herein2020

If this chart is accurate then RAW images out of the R5c are only 10-bit vs 14-bit out of the R5.....that could make a big difference in the post processing latitude for RAW images. It is hard to believe this is accurate....but if so that could be a hint of the cripple hammer showing on the stills side. https://www.diyphotography.net/canon-has-officially-announced-its-video-centric-eos-r5c-and-this-beefy-beast-costs-4500/

If you watch the Gordon Lang video you will see the digital IS looks just as bad as it does on the C70. Very disappointing. I've shot with the S5 and the EF 24-105mm at 105mm and it looked way better with IBIS on than Gordon's handheld test at 105mm.

I studied the digital IS for the C70 and watched every handheld video I could find and they all looked jittery to me. I get no IBIS helps if it is on a gimbal or tripod/monopod but I never have any problems with the IBIS in my S5 regardless of what I mount it to except when using very wide angle lenses and in those cases it is easy to turn it off. I still say the best digital IS I've ever seen is GoPro's implementation (far better than any IBIS system); granted they are stabilizing a very small sensor. I will need to wait and see if the R5c's digital IS combined with Lens IS looks stable enough for my needs, but so far I haven't been impressed by Canon's digital IS. I saw some reports that it is almost a 9 second reboot. This really does look like a cinema camera for hybrid shooters like me. It checks all of the boxes for me except the IBIS and I can't tell if the DR increased for video. Lens IS only is fine for me for photography, my 5DIV only has lens IS, but it will take a lot to convince me that the digital IS can outperform my S5's IBIS.

It looks like one of the ISO's is 3200, can't tell from this statement what the other one is....3200ISO could be close enough to work for my typical low light projects: A highly enthusiastic ukulele player is on hand to demonstrate the benefits of the EOS R5 C's new Dual Base ISO feature (a first for Canon), which "allows for expanded sensitivity and minimal noise when shooting in low-light environments". This could be a pretty useful feature – it's different from the Canon EOS C70's Dual Gain output, instead letting the EOS R5 C shoot natively at two different ISOs values, depending on which format you're shooting in. But if you regularly shoot at, for example ISO 1600 or ISO 3200, it could be bonus over the EOS R5. From TR: https://www.techradar.com/news/live/canon-cinema-eos-camera-launch-live-follow-our-analysis-as-it-happens

The S5 is at 4000ISO which is far more useful.

The S1H has IBIS and a fan...admittedly its not 45MP.

Completely and utterly horrid, confusing, and a waste of time. I didn't even make it through 20% of the video even after fast forwarding. I couldn't even tell if the whole thing was shot with the R5c or not.

I called it.....no way they would get away with $6K. No IBIS really sucks, it will remain to be seen how good the digital IS + Lens IS is. I am also trying to figure out of the power port is USB-C or if it actually needs the full wall power supply which would be another major bummer since I already have a V-Mount USB-C setup for my other cameras. I am curious about this as well, dual ISO would be awesome. I would think they could use the same sensor and just route it to dual gain circuits but maybe it is not that simple.

I don't think this is a deal breaker IF the camera can be powered off of USB-C. The power draw is probably so great it almost makes sense. If it needs a full AC power supply though that would be a bummer but still not a complete deal breaker for me since I would probably never shoot 8K60. Don't even breathe such a thing....now THAT would be a complete deal breaker for me and was the #1 reason that I lost interest in the C70. I absolutely need IBIS for the type of handheld shooting that I do and I hate the jittery look of C70 handheld footage. I am almost certain Canon would not make such an egregious error.

I am hoping that's what that means as well....pro tools but with Canon who knows....all I want is a WFM and monitoring LUT capabilities for CLOG3 is that too much to ask?

According to the latest specs released it will offer XF-AVC as well. I will admit I am a bit surprised as well, I am starting to doubt my $4200USD price prediction. I still think there is just too much competition for them to go over $5000USD. The S1H, Sony FX3, their own C70, and the Nikon Z9 will all become serious considerations if it goes above $5K USD. If they do keep the photography features and keep the price below $4500USD I may replace my S5 with the R5c and eventually get a second body to replace my 5DIV. Based on the new picture floating around, it kept the EVF so its off to a good start. I am nearly convinced that this is Canon's legitimate attempt at making the perfect hybrid camera. If it has all of the photography features of the R5 and all of the listed features so far for the R5c IMO this will be the first real S1H competitor (better lens mount, useable AF, and great photography features). I'm still a little worried about video DR and the S5 has really spoiled me with its dual native ISO especially ISO4000 so it remains to be seen if the output from all of these spec sheets is as good or better than S series Panasonic footage. I think the big picture is that Sony has been eating Canon's lunch and Canon has no choice but to hold back the cripple hammer. If it weren't for Sony and to a lesser extent Panasonic we wouldn't even have a mirrorless Canon Pro body right now.

Your ability to constantly change kit never ceases to amaze me lol. I love talking and reading about new kit but the only changes I've made in the last 10yrs was upgraded from a 5DIII to a 5DIV and from a GH5 to an S5. Most of my $$ goes to audio, lighting, and drones. Everything else I rent as needed.

I don't know what currency everyone is using for their price predictions but I don't think there is any possible way the R5c will be $6000+ USD. I think it more likely to be $4200USD; I mean come on all they did was add a fan and change a few lines of firmware code!! The Nikon Z9 shows the art of the possible and at $6K USD the R1 flagship would be pushing $8K+ USD. The S1H shows the art of the possible as well at only $3200 and technically the S1H even still has some really impressive photography features even though no one talks about them. I think it will come in below the R3 maybe right at $4500USD then drop in 6 months and around holidays to $4200USD. There's just too much competition for them to get away with $6K USD. For $6K USD I would have to believe it would have dual CFE slots, eND, 14bit sensor readout for video, EVF, ProRes and a way to cook its owner dinner every evening. Personally, my interest in this camera will drop very quickly for every $100USD it goes over $4K. I did the math one day to make the switch to just the R5 and after memory cards, battery grip, adapters, card readers, and batteries were calculated I was close to $10K USD. That's before even 1 RF lens was added and that did not account for the extra storage needed for those massive file sizes. Maybe I am still being too naive but I have to believe that Canon wants to hit this one out of the park and there's no way I'd buy a photography camera without an EVF for any price. I think its going to come in around $4200 USD with an EVF and possibly with the option to purchase a license to unlock ProRes. Lets not forget it is also losing weather sealing due to the fan. Even at $4200 it would take a lot for me to buy it; I'd probably stick with my 5DIV and S5 setup.

Oh I agree, the C70 will always be the better option if you are only shooting video, but if the R5c keeps all of its photography features as well it will have no equal for run and gun hybrid shooters like me since the C70 has zero photography capabilities. The R5c sounds like it could be the general purpose workhorse photography camera while still providing enough usable video features for event videos, music videos, weddings, promo videos, etc. If Canon strips out the photography features then they will finally once and for all be dead to me.

I think it's going to be a close call due to the R5's better AF, IBIS, RAW capabilities, and XLR hotshoe option. At the run and gun level I don't think CLOG2 is going to matter that much.....now on the other hand an eND filter would be a game changer. Also the R5 is natively full frame with no adapter compromises even with RF lenses. It remains to be seen what exposure tools they put into the R5c, I would think they would at least have a WFM which is what I use the most....false color is too much to ask but would be even better. I am trying not to get excited, Canon has disappointed me too many times in the past but at least it will be fun to read about on the 19th. On paper this could finally be the perfect hybrid camera Yes the video DR is what I was referring to, but who knows, with proper cooling maybe they can bump the DR up to 12 or 13 stops by sticking to 14 bit. As it stands now, it would be a step down from my S5.....a very expensive step down when you factor in all of the extras you have to buy to get into the system.

Hilarious video and so true, the S1H beats the R5c before it even comes out in nearly every possible way except for in 2 very important ways: - The R5C will sell hundreds times more because it will have useable AF, this is the sole reason I never considered the S1H as a viable GH5 replacement; spending that much $$ to still have the same AF problems as the GH5 didn't make sense to me which is how I ended up with the S5 (less $$ with many of the S1H's benefits) - L-Mount "alliance" - Lets face it, the "alliance" kind of sucks due to inconsistent user experiences and incompatibilities but the biggest problem for Canon users is buying new L-mount lenses for what may be a dying Panasonic model line. Sure there's adapters but you lose what little AF you've got when you go that route Canon probably can't decide on CLOG2 because the DR of the R5's sensor will fall apart with CLOG2. Multiple tests have shown that the R5's DR isn't that great, CLOG2 would simply amplify that problem. I will admit that as much as I dislike what Canon did with the R5 and R6, the R5c does check a lot of boxes for me. Only time will tell where the cripple hammer chose to strike for this new camera body. There is no way Canon is going to let just a few ND filters and XLR inputs stand between its R5c and C70 because so far on paper the R5c beats the C70 in nearly every way.

I was being a bit comical in some of the predictions but since you mention it...cell phones have absolutely taken many jobs and replaced many technologies; photography and video has been just as equally hard hit as any of them. As a working professional who has been doing this for over 10yrs even in that relatively short period of time I can tell you that many photography and videography opportunities for professionals have evaporated thanks to cell phones. It is well documented that the camera industry has been devastated by cell phones, just like the mobile GPS market, lets not even talk about the PC market, and the list goes on and that is just in the HW segments alone. Lets not even talk about the endless apps that do things in one click that people used to pay professionals for. Every one of those contractions represent jobs lost. You mention that more and more people are doing these content production jobs but where are the numbers to back that up which show actual job creation? What I have seen first hand is a serious contraction in the prices clients are willing to pay to do those jobs and in many cases they ultimately determine that an employee placing their cell phone on a little tripod stand is good enough for their social media accounts. Lets not even forget the endless Kim K pictures that get millions of views vs the professional who spent decades perfecting their craft creating works of art that now no one ever sees (or is willing to pay for). Sure there's more "content creators" than ever before, but that does not mean they are paying professionals to do the creation or even that the process was anything more than pressing record on their cell phone. The value of professional video and photography has absolutely plummeted; the average cost for a wedding video which could easily require $20K+ worth of equipment nationwide in the USA is now around $1400USD whereas it used to easily be $7K+. The reality is, this absolute saturation of low quality content has lowered people's expectations to the point to where they do not value the time, equipment, or expertise needed to separate the great from the average and their content creation budgets reflect that. Almost every photographer and videographer I know is now doing it on the side due to passion vs full time because it simply will not pay enough to quit their day jobs. And lets not forget the plethora of mind numbingly boring movies coming out of Netflix, Amazon, Apple, and others that literally feel like cookie cutter corporate clones of each other with no plot, storytelling, or suspense whose only purpose is to gain more subscribers to their service. So yes, I do believe that as cell phones continue to get better, the devaluing of professional content creators will continue as well which will in turn continue to lead to job loss. Just because more content is being created than ever before does not mean the job statistics for professional photographers / videographers is following the same trajectory. Ok, end of rant, how about those double stacked sensors 😀

Speaking of pessimism, the way I am reading all of this is that this is just going to bring cell phones one step closer to taking all of our jobs. I see a bleak future where cell phones have 30 stops of DR, eliminating the need for auxiliary lighting, an app that turns any video shot with a cell phone into an Arri Alexa masterpiece, GoPro's hypersmooth technology to eliminate the need for a gimbal...and the ability to shoot the next Titanic all while texting, taking selfies, and checking Instagram at the same time and all in the amount of time it takes us just to set our exposure triangle properly.

I have no clue regarding most of what you said, but just looking at the images, wouldn't this enable higher resolution sensors for a given sensor size and potentially higher color sensitivity in all sensors since with this architecture 100% of the sensor real estate is dedicated towards light gathering (I am assuming based on the graphic that current sensors lose 50% of their real estate to the sensor transistor circuitry) since they sit side-by-side in current sensors? This DPReview article kind of says the same thing but they are looking at it from a light gathering standpoint vs sensor resolution. Like I said, I know nothing about how sensors work but a graphic that shows me something is doubling in its ability to perform some task while taking up the same real estate as a previous version seems like a good thing in my mind. The Canon DGO sensor already does this by using dual gain circuits but still tops out around 16 stops. When I first heard about the DGO sensor I thought it was going to be some unheard of breakthrough but as usual it was mostly marketing.

That makes sense, I thought you only needed two channels of audio so I was recommending considering using just the XLR module. For more than 2 channels obviously you need a different solution. That's strange that the output is fixed at -10dB, the MixPre's stereo out mix is fully adjustable.

I think the problem is you are using the 3.5mm input jack on the S5 vs the XLR module. For high quality audio I use the XLR module and with that I get the usual XLR gain granularity. I typically keep the S5 at -12dB when I have the XLR adapter attached and don't have a problem. I also have an Azden shotgun mic for quick run and gun audio and it has a 0 -20 +20 option so with it set to +20 I am able to keep the S5 at -6 for most situations and that combination is pretty clean as well. I also have a MixPre 6 but I have never tried connecting its stereo out to the 3.5mm jack on the S5.

Here's my contribution......I put together a fun shoot with a local model for Christmas. Equipment used was two Panasonic S5s, one with the EF adapter and Sigma APS-C 18-35 F1.8 lens and the other with the L-Mount 45mm Sigma F2.8. The drone used was the Autel EVO II 6K and the gimbal was the Ronin S. Edited and color graded in Davinci Resolve. The studio cover photo was with a Canon 5DIV and the Canon 24-70mm F2.8. The rest of the studio photos were shot with the 5DIV and a 70-200mm F2.8. The concept was to showcase the best Christmas lighting displays in my area along with one of our local models.

If you scroll up you will see that @Geoffrey stated he was struggling with AF and asked for tips on preventing the pulsing, all I did was state that I use MF for focusing and list the challenges I have with it and adapted lenses. The challenges with Panasonic's DFD focusing system are well known so I don't bother bringing it up but if someone asks for how others are working around it, I have no problems sharing. The camera is not perfect but it's as close to it for me as anything currently on the market so I just work within its limitations. I have mine set up to shoot everything I need, and it does that so complaining would be pointless.

I have literally only looked through the EVF twice since I have owned the camera, no way could I use it for the movements and angles that I need; not to mention I still don't like EVFs. I think the best fix would be an external monitor but then there's having something else to charge, connect, remove for gimbal work, etc. I do have one but only use it for things like conferences where the A cam sits on a tripod and I can connect it to a V Mount battery. I make it work, not complaining, the camera is great; but yes the AF is pretty bad. Of course I am using EF lenses and an adapter so I believe it would be better with native lenses but to me that's not even an option with my setup. Like you said...the only other options are the Canon Cripple Hammer, Sony isn't even an option to me, and the Nikon is on the same list as the Sony which leads me back to where I started. Funny thing is, if BlackMagic made an S5 equivalent but with Canon's AF they would actually be a serious contender for me.

I mainly use the Sigma EF 50mm F1.4 nearly religously these days and AF-S is not great most of the time. I usually try it first, but many times it just won't lock on. With the 50mm I really like shooting detail shots and I do a lot of modeling shoots so usually the focus plane needs to be razor thin to focus on something as small as a bikini string or a design in the clothing and the focus really falls apart for those shots. I have tried using the joystick and picking higher contrast areas, edges of objects, etc....nothng but failures most of the time. Sometimes I think it is just because I am too close to the minimum focusing distance but then it won't even lock on to the model's face or wrist or something simple from farther away. Also at events I need to lock on to all kinds of weird things like logos on glasses, signage, jewelry, static displays, a vendor pouring a drink, etc and it really struggles there too; so a lot of times I just go full manual which shouldn't be a big deal because my Voigtlander GH5 lenses were only manual; but the focus peaking and back screen on the S5 is worse than the GH5 so there's that problem. Focusing all around with the S5 is a real PITA with EF lenses for my use cases; but it is just so good in every other area that I stick with it. My favorite is still the XLR adapter and being able to switch lenses back and fourth between my C200, 5D4 and S5. Focusing is easier with the Canon 24-105mm F4 and the Canon EF 24mm F2.8 but those are wider lenses and deeper DOF so more things are natually in focus anyway. It's those detail shots with the 50mm which I need at every event that is the problem. Also with the 50mm handheld I am always shooting at 60PFS so that may contribut to the problem.