techie

That works for long-term storage, but there are really two separate problems here. Transcoding R3D NE to H.265 solves the archive size. It does not solve the card capacity, ingest time, temporary disk space or transcoding time. A more efficient compromise might be to keep R3D NE only for the selects that actually benefit from RAW flexibility, then batch-transcode the rest to H.265 in REDWideGamutRGB / Log3G10. So the weak internal H.265 still matters. The workaround is viable, but it moves the cost from storage to workflow.

Compressed RAW is probably the part I'd focus on before adding more film simulations. For the dropped frames, a small diagnostics page could be useful: sensor timestamp delta, queue depth, compression time per frame, sustained write MB/s and dropped-frame count. That should make it much easier to see whether the bottleneck is capture, compression or storage. I'd also preserve per-frame black/white levels and WB/colour-matrix metadata where the device exposes them. Especially useful if you want the RAW processing and calibration to remain consistent across ISO changes. Interesting project.

More pictures and less talk, good example.

Just different tools.

Is 4K 120 fps ready?

You cannot turn IBIS off and just use the IS, hence a bless no IBIS, no wobble. On R5C, a professional cinema camera, you must be safe with your expensive wide angle RF lenses only with IS.

On R5C, you can have IS and you don't risk random results. No IBIS is a bless for owners of RF lenses with IS. On R5, you cannot have IS without IBIS. They want you buy Canon modern lenses. Old lenses are not welcome for business. This is the problem for many of you. These people should buy a different option. This camera isn't made for vintage lenses. It is made for their recent lens ecosystem. Canon wants people to switch to their product.

In fact. Wide angle related.

That's not a minor development: "Sony’s new architecture is an advancement in stacked CMOS image sensor technology. Using its proprietary stacking technology, Sony packaged the photodiodes and pixel transistors on separate substrates stacked one atop the other. In conventional stacked CMOS image sensors, by contrast, the photodiodes and pixel transistors sit alongside each other on the same substrate. The new stacking technology enables adoption of architectures that allow the photodiode and pixel transistor layers to each be optimized, thereby approximately doubling saturation signal level relative to conventional image sensors and, in turn, widening dynamic range."

Real world experience is fine but you'll go nowhere without solid theory.

I agree with others, no doubt C300 Mk2 does the right thing, except for stills or 4k 60p, use the hybrid 1DX Mk2. Duck soup recipe in my opinion.

I agree, it's weird to set the shutter speed for video with hybrid cameras.

Artificial sharpness is never welcome. Period.

This is a hell of a release to continue pushing this gaming star forward. It has boosted the flow of this industry also. Our workflow.

Resolve is great but Neat Video is still getting my job done.