herein2020

I think you are missing the point that myself and kye are making.....IBIS can smooth out some of the natural shakiness that comes from hand holding footage; GS cannot, just because it is a GS does not mean it can smooth out shakiness it just means that it won't be wavy when it occurs. So my point is, would I prefer nice straight lines as the camera shakes (GS), or would I prefer to eliminate the shakiness altogether (IBIS).
To further extrapolate that comparison; if I had to pick between a camera that could eliminate a lot of shakiness at the expense of wavy lines in some situations (rolling shutter) vs. one that does nothing to eliminate shakiness but has nice straight lines when making quick camera movements; I'm going to pick eliminating the shakiness (IBIS).  Just because a GS can handle fast camera movements better than a RS doesn't mean it does anything for shakiness; to me shakiness is far more perceptible to non videographers than rolling shutter distortion.
 
And yes, I am aware that after a certain level of shakiness IBIS can no longer compensate, so for the purposes of these examples I am referring to those instances where the level of shakiness is within the operating parameters of the IBIS system. Of course a GS with IBIS would be the best of both worlds but if I had to pick I'd pick IBIS over GS.

I get it, I shoot handheld with my C200 all the time and it has no IBIS but due to it's weight I don't even notice; there's also ways to reduce rolling shutter distortion without GS (cameras with faster scan times, slower camera movements, etc.) and like I mentioned I would love a GS, but I still find IBIS more useful than a GS because for the types of projects that I work on  RS is not a problem for me but camera operator shakiness is (hand holding a GH5 I'd pick IBIS any day over a GS). With a GS but no IBIS I would have to make the GH5 heavier, use a gimbal more often, use stabilized lenses (currently my MFT lenses are 100% manual), etc.

Here is my setup, the wall hooks are where I hang my 10 x 10 green screen. I use two 200w led lights shooting into a 42" umbrella on each side to evenly light it, then 3 gvm led panels to light the talent. 
 
The picture is of my photo setup, I don't have one of when the green screen is setup.
Camera is a C200 but I can just as easily use the GH5, really any camera will do. For editing I use DaVinci resolve with an alpha key to replace the green screen, the key to working with the screen is to get the talent far enough away that none of the green reflects onto the talent. In my studio they sit about 12' away which works for me. Also don't over light the green screen or you will get a cast onto the talent.
 

I feel like it is too good to be true as well, I'm just not yet sure what the catch is. 
For the external RAW question I am sure Atomos will make something that will work. I think the HDMI 2.0 standard was holding it back but with HDMI 2.1 they just need to release some new HW.

I'll just come out and say it...I don't like Sony's cameras. I picked one up at a display case in a store once and it felt so cheap and plasticky that I have never given them another chance, the ergonomics were terrible, and the menus were even worse. I'm sure they have improved a lot since then but by now I have plenty of Canon glass, I love the Canon gear I have and if this camera doesn't disappoint and fits comfortably on my Ronin S it is a no brainer for me.

So if a camera feels like it will fall apart due to use, the materials feel really cheap to the touch, it is not as weather sealed as other comparable cameras, it is not comfortable to hold, and the menu systems are a mess you would still care more about IQ? I'm not here to debate Canon vs Sony or any other brands, I love my current setup and I'm glad you are getting the results that you paid for out of yours, but to me IQ isn't everything.
Years ago I realized I'm not producing Hollywood blockbusters, my avg viewer will view my final output at 480P on their cell phones, the content matters a lot more than the IQ, actual Hollywood movies have been shot on GoPros, and YouTube will do more damage to my footage than I ever will in the camera.....so yes I know better IQ can be gotten by many cameras other than the GH5; but for me, the GH5 feels good in my hands, has a menu system that is very easy to work with, and feels rugged and reliable; these things I value more than IQ.
With that being said, sure the GH5 has many shortcomings and I have learned to work within them (highlight rolloff, DR, lowlight performance, no AF, poor color science), so if Canon delivers the same ergonomics, features, and menu system from the rest of their line, and fixes all of the things I don't like about my GH5 I will gladly upgrade.

These specs do seem to be too good to be true. But then again, so did the C500 II and C300 III (as well as 1DX III and R5, but those did sort of turn out to be too good to be true, functional-wise). 
Don't know how this wouldn't severely undercut C300 III sales if the only thing missing was raw internal (especially if this camera can do raw output). I guess other things like full XLRs, timecode, and a few other professional tools would differentiate the two, but there are definitely work-arounds for a camera that is 1/3 or 1/2 the cost.
Hoping this is true, but we'll see. 

Over at CR they are reporting an RF mount cinema camera is going to be announced this month. I also found an article from Sept reporting a Canon patent application for what looks like a similar form factor to the Red Komodo:
https://www.digitalcameraworld.com/news/move-over-red-canon-may-be-making-its-own-rf-mount-cinema-camera
Of course the codecs are not as good as the Red's but if these specs are true then Canon literally added every feature that I felt was missing from the Komodo (XLR, internal ND, better AF). As much as I wanted a true hybrid, this could be my GH5 replacement after all.
Same Super35 sensor as the Canon Cinema EOS C200 Internal ND filters (mechanical) up to 6 stops 2x Mini XLR inputs Full-size HDMI 4K 4:2:2 10bit in ALL-I and IPB up to 120p 1x CFexpress Type B Slot 2x SD UHS-II slots External RAW recording options up to 4K 120P 2x LP-E6NH batteries Camera size smaller than the EOS-1D X Mark III Price: $4499 USD

I agree, I love my GH5's layout, the menu system took a little getting used to mainly because there are so many options, but once I set up my favorites menu it is great. The GH5 feels good to hold, has never let me down due to overheating or any other issues. I never thought I'd like another camera as much as my 5DIV until the GH5 came along.

I feel like it is too good to be true as well, I'm just not yet sure what the catch is. 
For the external RAW question I am sure Atomos will make something that will work. I think the HDMI 2.0 standard was holding it back but with HDMI 2.1 they just need to release some new HW.

I'll just come out and say it...I don't like Sony's cameras. I picked one up at a display case in a store once and it felt so cheap and plasticky that I have never given them another chance, the ergonomics were terrible, and the menus were even worse. I'm sure they have improved a lot since then but by now I have plenty of Canon glass, I love the Canon gear I have and if this camera doesn't disappoint and fits comfortably on my Ronin S it is a no brainer for me.

Over at CR they are reporting an RF mount cinema camera is going to be announced this month. I also found an article from Sept reporting a Canon patent application for what looks like a similar form factor to the Red Komodo:
https://www.digitalcameraworld.com/news/move-over-red-canon-may-be-making-its-own-rf-mount-cinema-camera
Of course the codecs are not as good as the Red's but if these specs are true then Canon literally added every feature that I felt was missing from the Komodo (XLR, internal ND, better AF). As much as I wanted a true hybrid, this could be my GH5 replacement after all.
Same Super35 sensor as the Canon Cinema EOS C200 Internal ND filters (mechanical) up to 6 stops 2x Mini XLR inputs Full-size HDMI 4K 4:2:2 10bit in ALL-I and IPB up to 120p 1x CFexpress Type B Slot 2x SD UHS-II slots External RAW recording options up to 4K 120P 2x LP-E6NH batteries Camera size smaller than the EOS-1D X Mark III Price: $4499 USD

Over at CR they are reporting an RF mount cinema camera is going to be announced this month. I also found an article from Sept reporting a Canon patent application for what looks like a similar form factor to the Red Komodo:
https://www.digitalcameraworld.com/news/move-over-red-canon-may-be-making-its-own-rf-mount-cinema-camera
Of course the codecs are not as good as the Red's but if these specs are true then Canon literally added every feature that I felt was missing from the Komodo (XLR, internal ND, better AF). As much as I wanted a true hybrid, this could be my GH5 replacement after all.
Same Super35 sensor as the Canon Cinema EOS C200 Internal ND filters (mechanical) up to 6 stops 2x Mini XLR inputs Full-size HDMI 4K 4:2:2 10bit in ALL-I and IPB up to 120p 1x CFexpress Type B Slot 2x SD UHS-II slots External RAW recording options up to 4K 120P 2x LP-E6NH batteries Camera size smaller than the EOS-1D X Mark III Price: $4499 USD

No I don't have time to do the types of reviews you see online, I don't know where they find the time.  There's nothing really special about my studio setup, 10' PVC for the rolls, Westcott cotton backdrops, posing stool, GVM panels, GVM lights, Westcott umbrellas, studio is 16' x 32' with a 13' ceiling, backdrops are 9' x 20' the green screen is 10' x 10'. or it might be 10' x 20' can't remember. 
While building my studio I watched Joe Edelman's YouTube videos a few times for ideas, and there's plenty of tutorials on the proper use of a green screen, and more tutorials on how to key out the green screen in editing.  I use DaVinci Resolve and combine the alpha output technique with color qualifiers to get rid of the green screen then I use a power window to mask the edges which lets me expand my background beyond the edges of the green screen until the background fills the frame and it makes my studio look a lot larger.
My front 3 photography lights are Godox 600's and they are battery powered so that clients do not trip over cables and they are mobile so that I can do beach shoots and sunset shoots for the photography side of the house.
For video lighting outdoors for say a swimsuit shoot I use C stands and foam core panels to add fill light while using the sun as the rim and key light ($20 at Home Depot or Lowes).
This is my GVM Panel Kit, it is mobile and can take AC power or battery power
https://www.amazon.com/gp/product/B07J1GLLB2/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
 
And here are the lights I use for lower budget music videos, interviews, etc., the color changing feature is fantastic, no more gels. 
https://www.amazon.com/gp/product/B07M5FD2MM/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
 
My backdrops never leave the studio, too much of a hassle, and lighting a green screen anywhere but in the studio isn't worth the work to me so I don't offer mobile green screen services or mobile "studio look" photography services, if I'm shooting on location it's going to be using whatever background that location can provide.

I considered the Red Komodo when I was deciding if I should wait for it or go with my C200 and I chose the C200 when the price for the C200 dropped to $5400USD. I shoot mainly events, music videos, interviews, etc. and the Komodo, while way more attractive than the other models does not have internal ND filters, XLR audio, flip out monitor, AF is less reliable than Canon's, and for me one of the biggest things was no lower end codec. As much as everyone trashes LongGOP and 4:2:0 8bit, the colors and picture that I get out of the C200 is incredible when you realize what codec it is using and if I ever get a gig that needs it I can always step up to RAW. For long events or talking heads you just don't need ProRes or any flavor of raw.
 
If Red would add XLR inputs, an eND filter, improve their AF, add lower data rate codec options, and keep it in the $6K price range it would suddenly make the A7SIII, the C100, and the C200 look a lot less attractive.

I
Strangely, but I managed to deal with and checked both 🙂 Actually, I had UMP G1 and worked with C200. It seems that G2 finally has stable ISO3200 15 stops performance without fear of any FNP, whitch was main concern to worry with  G1. Looking just to final Image and codec manipulation especially (including cost of media), UMP is far better than C200, at least for narrative movie project - but C200 has the most beautiful and cleverest compact form factor (although cheaper body) I had opportunity to work with... Several month ago I started first to prepare, and than first shooting days of one feature film - and because of working condition (moving quickly, travel abroad to and from Russia including its some wilder area), I decided to base everything on starter kit of 2 Pocket 4k (it was only cine-capable camera that, if something fail, could be buy and replaced quickly everywhere). 

I considered the Red Komodo when I was deciding if I should wait for it or go with my C200 and I chose the C200 when the price for the C200 dropped to $5400USD. I shoot mainly events, music videos, interviews, etc. and the Komodo, while way more attractive than the other models does not have internal ND filters, XLR audio, flip out monitor, AF is less reliable than Canon's, and for me one of the biggest things was no lower end codec. As much as everyone trashes LongGOP and 4:2:0 8bit, the colors and picture that I get out of the C200 is incredible when you realize what codec it is using and if I ever get a gig that needs it I can always step up to RAW. For long events or talking heads you just don't need ProRes or any flavor of raw.
 
If Red would add XLR inputs, an eND filter, improve their AF, add lower data rate codec options, and keep it in the $6K price range it would suddenly make the A7SIII, the C100, and the C200 look a lot less attractive.

I had the R6 in my shopping cart....but Peter McKinnon's review where he hinted that their were overheating problems then quickly glossed over them made me pause just long enough to find out just how bad it really is, I planned on replacing my GH5 with the R6 and if that went well eventually replacing my 5D with the R5. I would then be all in on Canon C200, R5, and R6....instead now I'm wondering what the GH6 will look like and will hang on to my 5DIV for a few more years.

I have great AF in the C200 but I almost never use it. I always feel like its going to miss the shot when it matters most.  For the locked off scenarios like you mentioned I just keep my aperture around 3.5 and stick to MF even with the C200.  I do truly wish I had AF for my gimbal work but I've gotten used to working with the GH5's limitations.

Not really the time in the current covid crisis to jump camera maker and buy besides the body, all new lenses and flashes.

I agree with you there, it's just a forum and just a camera, I put out my opinions like everyone else but don't believe in the bashing or flaming that some users choose to involve themselves in, it is not constructive nor a desirable character trait.

Just FYI...according to Gerald Undone you can now change the file names in the A7SIII....of course for images 12MP may not be enough for cropping and recomposing.
 
 

Just FYI...according to Gerald Undone you can now change the file names in the A7SIII....of course for images 12MP may not be enough for cropping and recomposing.
 
 

I agree with you there, it's just a forum and just a camera, I put out my opinions like everyone else but don't believe in the bashing or flaming that some users choose to involve themselves in, it is not constructive nor a desirable character trait.

This photographer normally uses a 5D and 1D for his motocross events and was able to use an R5 under similar conditions yesterday.  So it is possible to overheat the R5 taking only photos.
https://www.canonrumors.com/forum/threads/gerald-undone-completes-exhaustive-record-time-testing-on-the-canon-eos-r5-and-canon-eos-r6.38979/page-4#post-851397
"I got to use an r5 today out at a Motocross event and well it turned off from only doing photos. This was using the ef to rf adapter and a 200mm f2. This was used for over a time period of 2.5-3 hrs and it was 86 degrees out. I’m glad that I didn’t buy it and needless to say my friend who did is pretty disappointed. I love 1d bodies"
"Yup. Only stills. I think we use two or three batteries.Full disclosure I leaned on the shutter a lot I fired off a few thousand rounds and which by the way I must say that tracking is pretty incredible. Auto shut off was at 1 min. Yes I know it was warm out but doing photos then looking at them and doing photos and looking at them you wouldn’t think that a camera would get so warm that it would shut off from stills."
"I had just got done shooting a burst and looked at the photos that were captured and the red thermometer was flashing and I proceeded to shoot more then the camera stopped. It took somewhere between 10-15 min to start working again. After this tho I quit using it"

I think the Tilta thing is a joke, the R5 is so weather sealed it will be like wearing a space suit and strapping a fan to the outside of your space helmet. Without thermal paste and cooling fins, all that will do is blow hot ambient air onto the outside of a weather sealed body; lets not forget women (and men) with long hair....good luck bringing something like that close to your face or trying to show a client the back of your camera with that thing spinning.
BTW, where is the power for that coming from? How loud will it be when recording audio? 
 
I don't understand the adapter either....so you will basically be pulling dust directly from outside of the camera and blowing it directly on the sensor, that sounds like a horrible idea. The S1H seems to be the only camera that truly gets the cooling situation and even it didn't try to do 8K, 4K120, or full sensor readout 4K60.

I agree...not to mention the thing no one is talking about.....how much will overheating that much shorten the overall life of the camera? I feel like these bodies will start dropping like flies about 2 months after the warranty runs out if the owner has been using much video.