herein2020

I think the gyro only works in 4K and you have to use only panny or oly lenses.

The R5 has hands down the best IBIS that I have ever used, I shot handheld a few shots with a 70-200 at 200mm and it was incredibly stable while filming closeups of people as a B-cam; so I do think modern IBIS systems can equal or be better than the BM gyro results. The difference for me is that when IBIS fixes instability there is no weird jitter or warping that I saw with the gyro results...at least not with the longer lenses (35mm and above).
The other benefit  of IBIS vs gyro is there is no cropping required...with IBIS what you frame is what you get, with post stabilization and gyro stabilization you have no idea ahead of time how much cropping will be needed. For my particular niche in the industry (fashion), it is very important to not have to crop because the crop could be in the worse possible place (middle of the model's head for example), rendering the shot unusable. Just because it shoots 6K doesn't mean you want to leave tons of room around every shot and frame differently to accommodate post cropping later; sometimes you need the exact composition that you shot.
Based solely on the video above, I think gyro stabilization is a lot like post digital stabilization....very good for certain types of movements and very jittery for others; whereas IBIS is excellent regardless of the movement.
DJI's Osmos and GoPros have the best In Body Digital Stabilization (IBDS?) out there. The working theory is that because the data rates are lower due to the smaller sensor, it takes less processing power to stabilize them (and other action cameras) than the larger cameras which is why their digital IS works so well. Another theory is that the sensor is simply larger for regular IBIS systems so the IBIS naturally will have to work harder to stabilize it. The GH5's IBIS for example blew away the FF competition for years in the IBIS department.
Manufacturers typically rate their IBIS system based on stops of light. For example, the R5 according to Canon has an IBIS rated at 8 stops of light...the highest in the industry for MILCs. Most manufacturers are rating their IBIS systems around 3-5 stops of light. I think the S5 was rated at 5 stops.  Not sure who invented light stops as a measure of IBIS performance, but it is the standard now. 
You can read more about how it is measured here:
https://www.canon-europe.com/pro/stories/8-stops-image-stabilization/
I will say, after this past week, the R5 without a doubt has the best IBIS I've ever encountered in a FF body.  I could hand hold at 200mm and make it look like I was on a tripod for an extended length of time; very impressive in my book.

That is a very interesting phenomenon, and makes perfect sense when you think about it.....but I think in the real world it is nearly impossible to see in a typical scene. Your test scene had a lot of sharp edges and detail combined with a lot of shake and post stabilization; in a typical shooting scenario the camera is farther away from the subject, there's few if any sharp edges, and the camera is typically also moving in some visible direction; combine that with compression from online platforms and I don't think it would be discernable at all.
The biggest problem I have with post stabilization is trying to balance the warping effect that post stabilization adds to certain scenes especially when shooting with wide angle lenses or the motion you are trying to fix. For me, I am more trying to smooth a too sudden motion more so than actual camera shake. When using it to smooth out a start or stop in motion it is quite effective but sometimes I have to try all 3 options in DR before finding one that looks natural.
The one place where I think this phenomenon would be perceptible nearly always would be shooting detail shots for real estate. In real estate videos though you nearly always use sliders or gimbals for that very reason....too many sharp straight edges that would make any camera shake, post stabilization, or horizon tilt very apparent.
I think at the end of the day nothing beats true stabilization equipment, IBIS, Digital IS, and Post stabilization are all just tools to get you "close enough" when "close enough" is acceptable.

That is a very interesting phenomenon, and makes perfect sense when you think about it.....but I think in the real world it is nearly impossible to see in a typical scene. Your test scene had a lot of sharp edges and detail combined with a lot of shake and post stabilization; in a typical shooting scenario the camera is farther away from the subject, there's few if any sharp edges, and the camera is typically also moving in some visible direction; combine that with compression from online platforms and I don't think it would be discernable at all.
The biggest problem I have with post stabilization is trying to balance the warping effect that post stabilization adds to certain scenes especially when shooting with wide angle lenses or the motion you are trying to fix. For me, I am more trying to smooth a too sudden motion more so than actual camera shake. When using it to smooth out a start or stop in motion it is quite effective but sometimes I have to try all 3 options in DR before finding one that looks natural.
The one place where I think this phenomenon would be perceptible nearly always would be shooting detail shots for real estate. In real estate videos though you nearly always use sliders or gimbals for that very reason....too many sharp straight edges that would make any camera shake, post stabilization, or horizon tilt very apparent.
I think at the end of the day nothing beats true stabilization equipment, IBIS, Digital IS, and Post stabilization are all just tools to get you "close enough" when "close enough" is acceptable.

If you have 180 shutter and shake the camera then your images will have shake and motion blur.  This will look normal because the blur will match the shake - if you shake / move left the blur will be horizontal and the size of the blur will match the shake / motion in the shot.
If you stabilise in post, you remove the shake but not the blur.  If you stabilised in post completely so that the shot had no shake then it would look like a tripod shot because the camera movement would be gone, but all the blur would remain, so a stationary shot would blur in random directions at random times for no conceivable reason.
This is a test I did some time ago comparing OIS / IBIS vs EIS (stabilisation in post is a form of EIS).  The shot at 25s on the right "Digital Stabilisation Only" shows this motion blur without the associated camera shake.
The IBIS + Digital Stabilisation combo was much better and is essentially the same as OIS + Digital Stabilisation.  
The issue here is that people using IBIS or OIS often have all the stabilisation they need from that, so the gyro stabilisation is aimed at people who have neither.  This "blur doesn't match shake" also happens in all action and 360 cameras when they shoot in low-light and their auto-SS adjusts to have shutter speeds that include blur (which is why I bought an action camera with OIS rather than EIS).

Well I am thoroughly pissed with my R5 right now....have had it a little over a month and have to send it in for repairs already....MAJOR EVF lag. Have been shooting runway shows for 2wks straight and my keeper rate was below 60% because of the lag.
I also shot a few b-roll clips for the C70 with the R5; it was 95F, outdoors not direct sunlight mostly photography with a few clips up to 2min long at 4K60FPS not even using the 4K HQ option and I got the overheat warning. I suppose before I send it in I will update the firmware to 1.6 to at least "fix" the fake overheating problem. My C70 was filming 4K Raw LT almost continuously at the same time and I had no issues with it.
I have also had weird issues with the R5 where the shutter button after being half pressed for too long while in eye tracking mode will not take the picture after going from half pressed to fully pressed on the shutter button. Had to fully let off of the shutter button, hope it re-aquired the eye tracking after pressing the shutter button again before taking the picture.....and typically finding out after the shot that the EVF display was so far behind that the moment was long gone. If I could take the R5 back today I would do so and stick with my 5DIV for another few years.
As far as shortening the life of the camera with the new firmware, I really don't think that's a big deal at this point. I got the 4yr Canon CarePAK coverage so the motherboard could fry itself tomorrow and Canon would still have to repair or replace it. I am surprised that they did not remove the ridiculous 30min recording limit with this FW update. The R7 doesn't have it, and its long gone from Panasonic and I think Sony cameras as well, no idea what Canon is waiting on.
I do think since Canon does have to honor their CarePAK coverage that at a minimum Canon doesn't expect the cameras to fail within 4yrs even with the new FW otherwise they wouldn't have released it due to the potential cost of replacing customer's R5s.

There is an R5/R6 user experience thread so I figured it was safe to start a Panasonic S5 user experience thread.  I've only shot with it for a few hours, mostly setting up (and learning) the menus and I know there are already endless YouTube reviews, but I thought I'd share my thoughts on my experience so far; completely unbiased, unsponsored and as someone who will use this camera for everything from music videos to weddings and if all goes well I might even use it for photo shoots.

Since there is so much that I like about this camera I've decided to just put my dislikes first because it is such a short list.
The Grip - This is my biggest dislike. holding the camera is so uncomfortable. The grip is really shallow and the strap mount sticks out and digs into your hand when you are holding it in a landscape configuration. Not so much a problem with video for me since I use the back display, but using the viewfinder for images is very uncomfortable. I'm going to try getting a dual battery grip to see if that improves it. The R6 by comparison feels like it was custom molded for my hands. The Lens Mount - I knew this going into it, but there are so few native Panasonic lenses for this camera that I will have to use an adapter which I hate doing. I know more lenses are coming but they are very expensive and everything I've read says the Sigma versions focus very slowly. I would love a Voigtlander fully manual 35mm lens for gimbal work like I have for the GH5. I have no idea yet what I will do for photography or if I will ever trust this camera for paid photo shoots. The Battery - I don't understand the battery at all. It fits the GH5 and has contacts for the GH5 yet for the S5 the contacts are on the other side? Why didn't they do what Canon did and simply make a higher capacity battery with the same contacts?  Not only are spare batteries impossible to find right now, this means all of my GH5 batteries won't work in this camera....so annoying. Ok, short list over now lets get to the stuff I care about that made me realize this was truly the camera for me. I first ordered the R6 and returned it (horrible user experience for my needs) so I am going to kind of compare my experience with the S5 to the R6 since they probably kind of are targeted to the same buyer and since it is hard to ignore the Canon hype machine even when you know about the R6's overheating issues. 
No Overheating - Ok we all know that but I had to put it out there anyway. This was the number one reason I returned the R6. The S5 on the other hand shoots glorious 4K until the card fills up (some limitations of course for 10 bit and 60FPS but it does have unlimited modes). Even if the R6 didn't overheat you would still hit that 30min limit and every single 4K mode overheated. Dual Slot Video Recording - The S5 gives me every option I could want and even a few I don't care about. The R6 will only record to a single slot. Electronic Level Meter - The S5 has it....of course, and it actually stays on while recording video. For some crazy reason the R6 disables the electronic level from showing on screen while recording video. XLR Audio Module - As annoyed as I am at Panasonic for the battery situation, the XLR module from the GH5 works with the S5 so all is almost forgiven. The R6 of course has nothing for XLR. I tested the module today, the S5 recognized it instantly and the audio was perfect. Free VLOG - Ok "Free" is a very generous term, but it does not cost extra. And this is real VLOG not some flavor that just flattens the profile, unlike the R6 which currently ships with CLOG. Canon said CLOG3 was coming in the future, but who knows if it will actually include the R6 or when "the future" really is. Body Quality - The S5 actually feels slightly lower quality than the body of the GH5, but that could be because it is lighter and smaller. Regardless, the quality feels way better than the R6. Sync/Desync Photo/Video Settings - It took me a long time to find, but it is possible to separate the photo and video settings and you even get to pick which ones stay synced with the other. When running and gunning you want shutter angle, VLOG, etc for video and shutter speed, Natural profile, etc for photos. You can set it so that they are completely separate, not all cameras let you do that and even the R6 did not let me pick which settings to keep in sync (i.e. keep just ISO the same between the two).  Dial Position - It is great to have the video mode and Manual photo mode side by side on the dial. The R6 had them at literally opposite ends of the dial....very annoying. Dedicated Buttons - There is a dedicated ISO button and a AF/MF switch on the lens. The R6 had neither. I use the AF / MF lens switch all the time, its the fastest way to be 100% certain all of the AF stuff is off, especially if you are switching between photos and video. Video Footage - The footage out of the camera so far to me in with my very limited testing is incredible, I didn't think Panasonic had it in them. The colors are perfect to my eyes, the codecs are super easy to play back in VLC and actually easier to edit in Davinci Resolve than the GH5's footage. Both 4K60FPS and 4K30FPS play smoothly even after color grading. So far the footage grades as easily as the R6 footage with the added benefits of not needing proxies. Codecs - You get to pick H.264 or H.265 and still get to shoot in VLOG and 4:2:2 10bit. For some crazy reason Canon with the R6 forces you to shoot in H.265 if you want to use CLOG. I will happily sacrifice a little storage space to never have to try to edit H.265 again. Manual Focus Features - I hated the focus rings on the Panasonic MFT lenses, they were non linear which made manual focusing nearly impossible. I ended up getting manual Voigtlander lenses instead. Panasonic has fixed that big time; not only can you now pick linear you can even pick how many degrees to go from stop to stop. I think the R6 let me pick linear but not the focus throw. I do miss Canon's 3 little triangles when manually focusing, to me that's still the best MF guide in the industry. On my S5, focus peaking doesn't seem to work; its on but I can't see it so I have to play with that some more. Timelapse Photography - Ok I had to throw this one in there. Maybe other cameras have this, but this is literally the first camera I have ever owned that lets you do a time lapse in body without an intervalometer AND that lets you take more than 99 images. That's always been a pet peeve of mine for most cameras.  Wireless Flash Control - Another pet peeve of mine answered by Panasonic, it can wirelessly control up to 4 flashes without needing an additional transmitter. Of course I'll never use this feature since I already have a complete flash system, but for someone starting out this means even less gear to lug around and to buy. Big Red Recording Box - Who hasn't thought they were recording when they weren't? I turned on the big red box right away (as soon as I found it). This is great, and will definitely help in the future. The R6 of course didn't have this. LVF Button - I didn't understand how important this was until I shot with the R6. It was so annoying in the R6 to have to  pick view finder or back screen display. If you picked view finder you had to go into the view finder and navigate back to the setting to change it back. If you picked auto, the screen kept shutting off on me when the camera got to close to my hand or body. Maybe you could map a custom button but I like leaving all of them at their defaults. For the S5 if you want to turn off the viewfinder sensor just press the LVF button...switch to just the VF press it again, switch to auto press it again. So easy to disable/enable one or the other. Auto mode is terrible, switches off the screen all the time if anything gets near the sensor. Here is my neutral list, either I don't really have an opinion yet either way, or I haven't tested the camera enough to feel good or bad about it.
Photography Capabilities - I'm still kind of neutral on the photography department. All I have is the kit lens and didn't have time to try the photography part. If it comes even close to the R6's photo performance that will be good enough for me.  My Sigma adapter gets here Friday so I will be able to test it with my Canon lenses. Auto Focus - I never used it in the GH5 but this time around it is different because I want to try the photography features as well. In my brief testing, the AF worked fine for photography. It still has the hybrid AF option where you half press the shutter button for the initial focus then can fine tune it using the focus ring so that's good enough for me for video. Menu System - It is improved a bit over the GH5 but still nowhere near as intuitive to me as Canon's menus. I think once I set up my Favorites menu it will be fine, but there's so many features I'm having a hard time finding some of them. I never did learn the GH5's menus, I just created a video Favorites list and that's all I use. My 5DIV is a different story.  
Final Thoughts - This camera makes me wish I was a travel photographer/videographer. It has so many uncompromised features that would be so useful when traveling that you could practically literally bring just this camera, a wireless flash, XLR module, a few lav mics, variable ND filters, a small video light, travel tripod, and shoot just about anything photo or video. I'm already thinking about projects that I want to shoot with this camera vs the R6 where all I could think about was if it would even make it through the shoot.

I rewatched the video on the phone and my desktop. I still must say, it looks fantastic to me. Exellent colour response and separation. Best I have seen from any camera under natural light on youtube other than Red or BM. I don´t look for Arri videos. 😉

This looks like a pretty good lowlight test for the R7, IMO as I expected, it is more than sufficient for my needs, it was very interesting seeing it compared to the R5C as well. Also, I did not realize until watching this video that the R5C and I assume the R5 has dual native ISO.
 
 

I think it depends on the specific job and the market/budget.
Most wedding/event videographers that I personally know, do work alone.
Not necessarily because they want to because of course, an assistant at least, never mind a second shooter would be welcome, but 9/10, you'd just price yourself out of the job and have no business.
I don't shoot anything more than weddings really. From time to time, something else, but really, just weddings and do so fully hybrid and I have to manage; 4 principle cameras, 1 back up camera/angle, drone, 6 audio devices, sometimes lighting and with 3 tripods at certain key times. 
Would I like a second shooter? Not really, - wouldn't really add anything that would make up for the increased cost to the client and overall, it would just harm my business.
An assistant/roadie? For sure...but finding someone with the reliability I would need and never mind the fact that I live out of my caravan/travel trailer for sometimes 1+ weeks peak season, wouldn't work from a personal perspective having someone 24/7.
It is of course very much a specific job/market thing and like many others, I make, or have made it work, but yes, ideally, I'd have a small team, but it's just not reality.
If only the missus was interested... But then we have a child, 2 dogs and a cat and anything over a single day just gets complicated.
Nope, I am resigned to the fact that I am a one man band and hence why I have an ongoing 'project' to finding the most minimal set up that I can.
Quite close regarding the latter, but not quite there though I suspect the next gen set up whenever I move to that, 2023 or 2024 latest, will have cracked that as far as it can be cracked.
Still working on:
A. Number of principle cameras. I need to get it from 4 to 3 and ideally, 3 identical hybrid bodies.
B. Size & weight of cameras and lenses. These are not bad, but slightly more than my personal ideal.
C. Tracking AF.
Horses for courses and all that... These are just my thoughts/opinions/needs 😬

Yes but you are skipping budget, the types of work you are referencing had the budget for it, event work which I do has razor thin margins and the organizers question the ROI on my services probably every year....with a big enough budget anything is possible, for event work the budget simply isn't there so any assistant that I hire would come out of my own profits and because the hourly rate would be low for the assistant you get what you pay for. And yes, I do hire assistants for things like talent management, talent direction, etc for larger modeling shoots but I am still the only shooter.
If I had the budget to pay assistants $50/hr+ I am sure I'd have a great team by now....but that's not going to happen in my particular niche of the industry.
I don't think it would be much more than $2500USD, it is still a crop sensor, and still has plenty of competition from Sony and Panasonic, and it still has very few actual crop sensor lenses, it also remains to be seen how it performs in general against the competition. 

I actually like big heavy kit, it keeps everything more stable and I've been shooting on it so long it doesn't seem big or heavy to me, but yes, now that you mention it, the 24-105mm on a body smaller than the R5 especially with the adapter will be greatly imbalanced. I used the 24-105 on the S5 with an adapter all the time though and it felt fine to me, but that was with a cage and handles, something I am not sure if I would add to the R7.
@Kisaha @kye nailed it. Everything seems like it has an easy answer until you have tried it.  Bringing in a second shooter exponentially increases the complexity of everything; risk to the equipment, risk to the project if the second shooter doesn't show, or doesn't match your style, or has a setting wrong, increases the cost of the project which already has razor thin margins, greatly increases the tax paperwork at the end of the year, etc. etc.  That's all assuming the person is even reliable and actually shows up. 
I have had to bring in second shooters in the past and most of the time it ended up being a lot more work for me. Once I hired a second shooter for an extremely simple drone job because I was not available that day. They just had to film a construction site, I barely made more than a referral fee and was going to edit the raw files. The person parked his car and the client's car right in the middle of the construction site and took all 100 images that were needed. To me it was very unprofessional to have him and the client in the footage....so I had to spend 2hrs on what should have been 20min of work Photoshopping out his car, the client's car, and him and the client from every photo.
Once I had a client mandate two shooters, a dedicated videographer and a dedicated photographer. I hired a photographer, but due to my paranoia I took my own photos as well. Second shooter showed up with dual 1DXIII's and full kit. I thought this was going to be a good shoot. I got his footage home and every image had the horizon horribly tilted....once again took me hours to fix his footage and I had to throw away a lot of it because there was nothing left after cropping in enough to straighten the horizon. Fortunately I had taken my own images as well.
Also, my particular area is very competitive; I work the biggest fashion shows and events in the area and next week I am shooting the biggest swimwear fashion show in the world (Miami Swim Week). Anyone I brought on I would have to risk them handing out their cards, trying to get my client lists, wearing my shirts and possibly giving my company a bad name, etc.....its happened to many people I know. There's always someone in line behind you waiting for you to trip or fall.
So yes, I analyze my business all the time as well as my kit and look for every second of efficiencies that I can; like @kye said, its easy to imagine ways to improve and on paper they might seem great until you are in that person's shoes. 
Also, like Kye mentioned, backups are very important and not discussed very often. I still pack a fully rigged S5 with me as a just in case backup for the C70. That's where equivalent focal lengths are also important. The R7 could serve as a backup to both my C70 and R5 if it had a speedbooster attached.
 
@MrSMW also hit the nail on the head and was the exact thing I was going to say; the most successful two person teams that I have seen are nearly always a couple. With a couple many of the challenges I mentioned earlier go away, even the tax problems, liability, reliability, etc. etc. It introduces other problems 🙂 but that's a different story for a different day.
 
 
 
 
Yes that is my conundrum...but I am used to odd kit decisions; my S5 with no CAF due to the EF adapter was an odd setup as well but it worked perfectly for my needs at the time. For me economics is a big part of my decision making process; I have technically never left Canon since I still had the 5DIV and the EF lenses and the C200.  I am still not a fan of Sony, but I do think if I was starting over with no lenses and no bodies Sony would be the better fit. I am trying to twist and turn Canon's solutions to force them to fit my workflow and needs; is it optimal...no, but is it the most economical approach...so far I think so.
With dual crop bodies and dual speedboosters along with my existing EF glass I would have everything I need; full immediate toolless interchangeability between all bodies and all lenses, battery sharing between the R5 and R7, SD card sharing between all 3 bodies, lens sharing between all 3 bodies, IBIS in the R7 for video, RAW in the C70, a backup to both the R5 and the C70 (the R7) for both video and photography, a lighter gimbal camera with the R7, excellent AF in all 3 bodies, XLR audio in the C70 and R7...etc, etc. Just the other day I left one of my SD cards in the card reader at home and when I got onsite for the shoot I just pulled the SD card out of the C70 and threw it in the R5....it was fantastic. 
I am in no hurry to get the R7 though, so I am curious about the R7C rumors, the body is so small even if it needs a fan it might still be good on battery life, so I may keep my spare S5 until I get more details on the R7C. If it turns out to be a clunky battery hog like the R5C then I'll probably just get the R7 instead.
 

I actually like big heavy kit, it keeps everything more stable and I've been shooting on it so long it doesn't seem big or heavy to me, but yes, now that you mention it, the 24-105mm on a body smaller than the R5 especially with the adapter will be greatly imbalanced. I used the 24-105 on the S5 with an adapter all the time though and it felt fine to me, but that was with a cage and handles, something I am not sure if I would add to the R7.
@Kisaha @kye nailed it. Everything seems like it has an easy answer until you have tried it.  Bringing in a second shooter exponentially increases the complexity of everything; risk to the equipment, risk to the project if the second shooter doesn't show, or doesn't match your style, or has a setting wrong, increases the cost of the project which already has razor thin margins, greatly increases the tax paperwork at the end of the year, etc. etc.  That's all assuming the person is even reliable and actually shows up. 
I have had to bring in second shooters in the past and most of the time it ended up being a lot more work for me. Once I hired a second shooter for an extremely simple drone job because I was not available that day. They just had to film a construction site, I barely made more than a referral fee and was going to edit the raw files. The person parked his car and the client's car right in the middle of the construction site and took all 100 images that were needed. To me it was very unprofessional to have him and the client in the footage....so I had to spend 2hrs on what should have been 20min of work Photoshopping out his car, the client's car, and him and the client from every photo.
Once I had a client mandate two shooters, a dedicated videographer and a dedicated photographer. I hired a photographer, but due to my paranoia I took my own photos as well. Second shooter showed up with dual 1DXIII's and full kit. I thought this was going to be a good shoot. I got his footage home and every image had the horizon horribly tilted....once again took me hours to fix his footage and I had to throw away a lot of it because there was nothing left after cropping in enough to straighten the horizon. Fortunately I had taken my own images as well.
Also, my particular area is very competitive; I work the biggest fashion shows and events in the area and next week I am shooting the biggest swimwear fashion show in the world (Miami Swim Week). Anyone I brought on I would have to risk them handing out their cards, trying to get my client lists, wearing my shirts and possibly giving my company a bad name, etc.....its happened to many people I know. There's always someone in line behind you waiting for you to trip or fall.
So yes, I analyze my business all the time as well as my kit and look for every second of efficiencies that I can; like @kye said, its easy to imagine ways to improve and on paper they might seem great until you are in that person's shoes. 
Also, like Kye mentioned, backups are very important and not discussed very often. I still pack a fully rigged S5 with me as a just in case backup for the C70. That's where equivalent focal lengths are also important. The R7 could serve as a backup to both my C70 and R5 if it had a speedbooster attached.
 
@MrSMW also hit the nail on the head and was the exact thing I was going to say; the most successful two person teams that I have seen are nearly always a couple. With a couple many of the challenges I mentioned earlier go away, even the tax problems, liability, reliability, etc. etc. It introduces other problems 🙂 but that's a different story for a different day.
 
 
 
 
Yes that is my conundrum...but I am used to odd kit decisions; my S5 with no CAF due to the EF adapter was an odd setup as well but it worked perfectly for my needs at the time. For me economics is a big part of my decision making process; I have technically never left Canon since I still had the 5DIV and the EF lenses and the C200.  I am still not a fan of Sony, but I do think if I was starting over with no lenses and no bodies Sony would be the better fit. I am trying to twist and turn Canon's solutions to force them to fit my workflow and needs; is it optimal...no, but is it the most economical approach...so far I think so.
With dual crop bodies and dual speedboosters along with my existing EF glass I would have everything I need; full immediate toolless interchangeability between all bodies and all lenses, battery sharing between the R5 and R7, SD card sharing between all 3 bodies, lens sharing between all 3 bodies, IBIS in the R7 for video, RAW in the C70, a backup to both the R5 and the C70 (the R7) for both video and photography, a lighter gimbal camera with the R7, excellent AF in all 3 bodies, XLR audio in the C70 and R7...etc, etc. Just the other day I left one of my SD cards in the card reader at home and when I got onsite for the shoot I just pulled the SD card out of the C70 and threw it in the R5....it was fantastic. 
I am in no hurry to get the R7 though, so I am curious about the R7C rumors, the body is so small even if it needs a fan it might still be good on battery life, so I may keep my spare S5 until I get more details on the R7C. If it turns out to be a clunky battery hog like the R5C then I'll probably just get the R7 instead.
 

Yep.
Unless your second shooter/assistant is your spouse, it can and usually does have so many issues.
More issues created than solved.
Been there, done that and there are times when I wish I had one, or at least a roadie, but the amount of time is too little vs the effort/cost/reliability.
My ‘solution’ is my ongoing quest to have the most minimalist kit I can and further to that, know it inside out so it gets out of the way and is not cumbersome.
I’m still on that path. Pretty close, but not quite with my current set up. Next gen L Mount or another system next year will iron out those few final kinks.
Quite a bit of being a one man (hybrid) band these days is due to the tech…
I probably could do what I do today 10 years back…in fact know I could because I was doing it, just not at the same level. But 20 years back? Nah.
Some like to say it’s not about the tools, but actually, increasingly so, it is. For certain things.

The only negative I have about Canon EF lenses are that they are Huge and Heavy, even the 24-105 F4 is a moose. I will give Sony credit their FF FE lenses are pretty small and light. 
That 24-105 F4 on the R7 would probably be front heavy as heck I bet.

@herein2020
All the Canon adapters are very expensive. I have ordered the MEIKE vND (plus Clear, plus 1/8 of Black Pro mist). Performed better in the reviews I have seen for almost half the price.
The normal Canon supposedly is a gift with the camera (which I am not sure I am getting it, because I am still in "pre order" status), and I have heard the Viltrox ones are quite good also.
Your equipment is the only thing you have in control in these circumstances! and it should be that way.
From everything you have described, the less problematic is the use of a crop camera! In no way you have to change lenses all the time. When I was shooting photos I had 2 cameras left and right, and another smaller one with a fish eye or other unique/oddball lens somewhere near. I never changed anything.
If you do everything alone, hire someone to help you and ease some of the burden. I read people's stories about doing video and photography and everything in between, but that is not my cup of tea. I prefer to give someone a chance for some work experience and money, and do me a favor to my self! 
You can be specific about the use of your equipment, and that would make everything easier. e.g you can have the 50 RF on the R7 as a short portrait solution of 80mm equiv..Ultra light setup to have always on you..C70 with the 24-105mm (as you do) and your full frame camera, with whatever matches your needs. Probably a 24-70mm for photography? There must be a way to organize most things beforehand. Or just change one for the 70-200 (maybe for interview?) and that's it..
By the way, the RF 24-105 is better than the EF in everything (something which isn't true in general about all RF lenses vs EF). It is smaller/lighter/faster AF and performing better IQ wise. Anyway, I was never a fun of the EF 24-105, I am not sure if I will be for the RF.
Just some ideas. I am not trying to impose anything to you! Obviously we haven't been in someone's elses shoes. You know better your work flow.

I loved (and still do) the look of the XC10 plus…well plus nothing else, just how it looked.

XC10 was a brilliant design, I was expecting an evolution of that design to be the must have run and gun camera of our age (something the C100 was). 
Ofcourse C70 is that good, but a little bit weirder, I guess! And a bit more expensive than most of us would like.

Check out the S1H rear LCD and be less confused.
It can do all of that and tilt up or down without having to stick out of the side, but you can stick it out the side, rotate it endlessly through 360 degrees etc.
It is hands down the best design out there as it ticks all boxes.

@MrSMW BTW, in case you haven't seen a runway show's photographers pit, here is a pretty good picture of one. Words can't really describe it until you have experienced it. Every sq inch counts and I'm already on everyone's bad list when I show up with both a video camera, video tripod, and a photography camera with a Canon EF 70-200 on it.
So yes, for video, the tilt/flip screen is essential for me.
 

Exactly my experience as well, even with the Ronin RS2 where the rear servo motor is not blocking the screen, I still need tilt flip screens for complex gimbal movements such as low shots where the rear arms and servo motors would block the rear of the camera and crane movements where the final camera angle is overhead. 
Also, I find holding the camera much more stable and you can get the camera closer to your body when holding handheld if the screen is off to the side instead of between you and the camera. 
Also, my V-Mount battery goes directly behind the camera body for all long form content, without a flip screen the battery would have to sit farther back throwing off the balance of the rig, and last but not least, sometimes you need to twist and turn the screen until you find an angle where the sun is not glaring off of it.
But hey, to each their own. the good news is there's currently something for everyone. @MrSMW I will admit, there are times where I feel too many people are moving around too much or too close to the camera to feel comfortable with flipping it out, in those cases I just keep it flat against the rear of the camera. I would imagine at weddings with kids (and towards the end of the night drunks) it would be a little nerve wracking to have that screen flipped out.
Below is an example of my long form setup; parts of the screen would be very difficult to access if it did not flip out to the side. I was having trouble with my adapter plate in the picture below but usually the camera is nearly flush against the V-Mount battery which is the proper balance for the rig. Outdoors the glare from the sun is usually a good reason to flip it out and twist it in different directions.
 

Tilt screen, 100% yes.
It’s the flip out to the side I am not keen on.
But, flip out to the side is still better than no tilt at all such as with all Leica bodies and the Sigma FP.
I couldn’t switch camera system mid season, which is where I am right now and yes, do not actually that want to right now (but enjoy the hypothetical speculation!).
I’m hoping that any future changes to my set up will be within the L Mount Alliance for the smoothest transition, but as above, any change has to tick min 3/4 of my criteria because at the moment, I am only checking 1/4 🤔🤪
There are more than 4 requirements however and my current system checks all my needs, so the above are just ‘future’ requirements.

Tilt is useless on gimbal. I much prefer swivel for this reason and for remote camera as in many cases I cannot go behind the camera.

@MrSMW BTW, in case you haven't seen a runway show's photographers pit, here is a pretty good picture of one. Words can't really describe it until you have experienced it. Every sq inch counts and I'm already on everyone's bad list when I show up with both a video camera, video tripod, and a photography camera with a Canon EF 70-200 on it.
So yes, for video, the tilt/flip screen is essential for me.
 

I have been flying commercially since 2014, here in the USA the countrywide laws are pretty reasonable, the drone has to be registered, below 55lbs, and if you are flying commercially you need to be Part 107 licensed. Also, the maximum altitude is 400' AGL unless you are within 400' of a structure taller than 400' at which point you can fly up to 400' above the highest point of the structure.
There are some other restrictions such as flying over nonparticipants, restricted airspace, obtaining LAANC approval, etc. but much more reasonable IMO than many other countries I have seen.
I have way more problems with the arbitrary local ordinances. Local governments make it very difficult to fly in parks, from city streets, etc. by restricting the ability of drones to take off or land on "their" property. Local governments cannot control the airways (this is the domain of the federal government which is regulated by the FAA), so instead they prevent you from taking off or landing. 
A fun loophole that doesn't work very often but is sometimes possible is when there is something you want to film but it is a restricted area but within flying distance from a non-restricted area. I once wanted to film a historic lighthouse on government property that banned drones so I simply crossed the street to a private parking lot and took off and landed in full view of the government employees and there was nothing they could do about it. Now if the drone had crashed or ran out of battery and landed on their side of the street I would have been in trouble.
Recently the FAA even relaxed a lot of the night flying restrictions and so now I am able to fly commercially at night as well.
What I don't understand is the people who blatantly flaunt the laws then post videos on YT showing every detail of how they are breaking the law, right down to distance, altitude, GPS location, etc. This guy is without a doubt the biggest shining example of such stupidity. He got the largest fine to date which was $185,000USD for over 123 drone law infractions AFTER the FAA sent him multiple warnings and even sent him to a class about drone safety.
And this guy is just the tip of the iceburg, there are countless "range test" videos on YT where people show every detail as their drone flies over people, near buildings, way beyond VLOS, etc. I don't think there is a single person who owns a drone who hasn't broken one of the rules at some point but posting full details and video of it borders on lunacy in my book.
As far as interesting stories, I used to shoot a lot of real estate photos and videos and I had a few situations where angry homeowners would approach me or threaten to call the cops because the drone was "hovering" over their property. I would tell them to go ahead feel free to call anyone they wanted because I am commercially licensed, insured, have the proper air clearance, and have no interest whatsoever in any property except the one that is about to be for sale. That approach has always diffused the situation (so far) and I even gave a few of them my business card and told them to call me when they need to sell their property.
I was also filming an event once and had the local police come running over to me to tell me to bring my drone down immediately because I was flying directly over the concert attendees and way too close to people. I calmly opened my drone case and showed them that my drone wasn't even in the air and showed them my flight path which was to simply hover over the water and parking lot nowhere near people; they let me keep flying my drone.
Another fun time was when I was filming a car race event at night and someone else was flying a drone there as well. My drone has the ability to turn off all of the lights which I did before taking off. The other drone pilot had a DJI drone which does not have this ability and his drone was hovering right over the cars and people with lights flashing all over the place. I hear the announcer state over the loudspeaker that whoever was flying the drone needs to land immediately and come see him. So he landed and got kicked out of the event while no one knew mine was silently hovering 100' higher up but was impossible to see at night.
I have drone stories for days, but those are two of the most memorable for me.