herein2020

I recently completed a music / band performance video project where I was asked to shoot 3 videos in 2hrs without even seeing the venue. To make it even better, the audio was not pre-recorded so I had to record it live during the band performances. The venue was actually a junkyard with a rehearsal stage in one of the buildings, so definitely challenging all around. Below are the first two videos, I haven't released the 3rd video yet.
The stationary A camera was the Canon C70 shooting 12bit Cinema Raw LT at 30FPS with the Canon EF 24mm F2.8 lens because there was no room to get the camera further back from the stage (very small venue). The B-cam was the Canon R7 with the Canon EF 24-70 F2.8 lens and lens adapter; all shots with the R7 were handheld with IBIS enabled and digital IS disabled. The cover photos were taken with the Canon R7. Both cameras were set at ISO800, CLOG3 Cinema Gamut.
The audio was captured by the C70 using an Azden SGM-250MX shotgun mic. Everything was edited in post with DR and managed color. A light creative LUT was placed over the top at the end. The lighting was all over the place, I did not bring lighting because I thought we were shooting outdoors so I just had to make do with what the venue provided.
Fun fact; the venue was about 90F during the recording so blazing hot and we had to turn the fans off to capture the audio; definitely would not have trusted a camera that overheats for this shoot.
 
 
 
 

Wow, $160 for a single release plate?? I wouldn't have to worry about camera gear there would be nothing left over to buy any after buying those. Between multiple cameras, tripods, sliders, gimbals, etc......I probably have over 20 release plates mounted to various things.
I personally am a big fan of Smallrig, anything they make I buy without hesitation. I use their Manfrotto plates for all of my gear. Big, bulky, uncomfortable to hold, but rock solid.

I recently completed a music / band performance video project where I was asked to shoot 3 videos in 2hrs without even seeing the venue. To make it even better, the audio was not pre-recorded so I had to record it live during the band performances. The venue was actually a junkyard with a rehearsal stage in one of the buildings, so definitely challenging all around. Below are the first two videos, I haven't released the 3rd video yet.
The stationary A camera was the Canon C70 shooting 12bit Cinema Raw LT at 30FPS with the Canon EF 24mm F2.8 lens because there was no room to get the camera further back from the stage (very small venue). The B-cam was the Canon R7 with the Canon EF 24-70 F2.8 lens and lens adapter; all shots with the R7 were handheld with IBIS enabled and digital IS disabled. The cover photos were taken with the Canon R7. Both cameras were set at ISO800, CLOG3 Cinema Gamut.
The audio was captured by the C70 using an Azden SGM-250MX shotgun mic. Everything was edited in post with DR and managed color. A light creative LUT was placed over the top at the end. The lighting was all over the place, I did not bring lighting because I thought we were shooting outdoors so I just had to make do with what the venue provided.
Fun fact; the venue was about 90F during the recording so blazing hot and we had to turn the fans off to capture the audio; definitely would not have trusted a camera that overheats for this shoot.
 
 
 
 

Awesome production, it truly had all the feel of the start of a Hollywood Christmas movie. Even more impressive considering the crew you were working with.
 
@kaylee that is pretty incredible, I've never even heard of something like that, I had to reread your post just to figure out what I was looking at.
 
It sounds like this is the Christmas thread so here is my contribution; much less exciting than both of yours but it fits with the Christmas spirit 😀 For the following video I used the Canon C70 as the A cam (wide shot) and the Canon R7 for the closeups. The C70 was shooting 12bit raw, with the Canon EF 24-105mm and the speedbooster. The Canon R7 was set to compressed IPB, 4KFine with the Canon RF 70-200mm F2.8.
Both cameras were set to CLOG3 Cinema Gamut, post processed in DR and color graded using DR's managed color. The opening detail shots were shot with the Canon R5 since I had already set up the R7 and C70 on their tripods.
 
 

Awesome production, it truly had all the feel of the start of a Hollywood Christmas movie. Even more impressive considering the crew you were working with.
 
@kaylee that is pretty incredible, I've never even heard of something like that, I had to reread your post just to figure out what I was looking at.
 
It sounds like this is the Christmas thread so here is my contribution; much less exciting than both of yours but it fits with the Christmas spirit 😀 For the following video I used the Canon C70 as the A cam (wide shot) and the Canon R7 for the closeups. The C70 was shooting 12bit raw, with the Canon EF 24-105mm and the speedbooster. The Canon R7 was set to compressed IPB, 4KFine with the Canon RF 70-200mm F2.8.
Both cameras were set to CLOG3 Cinema Gamut, post processed in DR and color graded using DR's managed color. The opening detail shots were shot with the Canon R5 since I had already set up the R7 and C70 on their tripods.
 
 

Another year, I return with my traditional police Christmas video. This year a short film of a thief who climbs the walls dressed as Santa Claus, to camouflage himself as the popular Christmas decoration. Remember that it is a video that we make in which each roll is interpreted by policemen, not actors, and that the technical section this time is made up of some more members of the squad, where only 2 of us have audiovisual knowledge.
I hope it makes you laugh at least a small part of what we have laughed shooting it.
 
A greeting to all, and especially to Andrew.
 

I think Canon could really have to fix the R5C's usability, atm it's borderline usable but could be much better, like there is no reason not to shoot videos on still mode, or using dpaf Ii on cine mode as it is the same sensor! And only 40min on standby..

I am actually not that enthusiastic on R5C after using it 6 months later... the C70 got a lot more use nowadays, and sometimes if we are out shooting remotely R5 get picked over R5c because of battery and weather sealing against all weather and condition.  We got a tiny sand stuck on the on switch of C70 which we have to send in to fix when we did a shoot on the dune, the R5 have no problem whatsoever.

So R5C is mostly a tripod camera with usb power adapter connect to the main for us nowadays beside acting as still cam.  My friend also use R5C as tripod camera with v mount battery while he roam around on his C70 too.

After watching this video I am still thoroughly unconvinced that Canon has solved their overheating problem with the R6II. Yes it did better than the R6 but that's not saying much. The R6II overheated at 4K60FPS in 40min with ambient temps at only 70F. 
For the brief time I owned the R6 (3 days), it was shutting off around the 9min mark while just shooting a few video clips, scrolling through the menus, and taking a few pictures; and that wasn't even in direct sunlight or one of the hotter days here.
I live in one of the hottest most humid states in the USA, no way would it last 40min at 98F and 100% humidity. I have managed to get an overheat warning with a C200 and the fan set on high while filming, so heat management is probably more important to me than to people who live in a colder climate.
The R7 on the other hand has never gone past 3bars for me even when shooting in 105F degree temps with a mixture of 4K Fine, 4K 60FPS, and some photos/menu settings thrown in.  The C70 also has never given me an overheating warning.  So at the end of the day the R6II does have better specs in every area than the R7, but for where I live and the type of work I do, I will take a crop and line skipping any day vs a camera that overheats. I think the smaller sensor of the C70 and R7 really pay off when it comes to heat management.
Interestingly enough, I have a diehard Sony shooter friend who lives nearby and she just got the A7IV and she said it overheated in the middle of a wedding within a month of her owning it; so its definitely not just Canon with this problem. BTW, that wasn't even the hottest month here, no idea what she is going to do for next summer.
 
 
 

After watching this video I am still thoroughly unconvinced that Canon has solved their overheating problem with the R6II. Yes it did better than the R6 but that's not saying much. The R6II overheated at 4K60FPS in 40min with ambient temps at only 70F. 
For the brief time I owned the R6 (3 days), it was shutting off around the 9min mark while just shooting a few video clips, scrolling through the menus, and taking a few pictures; and that wasn't even in direct sunlight or one of the hotter days here.
I live in one of the hottest most humid states in the USA, no way would it last 40min at 98F and 100% humidity. I have managed to get an overheat warning with a C200 and the fan set on high while filming, so heat management is probably more important to me than to people who live in a colder climate.
The R7 on the other hand has never gone past 3bars for me even when shooting in 105F degree temps with a mixture of 4K Fine, 4K 60FPS, and some photos/menu settings thrown in.  The C70 also has never given me an overheating warning.  So at the end of the day the R6II does have better specs in every area than the R7, but for where I live and the type of work I do, I will take a crop and line skipping any day vs a camera that overheats. I think the smaller sensor of the C70 and R7 really pay off when it comes to heat management.
Interestingly enough, I have a diehard Sony shooter friend who lives nearby and she just got the A7IV and she said it overheated in the middle of a wedding within a month of her owning it; so its definitely not just Canon with this problem. BTW, that wasn't even the hottest month here, no idea what she is going to do for next summer.
 
 
 

Mine does not do that with digital IS on or off in XFAVC or RAW. I would open a ticket with Canon. Are you using native lenses, lens adapters, speedbooster, lens with IS?
After seeing your video I tested my C70 on a tripod with the Canon speedbooster, Sigma EF mount 50mm F1.8 and with digital IS on and off. I also tested it in XFAVC and then switched to Cinema Raw LT......there was absolutely no movement in the image.
If you are using a lens with IS I would try turning off the lens IS, also if you are using a 3rd party lens adapter maybe try using the native mount or a Canon adapter. When you turn off digital IS does it fix the issue? Are you sure there are no micro vibrations coming from somewhere like the floor that the tripod is sitting on?

That's an incredible shot and even more interesting backstory. 4200hrs and 720K photos.  I am definitely not shooting anything that requires that kind of dedication or precision.  For me its really just a matter of being my own worst critic, even though it is for a client shoot, I still know when I am not getting the shots I was getting with an OVF.
Now these are definitely great examples of where timing was key and where you couldn't use burst mode to create the shot due to the flash recycle limitations.  Maybe it is like you and @kye are saying; I only have a few thousand images with the R5 so far and most of them don't require precision or timing so it might just be a matter of getting used to it. 
Shutter lag didn't even cross my mind, it could be a combination of EVF and shutter lag for my R5. Or it is still possible my R5 simply has more lag than it is supposed to; my brief R7 tests show a big improvement. CPS didn't seem to have an official test for this, in the ticket notes all they said was that they compared it to another R5.....no help at all if the second R5 they compared it to had the same problem.
I definitely don't need a 1DXIII for the things I shoot, my 5DIV was more than adequate for everything I threw at it.

I know there's tons of tests out there and each one will reach some conclusion; but I also know I personally own both cameras and for me and the type of content that I shoot and the temperatures that I shoot in, the R5 overheated for me while shooting mostly photos with a few video clips here and there when the ambient temps were around 86F and 70% humidity whereas the R7 has never given me the overheating warning even when shooting in ambient temps of around 100F and the humidity was around 10%. 
The R5 was on FW version 1.5 and I haven't shot any video clips after upgrading to FW 1.6 since the R7 is now my go to hybrid camera. Another annoying problem with the R5 is that it still has the 30min record limit. I have to believe that Canon will remove that limit soon, but until it happens, I will just remain in disbelief that they removed it from the R6II, R7, and R3 but have yet to do so (if they ever will) for the R6 and R5....and we are talking years after Panasonic and Sony removed theirs.
As far as DR and IQ, I believe it would be very difficult to tell the difference between the R5, R6, R6II, and R7 in real world shooting (not pixel peeping). Even the R7's line skipped 4K60FPS is more than sufficient for social media content. I've also gained a new appreciation for crop sensors since owning the R7. The extra reach it gives me with the 24-105, 70-200, and even the 24-70 took a little getting used to but its a real treat to work with now.
I think the two main limitations that the R7 has is the fact that it does not have a dual native ISO so it can't compete with the R5 for lowlight and that line skipped 4K60FPS is definitely noticeable in the pixel peeping comparisons.

Great write up. I almost want an R7 as a result and may add it to my ‘Camera Crisis’ list 😗

Yes it has those options on the mode dial.
 
Actually, I think the R7 is better for hybrid shooting at least for events. The R7 impresses me more and more as I work with it. The R7 has no record limits, hybrid hotshoe, uses identical memory card types in both slots, hasn't once overheated on me using the original FW even in 100F degree heat, battery life is way better, and the button layout has really grown on me during fast moving hybrid shoots at events. 
Due to the R7 I have changed my whole shooting style at events. I have the R7 in a cage with a side handle for hand-held shots for both photo and video along with a hotshoe flash on top and can flick from photos to video and back without ever lowering the camera. I also added a strap mount to the cage which is another first for me for a video camera.
So, 3 months in below are some of my findings with the R7 so far. This is from my perspective when shooting with it for both photos and videos at events:
Best Hybrid Lens: Canon EF 24-70 F2.8 L. This was a surprising one for me, I tested out the Sigma EF-S 18-35 F1.8 which many people rave about but it did not seem sharp to me, especially at F1.8. Also, the lens AF motors were some of the loudest I have ever heard; definitely not acceptable with a camera mounted shotgun mic. It also was wider than I needed it at the wide end and not long enough at the long end. When I tested the Canon EF 24-70 F2.8L the R7 was suddenly razor sharp, focusing noise was greatly reduced and the FF sensor focal length of approximately 38-112mm was perfect for both pictures and video. This lens also works very well with the R7 on the Ronin RS2; it balances perfectly. A final plus for the Canon 24-70 F2.8 is the lock switch which locks the barrel so I would engage that whenever it was on a gimbal to keep the balance. Ergonomics - This is the first camera I have ever owned that I feel equally comfortable shooting both photos and video. When shooting a fast-moving event, the ergonomics of this camera really start to shine as a hybrid. I can flip the power switch from off/on/video then adjust the aperture using the ring around the joystick all within seconds and without moving my hand from the grip. For events I literally just hand hold and use the back screen for images then flip to video get a few clips without lowering the camera then back to photos. A hotshoe mounted flash gets me down to ISO 100 for photos and video starts at ISO800 so once it is all set up I can shoot the optimal ISO for both formats without touching the settings.  Photo / Video Separation - None of the photo and video settings are linked which is another pro and a slight con. It would be nice to be able to pick what to link like the S5 let me do. I would like to link the WB, and Aperture because they are typically the same between photos and video.  AF Separation - This is a subtle nuance that is also pretty nice with the R7, the AF settings in photo mode also do not affect the video mode. So for example you can set continuous AF with person tracking and eye detect in photo mode and continuous AF with tracking and eye detect off for video mode. You can also create a box on the screen and limit the AF features to just that box if you have time to set all of that up. Flash Sync Speed - I am totally confused on this one. The documented maximum flash sync speed is 1/250s but I went as high as 1/500s at times and my flash output did not drop nor was my flash in HSS mode so I have no idea what that's about. It was a very pleasant surprise though. Most cameras stop at their flash sync speed and won't let you go any higher until you set the flash to HSS at which point your output drops quite a bit or you have problems in your image due to exceeding the sync speed, but neither occurred when I exceeded the flash sync speed. The Bad - unfortunately the R7 is not perfect, I have found a few more annoyances after shooting with it for awhile
Flash Hotshoe Doesn't Fire - This is my main annoyance, the hotshoe has approximately a 5% failure rate when triggering the flash. Same flash I have had for years, never once had it not fire when attached directly to the camera, but with the R7 it fails to trigger sometimes. At first I thought it was just coming loose, but no matter how much I tightened it, it would still fail occasionally. For events that's a major annoyance when you are trying to capture peak action and relying on the flash for fill. Recording Doesn't Stop - Sometimes the recording would not stop after pressing the recording button. Holding the button doesn't help, pressing it repeatedly doesn't help, it will just not stop recording without additional fiddling. Sometimes I had to press the stop button on the screen itself to get it to stop. It never took more than a few seconds of fiddling to get it to stop, but annoying none the less. Horizon Leveling - This one is very minor, but I did discover that this has to be turned off when on a gimbal. The horizon leveling makes the image slowly rock from side to side on a gimbal. It took about an hour of fiddling to find that one. I thought sure it was my gimbal, but then I turned off the horizon leveling feature and the image was rock solid. I am not sure yet how useful this is when handholding since I don't have time to turn it off and on at events so I just leave it off. R7 or R6II? I know @Django asked me if both were available today which one would I pick? I think without having ever shot with the R7 then the R6II would be no contest. But now after shooting with the R7 I think the main technical drawback the R7 really has is line skipped 60FPS. The R6II has some really nice to have features (most could be added via a FW update to the R7 if Canon felt generous), but for event hybrid work the R7 is great. For events the line skipped quality is probably more than adequate, but for higher end work like commercial work or possibly mid budget weddings, it may not hold up.
The Verdict - The R7 has actually exceeded my expectations for a hybrid camera. Even the fact it is a crop sensor is actually helpful because it breathed new life into my Canon EF 24-70 lens with the change in focal lengths.  The IBIS is great, AF of course is perfect even though I still only use the cross hairs for AF, none of the fancy tracking features, but the part that I do use is rock solid reliable. I was looking at speedbooster options (and may still need one for lowlight situations), but so far the R7 is a perfect fit even with the crop sensor.
I need to practice with the more advanced AF options more to see if I can incorporate them into fast moving run and gun situations. I don't trust tracking or eye AF for video, but for photos it seems pretty solid.
Below is a recent event highlight video I shot with the R7. Approximately 90% was handheld, the entire event (photos and video), I shot with just the Canon EF 24-70 F2.8 lens.  I also used the 4K30FPS Fine option with compressed IPB and CLOG3 Cinema Gamut combined with Davinci Resolve Managed Color and a slight creative grade to finish it off. The colors straight out of camera were great to work with.
This shoot was particularly challenging because the event was half under massive really dark unlit tents and half in shade with midday sunlight all around so my focus was on properly exposing the subject matter with no regard to the background exposure. As a refence point, another videographer was there with a C300III running the live feed and he was also unable to keep the DR within the C300III's sensor so it was no fault of the camera that it couldn't handle the full DR of many of the scenes.
 
 
 
Below are a few sample images from the event. These were shot with a hotshoe mounted flash handheld and the same Canon EF 24-70 F2.8 lens. All images were shot raw and post processed in LR. Colors are straight out of camera, nothing was added to the colors.
 

 

 

 

You actually do not have to shoot vertical to get vertical video, most of my content I post on YT and IG and the content fits perfectly on both platforms. I would much rather shoot landscape and have the option of posting a vertical version vs shooting vertical with no ability to post a landscape version. The trick is to set up the aspect ratios in Davinci Resolve, and when you are shooting, frame the content in a way where it will work in both orientations. 
One of my favorite features of the S5 was the ability to set up aspect ratio guides which I used to frame the social media content within the landscape orientation. This is also why I discovered the bug in the C70 which does not let you set a custom aspect ratio; so far Canon hasn't bothered to do anything about it. I've been shooting this way so long though that I mentally adjust the framing to accommodate both in post.
Here is a sample video where it is in landscape:
 
 
And here is the same video on Instagram:
https://www.instagram.com/p/Cdq3QJtlyQs/
 
 
 

That's an incredible shot and even more interesting backstory. 4200hrs and 720K photos.  I am definitely not shooting anything that requires that kind of dedication or precision.  For me its really just a matter of being my own worst critic, even though it is for a client shoot, I still know when I am not getting the shots I was getting with an OVF.
Now these are definitely great examples of where timing was key and where you couldn't use burst mode to create the shot due to the flash recycle limitations.  Maybe it is like you and @kye are saying; I only have a few thousand images with the R5 so far and most of them don't require precision or timing so it might just be a matter of getting used to it. 
Shutter lag didn't even cross my mind, it could be a combination of EVF and shutter lag for my R5. Or it is still possible my R5 simply has more lag than it is supposed to; my brief R7 tests show a big improvement. CPS didn't seem to have an official test for this, in the ticket notes all they said was that they compared it to another R5.....no help at all if the second R5 they compared it to had the same problem.
I definitely don't need a 1DXIII for the things I shoot, my 5DIV was more than adequate for everything I threw at it.

I know a lot of buyers of the EOS R really complained about the lag. They had one on display in a store once and I picked it up and just panned from side to side while looking through the viewfinder; the lag was so bad it was the final nail in the coffin for the EOS R for me. I was truly in disbelief that anyone was willing to put up with it.
I think at the end of the day I am probably the only one that notices the shots I missed or didn't get perfect while knowing the lag caused it. The only time when the client noticed as well was the ballerina shoot. She was giving me looks that made it clear she didn't know why I wasn't nailing her leg and arm placement mid leap. 
Honestly, I am probably just making it more than it is.  If I did not rely on flash so heavily or shoot so many specific situations that require both flash lighting as well as precision then the lag wouldn't bother me as much. With sports you can just hold down the shutter so mirrorless is definitely capable of capturing peak action even with the lag. At events people are used to redos over someone blinking so that's not a big deal either.
For 99% of my work, only I will know when I missed the exact moment I wanted due to the EVF lag so I can live with that.

Yes it has those options on the mode dial.
 
Actually, I think the R7 is better for hybrid shooting at least for events. The R7 impresses me more and more as I work with it. The R7 has no record limits, hybrid hotshoe, uses identical memory card types in both slots, hasn't once overheated on me using the original FW even in 100F degree heat, battery life is way better, and the button layout has really grown on me during fast moving hybrid shoots at events. 
Due to the R7 I have changed my whole shooting style at events. I have the R7 in a cage with a side handle for hand-held shots for both photo and video along with a hotshoe flash on top and can flick from photos to video and back without ever lowering the camera. I also added a strap mount to the cage which is another first for me for a video camera.
So, 3 months in below are some of my findings with the R7 so far. This is from my perspective when shooting with it for both photos and videos at events:
Best Hybrid Lens: Canon EF 24-70 F2.8 L. This was a surprising one for me, I tested out the Sigma EF-S 18-35 F1.8 which many people rave about but it did not seem sharp to me, especially at F1.8. Also, the lens AF motors were some of the loudest I have ever heard; definitely not acceptable with a camera mounted shotgun mic. It also was wider than I needed it at the wide end and not long enough at the long end. When I tested the Canon EF 24-70 F2.8L the R7 was suddenly razor sharp, focusing noise was greatly reduced and the FF sensor focal length of approximately 38-112mm was perfect for both pictures and video. This lens also works very well with the R7 on the Ronin RS2; it balances perfectly. A final plus for the Canon 24-70 F2.8 is the lock switch which locks the barrel so I would engage that whenever it was on a gimbal to keep the balance. Ergonomics - This is the first camera I have ever owned that I feel equally comfortable shooting both photos and video. When shooting a fast-moving event, the ergonomics of this camera really start to shine as a hybrid. I can flip the power switch from off/on/video then adjust the aperture using the ring around the joystick all within seconds and without moving my hand from the grip. For events I literally just hand hold and use the back screen for images then flip to video get a few clips without lowering the camera then back to photos. A hotshoe mounted flash gets me down to ISO 100 for photos and video starts at ISO800 so once it is all set up I can shoot the optimal ISO for both formats without touching the settings.  Photo / Video Separation - None of the photo and video settings are linked which is another pro and a slight con. It would be nice to be able to pick what to link like the S5 let me do. I would like to link the WB, and Aperture because they are typically the same between photos and video.  AF Separation - This is a subtle nuance that is also pretty nice with the R7, the AF settings in photo mode also do not affect the video mode. So for example you can set continuous AF with person tracking and eye detect in photo mode and continuous AF with tracking and eye detect off for video mode. You can also create a box on the screen and limit the AF features to just that box if you have time to set all of that up. Flash Sync Speed - I am totally confused on this one. The documented maximum flash sync speed is 1/250s but I went as high as 1/500s at times and my flash output did not drop nor was my flash in HSS mode so I have no idea what that's about. It was a very pleasant surprise though. Most cameras stop at their flash sync speed and won't let you go any higher until you set the flash to HSS at which point your output drops quite a bit or you have problems in your image due to exceeding the sync speed, but neither occurred when I exceeded the flash sync speed. The Bad - unfortunately the R7 is not perfect, I have found a few more annoyances after shooting with it for awhile
Flash Hotshoe Doesn't Fire - This is my main annoyance, the hotshoe has approximately a 5% failure rate when triggering the flash. Same flash I have had for years, never once had it not fire when attached directly to the camera, but with the R7 it fails to trigger sometimes. At first I thought it was just coming loose, but no matter how much I tightened it, it would still fail occasionally. For events that's a major annoyance when you are trying to capture peak action and relying on the flash for fill. Recording Doesn't Stop - Sometimes the recording would not stop after pressing the recording button. Holding the button doesn't help, pressing it repeatedly doesn't help, it will just not stop recording without additional fiddling. Sometimes I had to press the stop button on the screen itself to get it to stop. It never took more than a few seconds of fiddling to get it to stop, but annoying none the less. Horizon Leveling - This one is very minor, but I did discover that this has to be turned off when on a gimbal. The horizon leveling makes the image slowly rock from side to side on a gimbal. It took about an hour of fiddling to find that one. I thought sure it was my gimbal, but then I turned off the horizon leveling feature and the image was rock solid. I am not sure yet how useful this is when handholding since I don't have time to turn it off and on at events so I just leave it off. R7 or R6II? I know @Django asked me if both were available today which one would I pick? I think without having ever shot with the R7 then the R6II would be no contest. But now after shooting with the R7 I think the main technical drawback the R7 really has is line skipped 60FPS. The R6II has some really nice to have features (most could be added via a FW update to the R7 if Canon felt generous), but for event hybrid work the R7 is great. For events the line skipped quality is probably more than adequate, but for higher end work like commercial work or possibly mid budget weddings, it may not hold up.
The Verdict - The R7 has actually exceeded my expectations for a hybrid camera. Even the fact it is a crop sensor is actually helpful because it breathed new life into my Canon EF 24-70 lens with the change in focal lengths.  The IBIS is great, AF of course is perfect even though I still only use the cross hairs for AF, none of the fancy tracking features, but the part that I do use is rock solid reliable. I was looking at speedbooster options (and may still need one for lowlight situations), but so far the R7 is a perfect fit even with the crop sensor.
I need to practice with the more advanced AF options more to see if I can incorporate them into fast moving run and gun situations. I don't trust tracking or eye AF for video, but for photos it seems pretty solid.
Below is a recent event highlight video I shot with the R7. Approximately 90% was handheld, the entire event (photos and video), I shot with just the Canon EF 24-70 F2.8 lens.  I also used the 4K30FPS Fine option with compressed IPB and CLOG3 Cinema Gamut combined with Davinci Resolve Managed Color and a slight creative grade to finish it off. The colors straight out of camera were great to work with.
This shoot was particularly challenging because the event was half under massive really dark unlit tents and half in shade with midday sunlight all around so my focus was on properly exposing the subject matter with no regard to the background exposure. As a refence point, another videographer was there with a C300III running the live feed and he was also unable to keep the DR within the C300III's sensor so it was no fault of the camera that it couldn't handle the full DR of many of the scenes.
 
 
 
Below are a few sample images from the event. These were shot with a hotshoe mounted flash handheld and the same Canon EF 24-70 F2.8 lens. All images were shot raw and post processed in LR. Colors are straight out of camera, nothing was added to the colors.
 

 

 

 

I have one of these and I only use it as a secondary mic for weddings. I mic the groom and use a Sennheiser wireless transmitter to the XLR input on my A cam, then I wire a second mic using this Tascam. If the wireless signal drops for some reason I still have a safety track, and the Tascam is set to record a primary track and safety track at -6dB below the first track.
I then add a 3rd recorder to the DJ's or venue mic via an elastic band. Long story short, as @IronFilm stated, there's no way I would trust this or any other setup where I had no way to monitor the audio. However, if you are filming something like a wedding where you only get one chance, then the Tascam is a good backup plan if and only if you also have a primary that you can monitor.
I have heard good things about the Rode Wireless Go II, a friend of mine uses them for all of her weddings, but I don't have any first hand experience with them.
I personally went with the Sennheiser Pro body packs and they have been rock solid. All I do is add the batteries and turn them on, haven't changed a thing since I first bought them. In fact, its been so long since I've been in the menu system I probably at this point shouldn't change anything.  They just work....every single time with no interference or drops.

Yes it has those options on the mode dial.
 
Actually, I think the R7 is better for hybrid shooting at least for events. The R7 impresses me more and more as I work with it. The R7 has no record limits, hybrid hotshoe, uses identical memory card types in both slots, hasn't once overheated on me using the original FW even in 100F degree heat, battery life is way better, and the button layout has really grown on me during fast moving hybrid shoots at events. 
Due to the R7 I have changed my whole shooting style at events. I have the R7 in a cage with a side handle for hand-held shots for both photo and video along with a hotshoe flash on top and can flick from photos to video and back without ever lowering the camera. I also added a strap mount to the cage which is another first for me for a video camera.
So, 3 months in below are some of my findings with the R7 so far. This is from my perspective when shooting with it for both photos and videos at events:
Best Hybrid Lens: Canon EF 24-70 F2.8 L. This was a surprising one for me, I tested out the Sigma EF-S 18-35 F1.8 which many people rave about but it did not seem sharp to me, especially at F1.8. Also, the lens AF motors were some of the loudest I have ever heard; definitely not acceptable with a camera mounted shotgun mic. It also was wider than I needed it at the wide end and not long enough at the long end. When I tested the Canon EF 24-70 F2.8L the R7 was suddenly razor sharp, focusing noise was greatly reduced and the FF sensor focal length of approximately 38-112mm was perfect for both pictures and video. This lens also works very well with the R7 on the Ronin RS2; it balances perfectly. A final plus for the Canon 24-70 F2.8 is the lock switch which locks the barrel so I would engage that whenever it was on a gimbal to keep the balance. Ergonomics - This is the first camera I have ever owned that I feel equally comfortable shooting both photos and video. When shooting a fast-moving event, the ergonomics of this camera really start to shine as a hybrid. I can flip the power switch from off/on/video then adjust the aperture using the ring around the joystick all within seconds and without moving my hand from the grip. For events I literally just hand hold and use the back screen for images then flip to video get a few clips without lowering the camera then back to photos. A hotshoe mounted flash gets me down to ISO 100 for photos and video starts at ISO800 so once it is all set up I can shoot the optimal ISO for both formats without touching the settings.  Photo / Video Separation - None of the photo and video settings are linked which is another pro and a slight con. It would be nice to be able to pick what to link like the S5 let me do. I would like to link the WB, and Aperture because they are typically the same between photos and video.  AF Separation - This is a subtle nuance that is also pretty nice with the R7, the AF settings in photo mode also do not affect the video mode. So for example you can set continuous AF with person tracking and eye detect in photo mode and continuous AF with tracking and eye detect off for video mode. You can also create a box on the screen and limit the AF features to just that box if you have time to set all of that up. Flash Sync Speed - I am totally confused on this one. The documented maximum flash sync speed is 1/250s but I went as high as 1/500s at times and my flash output did not drop nor was my flash in HSS mode so I have no idea what that's about. It was a very pleasant surprise though. Most cameras stop at their flash sync speed and won't let you go any higher until you set the flash to HSS at which point your output drops quite a bit or you have problems in your image due to exceeding the sync speed, but neither occurred when I exceeded the flash sync speed. The Bad - unfortunately the R7 is not perfect, I have found a few more annoyances after shooting with it for awhile
Flash Hotshoe Doesn't Fire - This is my main annoyance, the hotshoe has approximately a 5% failure rate when triggering the flash. Same flash I have had for years, never once had it not fire when attached directly to the camera, but with the R7 it fails to trigger sometimes. At first I thought it was just coming loose, but no matter how much I tightened it, it would still fail occasionally. For events that's a major annoyance when you are trying to capture peak action and relying on the flash for fill. Recording Doesn't Stop - Sometimes the recording would not stop after pressing the recording button. Holding the button doesn't help, pressing it repeatedly doesn't help, it will just not stop recording without additional fiddling. Sometimes I had to press the stop button on the screen itself to get it to stop. It never took more than a few seconds of fiddling to get it to stop, but annoying none the less. Horizon Leveling - This one is very minor, but I did discover that this has to be turned off when on a gimbal. The horizon leveling makes the image slowly rock from side to side on a gimbal. It took about an hour of fiddling to find that one. I thought sure it was my gimbal, but then I turned off the horizon leveling feature and the image was rock solid. I am not sure yet how useful this is when handholding since I don't have time to turn it off and on at events so I just leave it off. R7 or R6II? I know @Django asked me if both were available today which one would I pick? I think without having ever shot with the R7 then the R6II would be no contest. But now after shooting with the R7 I think the main technical drawback the R7 really has is line skipped 60FPS. The R6II has some really nice to have features (most could be added via a FW update to the R7 if Canon felt generous), but for event hybrid work the R7 is great. For events the line skipped quality is probably more than adequate, but for higher end work like commercial work or possibly mid budget weddings, it may not hold up.
The Verdict - The R7 has actually exceeded my expectations for a hybrid camera. Even the fact it is a crop sensor is actually helpful because it breathed new life into my Canon EF 24-70 lens with the change in focal lengths.  The IBIS is great, AF of course is perfect even though I still only use the cross hairs for AF, none of the fancy tracking features, but the part that I do use is rock solid reliable. I was looking at speedbooster options (and may still need one for lowlight situations), but so far the R7 is a perfect fit even with the crop sensor.
I need to practice with the more advanced AF options more to see if I can incorporate them into fast moving run and gun situations. I don't trust tracking or eye AF for video, but for photos it seems pretty solid.
Below is a recent event highlight video I shot with the R7. Approximately 90% was handheld, the entire event (photos and video), I shot with just the Canon EF 24-70 F2.8 lens.  I also used the 4K30FPS Fine option with compressed IPB and CLOG3 Cinema Gamut combined with Davinci Resolve Managed Color and a slight creative grade to finish it off. The colors straight out of camera were great to work with.
This shoot was particularly challenging because the event was half under massive really dark unlit tents and half in shade with midday sunlight all around so my focus was on properly exposing the subject matter with no regard to the background exposure. As a refence point, another videographer was there with a C300III running the live feed and he was also unable to keep the DR within the C300III's sensor so it was no fault of the camera that it couldn't handle the full DR of many of the scenes.
 
 
 
Below are a few sample images from the event. These were shot with a hotshoe mounted flash handheld and the same Canon EF 24-70 F2.8 lens. All images were shot raw and post processed in LR. Colors are straight out of camera, nothing was added to the colors.
 

 

 

 

For something that simple you are probably going to want to look at phone bluetooth lav mics. I don't know anything about them but that's where I would start then read the reviews and watch a few YT videos to pick the best one.

For something that simple you are probably going to want to look at phone bluetooth lav mics. I don't know anything about them but that's where I would start then read the reviews and watch a few YT videos to pick the best one.

I have one of these and I only use it as a secondary mic for weddings. I mic the groom and use a Sennheiser wireless transmitter to the XLR input on my A cam, then I wire a second mic using this Tascam. If the wireless signal drops for some reason I still have a safety track, and the Tascam is set to record a primary track and safety track at -6dB below the first track.
I then add a 3rd recorder to the DJ's or venue mic via an elastic band. Long story short, as @IronFilm stated, there's no way I would trust this or any other setup where I had no way to monitor the audio. However, if you are filming something like a wedding where you only get one chance, then the Tascam is a good backup plan if and only if you also have a primary that you can monitor.
I have heard good things about the Rode Wireless Go II, a friend of mine uses them for all of her weddings, but I don't have any first hand experience with them.
I personally went with the Sennheiser Pro body packs and they have been rock solid. All I do is add the batteries and turn them on, haven't changed a thing since I first bought them. In fact, its been so long since I've been in the menu system I probably at this point shouldn't change anything.  They just work....every single time with no interference or drops.

I updated the FW to 1.6 as soon as it came out, it froze 2 days later on a photo shoot...shutter button stopped working until I restarted it; back screen and everything else kept working, just shutter button wouldn't do anything when I pressed it....not exactly confidence inspiring.
Yes the EVF delay for photos is in all mirrorless cameras but it seemed excessive to me so I opened a ticket with Canon and paid $150 to ship it to them and they returned it saying nothing was wrong. The R7 has the same delay, if a person blinks while taking their picture, in the EVF their eyes are still open, when reviewing the image their eyes are closed, runway shows are the worst for me, the front foot is on the ground in the EVF, in the captured image they have already picked it back up, little things like that are decreasing my keeper count.....definitely making me miss my OVF especially since I typically have a flash setup so I can't just spray and pray; and yes I have tried the higher FPS mode for the EVF.
I had a ballerina jumping and doing twirls for a photo shoot....that was the worst, I was ready to throw the camera out of the window, there was literally no way to do anything except just hope for a few keeper shots; I had multiple flashes setup so again...no spray and pray option due to flash recycle times.
The R7 is quirky too....sometimes the hotshoe doesn't trigger the flash, I know it is not the flash because it is the same flash I have had for years. Also, pressing the record button while it is recording doesn't always stop the recording, requiring multiple presses. After stopping the recording there's a delay of approximately 3-5s where you can't record again as if the buffer is clearing out or something like that; the S5 did not do that.
I really think Canon's cameras have become so complicated that they have all the sophistication of modern computers along with all of their intermittent issues. 
So yes, when I am on a photoshoot I just don't trust the R5 it is that simple; I don't want the photo side of it to lock up or have an issue because I was off shooting some b-roll video since I value reliability above all else.  I got used to a dedicated photo camera with the 5DIV's rock solid reliability (its video was unusable), so after those issues early on I will treat the R5 the same way. Ironically, I trust the R7 more as a hybrid than the R5.
But back to the R6II 🤣 I noticed another feature they brought to the R6II that the S5 had in 2020.....the big red recording box. This is a great feature to verify that it is recording (and another feature that could be brought to the other cameras via a FW update).  I couldn't tell from the CVP video if the box stays on or just shows when it starts recording.
 
I absolutely hate proxy media because of how much time it takes and because of my particular workflow (I only import the exact clips that I need for the project, so I would need to create proxy media each time mid project). Instead, what I do is scrub through and find the piece of the clip I want, then cut it up and add it to the timeline then use optimized media since it is much faster because it is creating a proxy of just that part of the clip. 
It still stutters during the initial review process; mainly on 60FPS media. I am still waiting to see if the NVIDIA 4000 series video cards can accelerate 10 bit 4:2:2 media, for some reason that information is impossible to find and I search about once a week or so. I suppose I could email NVIDIA and ask them. It is very disappointing that in 2022 PC users still have no video card options for 4:2:2.
What you will discover with the EF 70-200 adapted is the same thing that I discovered; AF is the least of your problems. The real problem is the weight of the lens making your camera feel like it is going to tear itself apart. With the EF 70-200 lens on the R5 plus the adapter the whole body was flexing, the adapter and the lens mount was making weird noises, and it really felt like the whole thing was going to fall apart.....vs the 5DIV where the two fit together like a glove.
The flexing and sounds were so bad I ended up getting the RF 70-200 since it is my most used portrait lens; actually, it is my most used photography lens of all time due to runway shows. So yes.....YT reviewers really gloss over a lot and you don't learn details like those until you actually try to use it. I think it is both the length and weight that make the combo so bad, I assume there are RF lenses just as heavy but not as long.