Super8

I understand and fully share your concern. But:
  
I just don't like to see anonymous aliases to amuse themselves to bash Canon. This is not helpful. One thing is fair criticism, the other one is without previous experience with a tool starting to guess about it. If I'd have a crystal ball I'd be billionaire.
I am not engineer but I can fairly guess Tilta has high qualified engineers to design their products. They are a trustful provider. If they announce something, I'd delude myself if I would listen naysayers rather than people who help my craft.
Moreover, no one is expecting a miraculous solution. This is not all about that. And I see people without the necessary filmmaking experience in certain styles/segments of our craft to negatively/improperly infer this R5/R6 or this or that workaround won't work out. WOW Without ever testing it!
This naysayerism is absolutely inaccurate and counterproductive.
 
 

Of course.  I agree with your breakdown of Canon's tempstatus. property.   What's being reported is the R5 is not overheating by temperature but being controlled by Canon's cripple hammer software that shuts down the camera based on record times so that they protect their cine line-up.

Of course.  I agree with your breakdown of Canon's tempstatus. property.   What's being reported is the R5 is not overheating by temperature but being controlled by Canon's cripple hammer software that shuts down the camera based on record times so that they protect their cine line-up.

My beloved Canon 5dmk 3 was stolen in January, and I held on to the insurance money to see what new cameras would come out by the time I started getting regular gigs again (winter in Canada is always slow, and then we had a pandemic).  I use a Sony a7iii as my main workhorse, with all Nikon lenses adapted to ef (and then ef-e for Sony) but the Canon was a wonderful B-Cam, or A-Cam when I had the time to use Magic Lantern. 
Everything Canon has made since the 5d3 has been a huge step backwards (first losing ML in the 5d4 and then the ridiculous 4k crop in that and the R).  Now it looks like the R5 is too risky to be used professionally, so I won't be buying it either, and that saddens me as the specs looked beautiful and I know that with a heatsink it could have really performed better than any other camera.  But I just can't risk it overheating, especially with those ghastly recovery times.

Sony's new camera will still have the severe flaw that has plagued them for ten years now: unchangeable file names.  In a multi-cam situation it is incredibly easy to make major mistakes, and that problem is compounded when you add proxies to your workflow.  Also, B&H says they won't begin shipping the a7siii until late September, so we're looking at waiting until at least October for that camera anyways.

The Panasonic S1H is great (a friend of mine uses it) but would be a huge investment not only in body costs, but also for lenses (L-Mount adapters cost way too much).

So given all of that, I recently rented the Nikon z6, and found it to be pretty equal to the Sony a7iii for video, minus a couple cool but unnecessary features (digital zoom, in-body proxies), and absolutely fabulous for photography (see photos below).  It's a solid professional, dependable camera that's about half the price of the Panasonic S1H, so I'm going to buy it tomorrow.  Using Andrew Reid's Z-Log on the Nikon and his Pro Log on the Sony matched perfectly for video.  Maybe in 5 years I'll give Canon's next camera a chance, but no professional can work with a camera that can brick at any moment, and then stay cooked for the rest of the day.

Nikon is hardly drunk and passed out.  They produced a better camera than anything Sony has released so far (the A7S3 is not out yet).  This tells you how far Sony brainwash has seeped into the cine world.  You can't argue AF / No AF or BM IR pollution / color science and then give Sony a free pass on everything above.  People talk about Nikon full sensor read out Pro Res RAW external and get caught up in line skip binning / recording to Atomos or whatever but then Sony gets a pass on external RAW. We talk about image quality, color science and Sony gets a pass. You can't always fix Sony color, in fact you can't fix Sony color.  Sony does not produce a NR FREE, sharpened FREE cinematic moving image.  Sony does great PR and marketing and this is evident in the You Tube producers that we dismiss but now look to for reassurance that the Sony A7S3 is better than the Canon R5 because it records longer before over heating.  Everyone has forgot the R5 does 8K RAW internally.  At the end of the day the best produced image wins. 

How many cameras disguised heat issues with recording limits or recording externally.   If Canon can give 30min solid record times with quick recovery times then no one should have an issue with the R5.

Agree. The z6 is nearly this. But the af is totally amateurish, as is the codec. 
Add to your list 15ms readout.  (And 13.5 stops dynamic range in stills minimum)
 
 

Nikon is hardly drunk and passed out.  They produced a better camera than anything Sony has released so far (the A7S3 is not out yet).  This tells you how far Sony brainwash has seeped into the cine world.  You can't argue AF / No AF or BM IR pollution / color science and then give Sony a free pass on everything above.  People talk about Nikon full sensor read out Pro Res RAW external and get caught up in line skip binning / recording to Atomos or whatever but then Sony gets a pass on external RAW. We talk about image quality, color science and Sony gets a pass. You can't always fix Sony color, in fact you can't fix Sony color.  Sony does not produce a NR FREE, sharpened FREE cinematic moving image.  Sony does great PR and marketing and this is evident in the You Tube producers that we dismiss but now look to for reassurance that the Sony A7S3 is better than the Canon R5 because it records longer before over heating.  Everyone has forgot the R5 does 8K RAW internally.  At the end of the day the best produced image wins. 

Nikon is hardly drunk and passed out.  They produced a better camera than anything Sony has released so far (the A7S3 is not out yet).  This tells you how far Sony brainwash has seeped into the cine world.  You can't argue AF / No AF or BM IR pollution / color science and then give Sony a free pass on everything above.  People talk about Nikon full sensor read out Pro Res RAW external and get caught up in line skip binning / recording to Atomos or whatever but then Sony gets a pass on external RAW. We talk about image quality, color science and Sony gets a pass. You can't always fix Sony color, in fact you can't fix Sony color.  Sony does not produce a NR FREE, sharpened FREE cinematic moving image.  Sony does great PR and marketing and this is evident in the You Tube producers that we dismiss but now look to for reassurance that the Sony A7S3 is better than the Canon R5 because it records longer before over heating.  Everyone has forgot the R5 does 8K RAW internally.  At the end of the day the best produced image wins. 

Must have been tough for you 7 years ago lol. 
The other cameras aren't for you then. You need a camera that does a job. That's fine too. Im sure the sony will be great for that. Just let's not delude ourselves here into thinking the sony creates anything but a generic and boring image that will be seen all over youtube. That is fine for most who do not care about cinematography or art. Sharp 120p is more important for your purposes. 

If fits your expertise, your content will be the variable. Everything else, secondary. Your standard can and should take in consideration their approved cameras list if you'll work directly from a budget raised with their own money. Otherwise, if they will take your content, they don't give a damn what camera you shot your product with.
Netflix or anyone else.
Even BBC I'd say, the most complicated people because of their technical & engineering staff reputation. They push a bit their envelope further but not enough to veto your content unless you messed up around the whole thing. But then, you're in trouble from scratch : D
Craft is key.
 
I'll give you an example:
As producer, I would trust on Dennis @deezid and hire him. He would tell me the camera he would like to shoot and work with, just in the case the producer or director hadn't proposed him a camera system and workflow to begin with. Well, if our budget wouldn't tell to all of us in advance... LOL
That is, the level of expertise : )
 
In a line... that's all about that: content (1).
Two lines? It is surely supposed your craft (2) won't fail.
Cameras are non-primary.

It's called being prepared.   If you shoot new original content for a Netflix pitch and you use the A7SIII you'll look like an idiot when they ask for production specs.  Netflix camera list is a form of quality control so Netflix doesn't look like You Tube.

Watch Mark Holtze video.  You can adapt glass to the S1H.  Also being Netflix approved makes the S1H a cine camera.  Yeah it's hard to figure out because it is a hybrid but don't slag the facts about the camera.   Also, if productions have the money they'll use what the DP prefers. 
A buddy was on a Ace Hardware shoot and you wouldn't believe how much wasted money they spend on a 5 day shoot.  They spent close to a million on traditional a tv commercial.

I think you think you're talking to a Sony user... you're not.  I am not going to buy the A7sIII.  I never made that quote about H265 either.
I prefer the Canon image BTW.

The level of hate towards Canon and Canon fans is astoundingly obvious with you.    This is my issue with the negative hit piece articles and people making it their life goal to hurt Canon sales.   I understand giving fair warning about Canon overheating issues but to push Sony color, bad NR and the S1H think color look over what Canon offers is weak. 
The S1H seems like the files are thin, the color is thin and lacking real depth.  This is apparent with S1H - RAW to Atomos samples.  You have more detail, better color depth and a color shift to normal with S1H Pro Res RAW footage.  It seems like the S1H is wrapped up in spec only like the Gh5.  Isn't the S1H sensor the same as the S1 and Z6?  I have no clue how it's Netflix approved.

You can turn down the sharpening on the Z6.  It depends on what mode you shoot with but you can turn it all the way down.
Yeah the "Z6 DR is lacking" comments are coming out of no where over the last 3 days.

You can turn down the sharpening on the Z6.  It depends on what mode you shoot with but you can turn it all the way down.
Yeah the "Z6 DR is lacking" comments are coming out of no where over the last 3 days.

Why is Canon being given a harder time about over heating compared to Sony overheating and color issues?  This does not seem fair and not sure why the mob mentality has taken over? 
Nikon got crushed for 1 card slot,  Panasonic for bad AF,  Canon for the cripple hammer but Sony gets a pass for overheating in the sun and bad color science that needs profiles and Resolve to fix?
I need to buy a camera for an up coming Neflix pitch.   I would love to get the S1H and be done with it.  My only concern with the S1H is color depth.

Recall and Out of Stock notices are not the same.  Rumors are rumors.   Sounds like it's more of a image marketing issue that Canon knows they can't win with negative doom and gloom You Tubers. 
Has anyone tested or released a street production model?  
Canon is a big enough company to have 3 different part options for everything in the R5.  Going with top of the line composites is not always the case.   Canon engineers have this covered.  Look what happened with Nikon Z6 and sending the camera in for an upgrade to record Pro Res RAW externally?  

Recall and Out of Stock notices are not the same.  Rumors are rumors.   Sounds like it's more of a image marketing issue that Canon knows they can't win with negative doom and gloom You Tubers. 
Has anyone tested or released a street production model?  
Canon is a big enough company to have 3 different part options for everything in the R5.  Going with top of the line composites is not always the case.   Canon engineers have this covered.  Look what happened with Nikon Z6 and sending the camera in for an upgrade to record Pro Res RAW externally?  

Why is Canon being given a harder time about over heating compared to Sony overheating and color issues?  This does not seem fair and not sure why the mob mentality has taken over? 
Nikon got crushed for 1 card slot,  Panasonic for bad AF,  Canon for the cripple hammer but Sony gets a pass for overheating in the sun and bad color science that needs profiles and Resolve to fix?
I need to buy a camera for an up coming Neflix pitch.   I would love to get the S1H and be done with it.  My only concern with the S1H is color depth.

Love Canon outcome, no match anywhere else to my eyes and taste...
The more I watch Canon stuff the more I realize I am condemned to spend €3285 in USD for one unit, that is, if I will find where to get supply for soon : ) Just sold.

I was able to smoothly play the Canon R5 4K120FPS footage within DR using both a 1080P timeline and a 4K timeline.  The caveat there is that it stuttered at the very beginning then it played smoothly, I'm not sure if behind the scenes DR was cheating a bit and doing some sort of caching; but my system actually surprised me, it played smoother than some of my GoPro and Drone footage.
 
I tested the footage on both a 1080P timeline and a 4K timeline and playback was still smooth. My system is an HP Z4 with Windows 10, Core i9 14 core CPU, a RTX 2080TI video card, Davinci Resolve Studio, 64GB of memory, and NVME RAID array for the project drive.  I haven't tested the Sony footage yet because it is still downloading, I wish they had broken it up into individual files so that I could download just one.
 
One thing that I couldn't tell from the YouTube videos is if they were using DR Studio or the free version, you don't get HW acceleration in the free version.  My build is probably around $6K so well below the $15K MAC system in the video. So I went a step further and color graded the clip and DR was still smooth. I do feel like it was at the edge of what it could handle, and would probably require proxies for any kind of real work with this footage.
 
Another annoying thing is you will definitely need proxies if you want to do any kind of speed ramping with the footage, when I tried to bring it up to normal playback speed it was unusable.
 

Are Sony's Cine engineers not allowed to work with the mirror-less department? 
It's clear Sony can't get low cine color correct.  If you look at all camera brands you'll see color science that moves down through generational product lines.   That's why you hear Nikon color or Canon color or Fuji color talked about.  
You never see brands change their color science around.  It is subjective but it also comes down to over all color science, iso shift and shadow color hue and depth or the lack of the latter two. 
OMG that color is not good at all.  
 
 
 
Word.  You might want to be concerned about the color from this camera.

One or two pictures don't tell the story of color science does it?  It means they liked color in those two pictures.
I judge color with my eyes.  It's easy to do. 
Now making excuses for color that you see with your eyes is what Sony users do.