this will be a camera developed for (a) stills photographers and (b) the (cancelled) Tokyo Olympics with its Japanese 8K broadcast standard, with 8K resolution and high megapixel count having been given priority over real-world performance. Which would also help Canon sell its C100/C200/C300 camera range despite all...
Just sayin'. We can't really tell anything before the camera will be here and tested in the real world.

There's one huge question mark: This camera has a 45 MP sensor - which even with the best and newest technology means a smaller pixel pitch, lower full-well capacity and more noise/worse low light/less dynamic range than a comparable 24 MP sensor. 
Canon's sensor tech now has a long history of rather dramatically trailing Sony's. (Just compare the 26 MP full frame sensor performance of the relatively new Canon EOS RP with Sony's 24 MP full frame sensor.)
So Canon needs to have suddenly caught up or even leapfrogged Sony if the R5's sensor should have a comparable dynamic range and low-light capabilities to the A7iii, the Panasonic S1/S1H, the Nikon R6, the Panasonic S1/S1H and the Sigma fp (all of which use the same Sony sensor or variants thereof). 
In the worst case, this will be a camera developed for (a) stills photographers and (b) the (cancelled) Tokyo Olympics with its Japanese 8K broadcast standard, with 8K resolution and high megapixel count having been given priority over real-world performance. Which would also help Canon sell its C100/C200/C300 camera range despite all...
Just sayin'. We can't really tell anything before the camera will be here and tested in the real world.

Yes, just remove the two screws at the base of the hinge next to the battery and the whole door mechanism comes off.
And goes back on again.