herein2020

I swear by these cards.  Sorry to wander off topic again 🤣, but my C70 can shoot up to 4K30FPS Cinema Raw LT which has sustained data rates of 250Mb/s; far above the V30 rating. These cards are in my R5, C70, and the micro versions of it are in my drones and GoPros.....I've never had a single problem with any camera and any of these cards.
 
I think the problem is like @webrunner5 stated.....there are too many situations that a typical shooter will run into where it is not useable. Yes, the YT reviewers of the world focus on these shortcomings and shout it from the mountaintops, but that does not mean it is not a legitimate problem. Those same YouTubbers did the same thing when the R5 and R6 overheating fiasco first came to light; and overheating with the R5/R6 is another legitimate problem.
IMO if you are buying a Panasonic camera for important work, you are buying it because of their excellent video features and tools, but with the understanding that you will need to use MF. 
If Canon had an R7 at the time when I was purchasing the GH5 or S5, I would have never even owned a Panasonic. In 2022 as much as I got used to MF, AF is just too useful and too "freeing" allowing you to focus on so many other things that I would never want to go back to having to MF every shot. Yes some of my problems were my own doing....I didn't trust the L mount "alliance" and stuck with Canon glass, but their native lenses convinced me I was doing the right thing since even with native glass the AF was simply too unreliable.
I think in certain situations Panasonic cameras would be perfect.....product shoots, talking heads (as long as you have enough light for a deep enough DOF like in a studio setting), if you have a dedicated focus puller, outdoors static tripod shots, etc.. But the list of situations where it is unusable is much longer than that list; in 2022 with the plethora of offerings from Canon and Sony why get a camera that is so limiting in such a critical area? Even Nikon has a better AF system than Panasonic. Lets not even mention the L mount alliance and how few and expensive their native lenses are.
Even Canon's AF is far from perfect especially on the C70. I flip to MF all the time when I feel I can't trust the camera to pick the right subject, mainly because I don't trust the face tracking just yet and right when I start to trust it, it lets me down at a bad time.....but those times I really need AF, like when I'm on a gimbal or the subject is approaching or departing quickly; it works perfectly every time.
So back on topic 🙂, Dan Watson is another reviewer who I like to watch, and he happens to have an early hands on review of the R7. Once again, it is surprising how much of a quality hit the R7 takes when switching to pixel binning for 60FPS. I usually don't care about such things and leave them to the pixel peepers, but with the R7 it is very noticeable.
 
 

Oh come on, they have the worse AF of Any camera manufacturer out here. That is not something you want on your tombstone. I got rid of my GH5 because I do birding and you can sure as hell forget that with that F ing camera. And I thought the color science was not so hot either.
I will Never buy another newer Panasonic camera until they come up with phase detect AF. And I sure as heck am not alone. They risk going belly up, I think the L alliance was a dumb ass move also. Leica played them like a fiddle. Leica took but didn't give.

Sorry to stay on topic.
I decided to go with the R7, is not available yet in my country but I will probably pre-order, as they offer the EF adapter for free if you do.
I am not sure if I go with the bundle option though, R7 + the 18-150mm EF-S..I already own the 18-135mm EF-S with the nano motors (used once!), which is amazing, ultra silent and super fast (for what it is..).
The RF-S says "lead screw type STM", which I translate "lesser technology" than the older EF-S.
Does anyone have an opinion on this?
I will try to find the Meike ND adapter also, seems like a nice addition and works a bit better than the Canon (on a more logical price range).
If I do not get the bundle, I will probably get one of the cheap RF primes, currently between the 35 or the 85. Reading mixed reviews on both those lenses..
Also, any suggestions for SD cards? What type do you think I will need?

I said something very similar on one of these threads. I became an AF gymnast when working with the GH5 and S5. Basically MF everything, with the GH5 I didn't even bother getting anything but manual lenses. Everything was about jumping through hoops to work around the limitations; wider lenses, deeper F stops, maintaining an equal distance, knowing the footage would be mostly soft but hoping some of it was still useable, etc. etc.
The C70 doesn't even have that great of an AF system IMO but it was such a huge upgrade for me. Of course the R5 was a decent upgrade as well for photography, but since my 5D4 had good AF for photos it is not as big of a deal as the C70. Knowing I just have to put that box on whatever I want in focus frees me up in the exact same way....to be more creative, to really focus on framing, composition, lighting, audio, etc etc; vs hoping I haven't violated one of the many rules of a one man band run and gun MF.

I said something very similar on one of these threads. I became an AF gymnast when working with the GH5 and S5. Basically MF everything, with the GH5 I didn't even bother getting anything but manual lenses. Everything was about jumping through hoops to work around the limitations; wider lenses, deeper F stops, maintaining an equal distance, knowing the footage would be mostly soft but hoping some of it was still useable, etc. etc.
The C70 doesn't even have that great of an AF system IMO but it was such a huge upgrade for me. Of course the R5 was a decent upgrade as well for photography, but since my 5D4 had good AF for photos it is not as big of a deal as the C70. Knowing I just have to put that box on whatever I want in focus frees me up in the exact same way....to be more creative, to really focus on framing, composition, lighting, audio, etc etc; vs hoping I haven't violated one of the many rules of a one man band run and gun MF.

I said something very similar on one of these threads. I became an AF gymnast when working with the GH5 and S5. Basically MF everything, with the GH5 I didn't even bother getting anything but manual lenses. Everything was about jumping through hoops to work around the limitations; wider lenses, deeper F stops, maintaining an equal distance, knowing the footage would be mostly soft but hoping some of it was still useable, etc. etc.
The C70 doesn't even have that great of an AF system IMO but it was such a huge upgrade for me. Of course the R5 was a decent upgrade as well for photography, but since my 5D4 had good AF for photos it is not as big of a deal as the C70. Knowing I just have to put that box on whatever I want in focus frees me up in the exact same way....to be more creative, to really focus on framing, composition, lighting, audio, etc etc; vs hoping I haven't violated one of the many rules of a one man band run and gun MF.

Yes I was very vocal in my criticism when the EOS R came out as well as when the overheating controversy with the R5 was just getting started...so vocal in fact that I was banned from the Canon Rumors site where apparently only blindly loyal fanboyism is allowed.
As far as the R7 goes, Gordon Lang did a great review of it in the video below. Based on the video I did pick out a few things that I really like and dislike:
Dislike - It still requires a USB-PD source to power it. This is important to me because my current V-Mount battery setup that I was able to power the C200, C70, and S5 with won't work for this camera. The R5 has the same problem. 
Likes
Batteries - It uses the same batteries as the R5 and 5DIV, so I would start off on day one with tons of useable batteries already.
Lens Compatibility - This camera could possibly be the most compatible camera Canon has ever created. It supports RF-S lenses, RF lenses, EF lenses, AND EF-S lenses, so owners will have a massive array of economical options to shoot with. Of course an adapter is needed for EF and EF-S but I don't think EF-S lenses can be used with the R5 even with the adapter but I could be wrong.
Another cool tidbit from the video is that RF-S lenses will be compatible with both crop sensor and FF RF mount cameras. 
Overheating - Gordon did not mention ambient room temps during his quick overheating test but it was still nice to see 2hrs and 20min recording at its highest 4K mode without overheating. It also has a nifty overheating tracking gauge which showed it wasn't even close. That would be nice to have in the R5.
In the video it looked like the 4K HQ mode is a massive improvement over the other modes, not sure if it was just a change in other settings in the camera that Gordon made, but to me its rare to see that big of an increase in quality when switching between different video modes in a camera body. I'm looking forward to seeing more video focused tests and especially low light tests. If this camera had dual native ISO it truly would have been great. Without it, I would be happy if it was useable up to 3200ISO.
The seamless integration between this camera and my other Canon cameras (batteries, lenses, adapters, etc.) makes this body very interesting to me.  I stick by my original statement that Canon might have accidentally created the hybrid camera we've been waiting for.
 
 

For what it's worth, I'll be the second critic to say this. I shot with Panasonic cameras for over a decade starting with the GH1 and owned every GH camera through the GH5s. I then owned the S1 for about a year. I molded my shooting style around the strengths and limitations of Panasonic cameras with AF being their biggest limitation. The S1 was the best of the bunch. I worked within the limits of Panny's AF: well lit situations, with simple movements, usually in 60p, with middle apertures (f/4, f/5.6). Even then the AF only worked OK... I had to be hyper attentive to what the focus was doing to make sure it wasn't going awry. I thought it was good enough, even though I knew it was limiting how I could use the camera.
Then I switched to the Sony a7iv and it was a complete revelation. The AF is incredibly accurate, fast, and feature-rich. It works so well and is so intuitive that I have no reservations about using it for any scenario: wide open, poor lighting, fast movement, complex frames. It just delivers the goods. It allows me to take my focus (pun totally intended) off the AF and turn more attention onto sound, exposure, framing, action, and everything else. Switching to a camera with great AF made me realize how much I was compromising by using a camera with poor AF. Old schoolers might call it lazy but I don't care. I've been reinvigorated to create new things because now this critical feature has been unlocked for me. I wish Panasonic could have done it for me, but nope.

Cool - one person did their own testing and evaluations in their own particular scenarios with their own lenses.  Only about 50 more critics left to see if they're talking from experience or hype 🙂 
I mean, I shoot MF so I really don't care, but it's pretty obvious that most critics are remembering the AF of the GH5 v1 firmware and haven't actually fact-checked themselves in about half-a-dozen cameras and dozens of firmware updates.

Yes I was very vocal in my criticism when the EOS R came out as well as when the overheating controversy with the R5 was just getting started...so vocal in fact that I was banned from the Canon Rumors site where apparently only blindly loyal fanboyism is allowed.
As far as the R7 goes, Gordon Lang did a great review of it in the video below. Based on the video I did pick out a few things that I really like and dislike:
Dislike - It still requires a USB-PD source to power it. This is important to me because my current V-Mount battery setup that I was able to power the C200, C70, and S5 with won't work for this camera. The R5 has the same problem. 
Likes
Batteries - It uses the same batteries as the R5 and 5DIV, so I would start off on day one with tons of useable batteries already.
Lens Compatibility - This camera could possibly be the most compatible camera Canon has ever created. It supports RF-S lenses, RF lenses, EF lenses, AND EF-S lenses, so owners will have a massive array of economical options to shoot with. Of course an adapter is needed for EF and EF-S but I don't think EF-S lenses can be used with the R5 even with the adapter but I could be wrong.
Another cool tidbit from the video is that RF-S lenses will be compatible with both crop sensor and FF RF mount cameras. 
Overheating - Gordon did not mention ambient room temps during his quick overheating test but it was still nice to see 2hrs and 20min recording at its highest 4K mode without overheating. It also has a nifty overheating tracking gauge which showed it wasn't even close. That would be nice to have in the R5.
In the video it looked like the 4K HQ mode is a massive improvement over the other modes, not sure if it was just a change in other settings in the camera that Gordon made, but to me its rare to see that big of an increase in quality when switching between different video modes in a camera body. I'm looking forward to seeing more video focused tests and especially low light tests. If this camera had dual native ISO it truly would have been great. Without it, I would be happy if it was useable up to 3200ISO.
The seamless integration between this camera and my other Canon cameras (batteries, lenses, adapters, etc.) makes this body very interesting to me.  I stick by my original statement that Canon might have accidentally created the hybrid camera we've been waiting for.
 
 

Yes I was very vocal in my criticism when the EOS R came out as well as when the overheating controversy with the R5 was just getting started...so vocal in fact that I was banned from the Canon Rumors site where apparently only blindly loyal fanboyism is allowed.
As far as the R7 goes, Gordon Lang did a great review of it in the video below. Based on the video I did pick out a few things that I really like and dislike:
Dislike - It still requires a USB-PD source to power it. This is important to me because my current V-Mount battery setup that I was able to power the C200, C70, and S5 with won't work for this camera. The R5 has the same problem. 
Likes
Batteries - It uses the same batteries as the R5 and 5DIV, so I would start off on day one with tons of useable batteries already.
Lens Compatibility - This camera could possibly be the most compatible camera Canon has ever created. It supports RF-S lenses, RF lenses, EF lenses, AND EF-S lenses, so owners will have a massive array of economical options to shoot with. Of course an adapter is needed for EF and EF-S but I don't think EF-S lenses can be used with the R5 even with the adapter but I could be wrong.
Another cool tidbit from the video is that RF-S lenses will be compatible with both crop sensor and FF RF mount cameras. 
Overheating - Gordon did not mention ambient room temps during his quick overheating test but it was still nice to see 2hrs and 20min recording at its highest 4K mode without overheating. It also has a nifty overheating tracking gauge which showed it wasn't even close. That would be nice to have in the R5.
In the video it looked like the 4K HQ mode is a massive improvement over the other modes, not sure if it was just a change in other settings in the camera that Gordon made, but to me its rare to see that big of an increase in quality when switching between different video modes in a camera body. I'm looking forward to seeing more video focused tests and especially low light tests. If this camera had dual native ISO it truly would have been great. Without it, I would be happy if it was useable up to 3200ISO.
The seamless integration between this camera and my other Canon cameras (batteries, lenses, adapters, etc.) makes this body very interesting to me.  I stick by my original statement that Canon might have accidentally created the hybrid camera we've been waiting for.
 
 

I called Canon when people first started reporting no DGO at 60P and they said it is active at all framerates except 120FPS. They did not differentiate between CLOG2, XF-AVC, H.264 vs H.265 etc. I supposed I should call them again and ask specifically if the compression codec and LOG curve matters.
 
We were talking (or at least I was talking) about the R5C specifically and with the R5C the common working theory is that the only way they got it to not overheat even with a fan was to remove IBIS. The 8K affects IBIS because if it wasn't an 8K sensor they probably could have cooled it down properly without removing IBIS (hence the R7 and R3 both have IBIS and don't overheat).  
Not shooting in 8K doesn't save the battery or at least I don't think it saves it by much. You still have to power the fan, the full sensor, all of the faster circuitry required to process up to 8K, etc. Of course I would be curious to see some charts that say how long the R5C works for photos only or lower resolution videos. Most of the reviews I've seen said it only lasts 30min even when just shooting photos.
No IBIS was the deal breaker for me with the R5C because it had the other compromises to make it work as a hybrid and not overheat. With the C70; the Audio XLR inputs, and the internal ND filters made it worth the loss of IBIS. 
@Kisaha @Django @ade towell @ntblowz  8K, 10bit, 4:2:2, RAW, line skipping, ISO performance etc. etc. I will admit I sometimes just have to smile as I read about fellow videographers dismissing a camera in these price ranges due to lacking or gaining these features.  
Maybe I am a bit jaded, probably because my little corner of the industry is littered with mediocre footage and so my customer's expectations aren't much above mediocre as well, but IMO any camera released in the last 5yrs can create amazing footage. At the end of the day it is the content that matters and if the camera fits into your workflow and has features that helps vs hinders your creativity then that is the camera for you more so than paper specs.
I think it is safe to say that the plethora of cameras released in the sub $10K USD range are aimed at online/social media content creators and I am not ashamed to say that that is exactly where 90%+ of my content ends up. Once this footage is online it is most likely to be viewed on a tiny cell phone screen at 480P resolution. I say all of that to say that I think the R7 is probably going to be an incredible little camera that is more than good enough to shoot most of the online content that their owners choose to create.
Kim K could pose for 30 seconds in front of her cell phone propped up in the corner of her room and rack up 3M views in a few hrs. We could spend months planning a project, weeks shooting the project, and weeks more editing and posting the project and only get a few thumbs up. My point here is content is king; if you have content people want to see or you have a niche with a following the camera specs won't matter much. Feature length movies have been shot with GoPros (Hardcore Henry)  and iPhones (Unsane), imagine what those people could have done with the R7.
IMO our number one competitor isn't the person with 8K or no pixel binning, or no line skipping.....its the cell phone.
For me personally, if the R7 doesn't overheat, and I can find a way to work with the crop, then I think it would be a great B-Cam to the C70 for those times when the C70 is locked down on a tripod and I need some quick B-Roll or a second angle for an interview, etc. I live in a very hot state, so my #1 requirement above all else is no overheating.

I remember having some heated disputes here a few years ago about that specific camera (C200) and the first R ones.
For me were wasted money, as obviously were on a middle ground just before Canon started all their modern releases and get back to the game, or not very competitive at that timeline with many limitations.
Even Canon, usually very protective of their releases, just "ignored" these ones and are putting out there one camera after another.

That is true, I have shot corporate, news, sports, events, and music videos but it all still seemed to just end up on social media and YT 😀. Corporate work typically ends up on their websites hosted by Vimeo, I have also been an additional camera op and b-roll shooter for TV commercial work but not what I enjoy doing.
 
From Canon, but Panasonic still manages to do very well in the overheating department. But Panasonic went with lower resolution sensors and when necessary they even used crop modes; which all added up to reliable cameras. I do think the second gen R cameras will see an improvement in the thermal department, I am pretty sure Canon won't make that type of mistake twice.
I definitely want to see some detailed R7 test results, I think with the smaller sensor and cropped 4K60FPS it should be very reliable.  If it does prove to be as efficient as the S5 was at heat management I will probably get one.
@IronFilm I made the same poor purchasing decision when I got the C200, fortunately the rest of the rig is compatible with the C70 so the cost of the body and cage for it were my main mistakes. In the end I needed a camera I could put on a one handed gimbal as a OMB, better 4K, better codecs, etc.  The C70 checked all of those boxes for me especially with the recent RAW update. IMO the C70 is more camera than anything I will need video wise for the foreseeable future.

I called Canon when people first started reporting no DGO at 60P and they said it is active at all framerates except 120FPS. They did not differentiate between CLOG2, XF-AVC, H.264 vs H.265 etc. I supposed I should call them again and ask specifically if the compression codec and LOG curve matters.
 
We were talking (or at least I was talking) about the R5C specifically and with the R5C the common working theory is that the only way they got it to not overheat even with a fan was to remove IBIS. The 8K affects IBIS because if it wasn't an 8K sensor they probably could have cooled it down properly without removing IBIS (hence the R7 and R3 both have IBIS and don't overheat).  
Not shooting in 8K doesn't save the battery or at least I don't think it saves it by much. You still have to power the fan, the full sensor, all of the faster circuitry required to process up to 8K, etc. Of course I would be curious to see some charts that say how long the R5C works for photos only or lower resolution videos. Most of the reviews I've seen said it only lasts 30min even when just shooting photos.
No IBIS was the deal breaker for me with the R5C because it had the other compromises to make it work as a hybrid and not overheat. With the C70; the Audio XLR inputs, and the internal ND filters made it worth the loss of IBIS. 
@Kisaha @Django @ade towell @ntblowz  8K, 10bit, 4:2:2, RAW, line skipping, ISO performance etc. etc. I will admit I sometimes just have to smile as I read about fellow videographers dismissing a camera in these price ranges due to lacking or gaining these features.  
Maybe I am a bit jaded, probably because my little corner of the industry is littered with mediocre footage and so my customer's expectations aren't much above mediocre as well, but IMO any camera released in the last 5yrs can create amazing footage. At the end of the day it is the content that matters and if the camera fits into your workflow and has features that helps vs hinders your creativity then that is the camera for you more so than paper specs.
I think it is safe to say that the plethora of cameras released in the sub $10K USD range are aimed at online/social media content creators and I am not ashamed to say that that is exactly where 90%+ of my content ends up. Once this footage is online it is most likely to be viewed on a tiny cell phone screen at 480P resolution. I say all of that to say that I think the R7 is probably going to be an incredible little camera that is more than good enough to shoot most of the online content that their owners choose to create.
Kim K could pose for 30 seconds in front of her cell phone propped up in the corner of her room and rack up 3M views in a few hrs. We could spend months planning a project, weeks shooting the project, and weeks more editing and posting the project and only get a few thumbs up. My point here is content is king; if you have content people want to see or you have a niche with a following the camera specs won't matter much. Feature length movies have been shot with GoPros (Hardcore Henry)  and iPhones (Unsane), imagine what those people could have done with the R7.
IMO our number one competitor isn't the person with 8K or no pixel binning, or no line skipping.....its the cell phone.
For me personally, if the R7 doesn't overheat, and I can find a way to work with the crop, then I think it would be a great B-Cam to the C70 for those times when the C70 is locked down on a tripod and I need some quick B-Roll or a second angle for an interview, etc. I live in a very hot state, so my #1 requirement above all else is no overheating.

I called Canon when people first started reporting no DGO at 60P and they said it is active at all framerates except 120FPS. They did not differentiate between CLOG2, XF-AVC, H.264 vs H.265 etc. I supposed I should call them again and ask specifically if the compression codec and LOG curve matters.
 
We were talking (or at least I was talking) about the R5C specifically and with the R5C the common working theory is that the only way they got it to not overheat even with a fan was to remove IBIS. The 8K affects IBIS because if it wasn't an 8K sensor they probably could have cooled it down properly without removing IBIS (hence the R7 and R3 both have IBIS and don't overheat).  
Not shooting in 8K doesn't save the battery or at least I don't think it saves it by much. You still have to power the fan, the full sensor, all of the faster circuitry required to process up to 8K, etc. Of course I would be curious to see some charts that say how long the R5C works for photos only or lower resolution videos. Most of the reviews I've seen said it only lasts 30min even when just shooting photos.
No IBIS was the deal breaker for me with the R5C because it had the other compromises to make it work as a hybrid and not overheat. With the C70; the Audio XLR inputs, and the internal ND filters made it worth the loss of IBIS. 
@Kisaha @Django @ade towell @ntblowz  8K, 10bit, 4:2:2, RAW, line skipping, ISO performance etc. etc. I will admit I sometimes just have to smile as I read about fellow videographers dismissing a camera in these price ranges due to lacking or gaining these features.  
Maybe I am a bit jaded, probably because my little corner of the industry is littered with mediocre footage and so my customer's expectations aren't much above mediocre as well, but IMO any camera released in the last 5yrs can create amazing footage. At the end of the day it is the content that matters and if the camera fits into your workflow and has features that helps vs hinders your creativity then that is the camera for you more so than paper specs.
I think it is safe to say that the plethora of cameras released in the sub $10K USD range are aimed at online/social media content creators and I am not ashamed to say that that is exactly where 90%+ of my content ends up. Once this footage is online it is most likely to be viewed on a tiny cell phone screen at 480P resolution. I say all of that to say that I think the R7 is probably going to be an incredible little camera that is more than good enough to shoot most of the online content that their owners choose to create.
Kim K could pose for 30 seconds in front of her cell phone propped up in the corner of her room and rack up 3M views in a few hrs. We could spend months planning a project, weeks shooting the project, and weeks more editing and posting the project and only get a few thumbs up. My point here is content is king; if you have content people want to see or you have a niche with a following the camera specs won't matter much. Feature length movies have been shot with GoPros (Hardcore Henry)  and iPhones (Unsane), imagine what those people could have done with the R7.
IMO our number one competitor isn't the person with 8K or no pixel binning, or no line skipping.....its the cell phone.
For me personally, if the R7 doesn't overheat, and I can find a way to work with the crop, then I think it would be a great B-Cam to the C70 for those times when the C70 is locked down on a tripod and I need some quick B-Roll or a second angle for an interview, etc. I live in a very hot state, so my #1 requirement above all else is no overheating.

R7 is a smaller APS-C sensor and R3 is a 2.5x bigger body so both have better thermal management. 
But ok I was not aware of the theory of IBIS being removed for heat protection. If so that's kinda lame but R5C is after all just a tweaked R5 not an entire redesign.
R3 & R7 do overheat in certain modes by the way, just nowhere as bad as R5/R6.
I understand your point of view however you shouldn't assume all of us are doing social media content that ends up viewed on smartphones. I do a lot of high-end corporate work that ends up proofed by clients on 5K iMacs and often viewed on big screens & projectors in conferences, trade shows and what not. The clients have really high standards and my competition here in Paris delivers super high quality. I also do a lot of chroma keying, 3D integration, heavy grading & the occasional TV broadcast all of which benefit if not require 10-bit 4:2:2. +4K high resolution is also more & more useful for cropping, my editors always embrace it.
The good news is that most mirrorless cameras now deliver high-resolution, pro codecs, RAW etc. Its now possible to get cine cam results out of prosumer cameras. So while all this may be marketing and overkill for some, it isn't for everyone.
That being said, I'm not slaved to upgrade path. My 2014 FS7 still serves me good and the R6 is a mid-level camera.
I do have access to a BMD 6K Pro for anything more high-end and rent/hire cine cam/DPs if/when the budget allows.
Of course there is so much more than just the camera body itself to ensure a successful project and that should also be reminded.
Yeah its like anything. My former career was in music and performing in front of crowds was quite a hurdle at first but after some time became second nature. I actually believe that having some apprehension isn't necessarily a bad thing, it keeps you a bit on your toes. Once that's gone, you can become lazy/bored/jaded and not perform at your best. that's when for me its time to switch gears.
I still have my 5D mk1 and love the output. D750 is a workhorse, it's the camera that got me to switch back to Nikon for a few years. Most pleasure I get these days is from my 2009 Leica M9. So yeah imo, stills cameras peaked a long time ago and the switch to mirrorless is not necessarily an upgrade hence why a lot of pros I know still stick to DSLRs. Optical viewfinder, the ruggedness, battery life, even the off-sensor AF confidence of crosspoints is superior. The only real benefit of mirrorless is weight.

To be fair in those cases, then the camera was either (Unsane) a bit of a gimmick to help market the movie, or (Hardcore Henry) integral to the storytelling of the movie. (you could never have done Hardcore Henry with an ARRI! Although, if Hardcore Henry was re-shoot today in 2022, I would be curious as to how it might go with a Blackmagic Micro Cinema Camera, Sigma FP, or a Z Cam E2-M4. None of those cameras where an option back when Hardcore Henry were filmed) 
If you're not one of those weird rare exceptions, when you shouldn't use a GoPro or iPhone to film your next feature film. 
But I agree with your general point: content is king. 
I agree, any  semipro/pro hybrid camera released in the past 5 years is going to be good enough for photography and video!
What's the WORST example we can think of which was released since 2018??
Canon R? Does 30MP images, and outputs 4K 10bit.
Nikon Z6? Does 4K raw output for goodness sake!
Fujifilm X-H1? Panasonic GH5S?  Olympus E-M5 mk3? Sony a7mk3? They might not be everyone's cup of tea today in 2022, but they each got a tonne of praise when released and produce nice 4K images. 
Maybe the only semipro/pro camera released in 2018 we could be critical about is the Fujifilm GFX 50R, but of course that is playing into a small niche focused on medium format photography. So full marks for those types of stills there, but only 1080 video. 
Oh wait, I just remembered the Pentax K-1 Mark II came out in 2018! We can't criticize its stills capabilities at all, but video... only 1080 😕 
So fine, we found ONE (two, if you count the medium format camera, three if you include the 50S mk2 as well) semipro/pro camera released in the last five years which isn't suitable for both stills and video. And it is so obscure, most of us haven't even heard about it, or have forgotten about it already. 
I'm trying to take this same philosophy and apply it to  my work as a Sound Mixer as well. 
(one of the reasons I enjoy listening to Scott Choucino, even though I'm not a professional photographer, as I feel there is still a lot of overlap that I can learn from)
Avoid the temptation to upgrade to DPA 6060! When my Sanken COS11D / DPA 4060 work just fine. 
Why get a Sanken CSM1 when I have 3x Sanken CS1e?
Resist the desire to get a teeny tiny Lectrosonics SSM transmitter when my still rather small Lectrosonics SMV do the job! (and I've got five of them!)
Put off the plan to do the big upgrade to Shure Axient Digital Wireless, when my Lectrosonics Digital Hybrids are still "the industry standard" and do a great job. 
Don't ever buy an Anton Cantar (as much as I'd love to have all those features/ergonomics!), as it isn't like I'm ever going to get anything which my my Sound Devices 833 with its 16 track recorder can't handle. 
 

I agree with you, I went to Panasonic and the GH5 then the S5 for the past few years because Canon was so disappointing. Well now I'm back in force with the C70 and R5. I had too much EF glass to go far, and Panasonic with adapted EF lenses destroyed what little AF they had to start with.
I have the C70 with the speedbooster and it is fantastic especially with the extra stop of light. For the R5 I have the EF to RF straight through adapter; the ND filter version was insanely expensive and I mainly got the R5 for photography anyway to replace my 5DIV. Plus with photography, I typically just need a 2 stop or 4 stop which takes seconds to screw onto the lens one time.
As far as ISO performance, I feel like any modern camera will do just fine in lowlight for social media content; noise is invisible on cell phones at 480P which is how most people will view most social media content. Obviously if you are looking for something for larger productions then a different camera would be a better fit. Only us videographer types really care about things like noise and DR and lowlight performance.
TBH, I know I'm going to sound like a total Canon fanboy here for a second, but the AF with the R5 and even the C70 is so good (light years above anything I had with the GH5 and S5) that I don't need to punch in to check focus while filming. The R5 with eye tracking AF has completely changed the way I shoot photography (no more focusing then recomposing and hoping the subject doesn't fall into the edge distortion territory of the lens), and the R7 supposedly has even better AF than the R5 (taken from the R3). Also, their proprietary focus peaking system with the 3 little triangles really helps more than focus peaking highlights ever did for me with the Panasonic bodies.
Of course its not all perfect, Panasonic is way better about giving you an easier color subsampling option (420) that can be HW accelerated, and Panasonic gives you a WFM, the electronic level stays visible while filming, the XLR audio module is reasonably priced (and native), and the body quality ahead of Canon's current cameras. 
Even with the R5 every useful filming tool disappears when you press record, the body quality is disappointing compared to my 5D4, no WFM, and no multi-function shoe for higher quality audio (the R7 does have the multi-function shoe but the Tascam adapter is pretty expensive).

Well, the Panasonic S5 already has the Panasonic DMW-XLR1, which is pretty much the best OEM accessory for audio for a hybrid. 
And doesn't overheat. 
Just need Panasonic to add ND filters to it now.... pity the Panasonic BS1H didn't have ND filters, as nobody will ever be shooting photos with that!

I actually think the R3 or the R7 are the better hybrid cameras at the moment. R7 remains to be seen, but the R3 has no overheating, IBIS, almost as good video specs as the R5, hybrid hotshoe, etc. The R5C is terrible on battery life, no IBIS, and takes 8 sec to switch from photos to video and back.
IMO if you are truly shooting hybrid the R3 would be the better fit.  If you need top quality video the C70 is the better fit and if you need top quality photography then the R5 is the better fit.  The R5C ends up being too mediocre at both photos and video in my opinion to be a true hybrid.  No IBIS kills it for lowlight handheld photography and handheld video work, 30min max per battery kills it for nearly anything run and gun unless you want to lug around a power supply which is unrealistic for photography, etc. etc. Too many compromises IMO.
I gave up on the "perfect" hybrid, but the R7 gives me hope again. The R3 wasn't a good fit for me because I don't shoot sports so paying $6K USD for all of that buffer clearing speed didn't make sense especially considering the C70 has internal NDs and better audio options. So for now, I'm still lugging around a minimum of two bodies.
 
I have the C70 and I will readily admit the DGO sensor is a little overrated; my S5 did better in lowlight and had slightly more DR than the C70. The C70's real strengths are the audio, ND filters, no overheating, XF-AVC, CLOG2, and RAW options. The sensor is just average IMO. Its great for a S35 sensor, but average in the crowded field of FF sensors.
 

I thought all modes used the full sensor readout so even FHD would overheat; it must be all 4K modes then.
I think if money is no object the C70 is the way to go over the R5C (in fact I made this exact decision when buying the C70). Obviously if you need a hybrid camera then yes the R5C would be the proper pick as long as you can carry a backpack full of batteries or come up with a USB-C PD setup.
I get that 10-bit 422 will offer some miniscule amount of quality improvement, but I thought the image out of the S5 was perfect and it shot in VLOG with 420. Canon has to have seen the feedback that 422 cannot be edited on older Macs and most if not all Intel/NVIDIA/AMD GPUs. I have an RTX2080Ti in my editing workstation and it cannot accelerate 422 H265. So all I am saying is that it would be great if Canon offered a 4K H.265 4:2:0 option as well; I would rather be able to easily edit the footage vs a miniscule increase in quality which would be impossible to even see on YouTube or cell phones.
The C70 XF-AVC footage edits perfectly on my workstation, no idea what is different about it vs non XF-AVC footage when it comes to HW acceleration.
My workstation is an Intel workstation so there is still no GPU video card upgrade option that will support H.265 10 bit 4:2:2 HW acceleration.
 

 
That is good to hear that you haven't had any issues with your R6.  The R7 would definitely be an upgrade from a Rebel T6, but I can't imagine a cheaper body than even the T6 and even the T6 had a top screen not that I ever use it. It is worth next to nothing so I might as well keep it as a timelapse camera. I am not a fan of the thumbwheel either, but still not as bad as that fn bar for the EOS R.

I actually did watch a video on it, as much as I like Resolve, no way would it work for me with stills. Just because a program has the ability to do something doesn't mean the inefficiencies incurred while doing so would make it worth it in the end. After major events such as fashion shows, I need to cull over 2000 pictures quickly and process about 600-800 within a few hrs, no way would Resolve be able to support that workflow.
Also, for Real Estate, pretty complex retouching is required to get top quality results due to the DR limitations of modern cameras, Resolve would be a nightmare to try to replicate what I can do in a few seconds in PS.

If I was…and I am not going to be any time soon, or ever, it would be:
Static video up to 30 mins max one R6.
Second R6, handheld, 10 second clips.
R5 exclusively stills.
But from what I understand, would probably switch out that first R6 now for an R7.
But none of it is compelling enough to switch from Panny other than the AF factor which is not that big a deal for me!

The build quality will indeed be a downgrade when you compare Canon mirrorless to DSLR. While not as bad as Sony, Panasonic has certainly a better and more quality feel. Somehow all Canon mirrorless feel like Rebel series now 😆