One is past tense the other is future tense

Lol...

I find this dual shooting obsession with camera reviewers weird. I’ve worked as a DOP for 15 years when I shot RED I just had 1 mag at a time. Now I’ve scaled back to Black Magic I still don’t dual shoot. Never had a problem with media and if I was worried about it for a multi million dollar shoot I’d get insurance. Even if your media failed on a wedding calling it “career ending” is silly.

Yup... there are also directors like Christopher Nolan who still shoot on film that does not need dual card slots lol

There is a difference between Cinema like video and event videography. This camera is target at event videography which is not a scripted environment. Cinema is a rehearsed and scripted environment.

@@angeloregina sure, but I guess my point is he overstepped in his claim.

@dkonx Cool. You should get an a1 then. It’s a good camera. I used an a1 to film with a couple of months ago (I work for a larger KZfaq channel, and we have a bunch of Sony cameras including an alpha1). I happen to have Canon cameras for my channel, and I like them. Because I’m invested into the system and have a lot of glass already (including RF glass), that’s where I’ll stay. ✌🏾

@dkonx I don’t understand why you care so much about what camera I like? I didn’t even say it was great or anything. Relax, and enjoy whatever gear you like.

I cannot agree with you. Anyone paying so much money is because they want to be paid for 8K. If so, even on weddings (perhaps not standard in 2022 but in a near future) if you get paid for 8K and then you have a 4K file, the clients won't be happy to see that 4K resized to 8K on their 75" 8K TV. 8K also allows you to crop in or further stabilize and have top 6K (8k good quality resized) or excellent 4k footage. If you find out that you have a 4K footage, you end up with 2.5k footage that won't hold 4K or 8k standards by any means...

@@ricarmig I own the c500II the downsampled 6k "proxy" file is incredible, even I have a hard time to see a difference to 4k. I think you overestimate wedding clients and no one delivers 8k to wedding clients lol, not in the next 4 years for sure.

@billi ison Not comparing them, but the data processing. I think all cinema/photo cameras should have dual recording in 2022. The bandwidth and processing power is there to do it with CF Express Type A/B.

I agree

Ninja V - full size HDMI port

duel recording, like recording onto 2 memory cards?

If someone shoots weddings, there not going to use a RED or Arri camera. RED and Arri users will have lots of chances for retakes from what I can see. Never endless budgets as well. Dual cards should be considered if they want to avoid a law suit.

You spelled A1 wrong

It has the same dpaf so it has the same weaknesses

I can't remember the last time I ever needed to focus on a horizontal line even in architecture or real estate. There are more interesting subjects to photograph.

@@shaungibbs7400 I do it all the time lol lol not

With the new hot shoe you'll be able to use tascams XLR mic output which does 24BIT

@@fourwheelerjock wow! Had no idea that’s turning this camera into a mean little machine

@@BrandonTalbot Indeed. I got the R5 for 4K60 but it iver heats.... So may have to sell to get this, 8k60 and 6k60 is a big plus, the 4k60 looks amazing on the r5 so can only imagine the 6 and 8k. The XLR 24bit id a massive plus also for me shooting motorsports. With all these new features I'm almost gonna have to bite the bullet and sell and get this. Just too good

@@fourwheelerjock I’d do the same if I had the overheating issue. Maybe I just got a good copy, but I filmed hours of 4k60 at a beach volleyball tournament in the SoCal heat and humidity and not a single heat warning 🤷🏽‍♂️ either way excited for the announcement tomorrow

@@BrandonTalbot Lucky lol, I get about 10 solid minutes in 4k60 at 70+ degrees lol

What is with all these lockups/freezes, R5,R6 and now R3 owners are experiencing them and no explanation or fixes from anyone, even Canon.

Can you (briefly) explain (to a n00b, lol) why one format is easier to edit than the other? :)

@@MrNicoJac The compression is so intense that it requires a great deal of CPU effort to decompress it.

@@genjii931 Thanks! :)

you might want to look at the specs for the R5 and the R5c then. they're not using mjpeg

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

Still get the A1 . Silent shooting at 30fps w variable shutter and dual cfexpress cards

@@RockyMaiviaMiami Looking into it! I think I may go with the A1 as a business expense for 2022. We'll see. I've gotten used to Shutter angle for video and A1 still uses shutter speed.

@@dsdddsd4543we yep but as a hybrid. It has few weaknesses.

I have an A1 & FX6 i've never been happier and i've been through some gear lol. Good luck

I don't want to burst your enthusiasm-bubble, but I just _have_ to ask: The R5c has a fan built in, right? How much air would an underwater cage need to keep it cool? How insanely buoyant will that make your gear? Are you going to need a case with a heat exchanger with tons of tiny metal fins to keep the air at tolerable temperatures? Will this only work in arctic settings, or also in the tropics? I _really_ do NOT see 8k/60fps work underwater. (well, unless they make one with a water-cooled fan, lol)

​@@MrNicoJac I have no idea what the fan specs are or whether the fan constantly stays on or if it kicks in after a certain temp. The housing manufactures are the ones who work these details, and I wouldn't be surprised if a couple of them end up offering a housing for this camera. There are many housings for the r5 and the A1 which are considered the best hybrid cameras for underwater pros and enthusiasts at the moment. As for your buoyancy concerns, Extra buoyancy would be awesome! Lead is WAY easier to control buoyancy than using floats. I have a small rig and yet the number of floats it needs to stay neutrally buoyant is ridiculous. just one of my floats is larger than the camera case. I have two of these large monsters just for the case and tray, two large collared floats for my lights, and 3 to 7 large foam floats depending on the lens I use for the day. It all make my rig at least 3 times larger. I wish the case was more buoyant. Id rather cut lead strips and stick them to the bottom of the tray and evenly sink everything than work with floats. but thats a pipe dream I have no idea how fast it will take this camera to heat up nor how the fan will work. But underwater video clips are typically short in duration, which helps save battery, memory card space, and control temps. My RX100 will overheat on land after a few minutes when recording 4K. I've never had it overheat in the water, not because water dissipates heat more efficiently than air, underwater you tend to be very conservative with your shots overtime. On land I always shoot longer clips than in water. I don't have the same issues to worry about as I do underwater. Look, I'm not saying this camera is going to be the greatest thing ever. As far as I know it could end up being a total POS! Tony asked a question "who would be interested in it". personally, I think people into underwater videography would benefit from a camera that has 8K 60fps with raw video. It would make cropping, positioning, stabilizing much more flexible on a 4k timeline. And I must assume raw footage would help with color correction, bigtime, which is a huge challenge underwater. but I have no experience with raw video footage so I can't speak to this. This is where Tony’s expertise comes in. 😉

@@zoubtube Awesome to read your counter argument(s)! It was really insightful, and I found myself agreeing with everything 👍🏼 I completed the PADI Underwater Photography module, so I know the basics. But I really only ever used my _miniscule_ Sony FDR-X3000 4k action camera, and perhaps a hand-held flash light 😂 That was the _perfect_ value-for-money for me, because I was backpacking, it's really small and light, comes with its own underwater case, and from launch there was a hand-held float available specifically designed to make it slightly positively buoyant :) Especially at the time, the 100 Mb/s bit rate was a GREAT selling point! (back when I bought it, it was one of two options for 4k/30 fps - well, on a hobby/consumer budget, at least) But yeah, I'd never be shooting professional documentaries with that 😆

@@MrNicoJac "only ever used my FDR-X3000 4k action camera" put that little action cam on a tray with a couple of lights and it'll pull some really good clips. The optical stabilization on that camera compared to everything else at the time was a dream. Back then I used a hero 4 black for video and lumix LX7 for photo's. it was a pain using the hero 4 for video underwater (and for skiing/snowboarding), I spent hours stabilizing footage. many times I regretted not buying the Sony to replace it. The optical stabilization was more than enough for underwater with a bit of skill. Give that camera to the right person (not me) and the right video editor (Again, not me) and both of us would be amazed at the footage they can create. Many documentaries have a few bits of action cam footage. They're rugged, convenient and can create some reply impressive clips I have to mention the hero 10. The hypersmooth in that camera blew my mind. I recently posted some mountain biking videos on youtube from a trip to Moab (first time I've ever posted anything, feels a bit weird in an exposed way, but after 30 years I finally convinced my mom to try an electronic device 2 months ago, so now I have a reason to post something 👍) Anyway, the trails out in Moab are rough to say the least, yet the footage that came out of that camera was so solid, I didn't correct anything, just cut up a bunch of clips and glued them together. I can't wait to try it underwater, which will hopefully be this spring. They knocked it out of the ball park with the hero 10 imo. "That was the perfect value-for-money for me" I know what you mean. I try to be as realistic as I can based off my skill level. can I scrape up enough money for an R5, sure (though barely) , should I buy an R5,,, no. I'm not good enough for a camera of that type and expense. I've been shooting underwater photos for ~12 years now, started with crappy underwater disposables because it was all I could afford, and eventually built up to my current RX100 setup. There is so much to learn with what I have that going beyond this budget would be a waste of money, and frankly, it might even ruin the hobby for me. These new high-end underwater setups are huge money. The last thing I want is to take the fun out of the hobby by feeling like I over spent and still not get good results. plus I don't go diving enough, maybe once a year of I'm lucky, and just like anything else, repetition is key. I'm pretty sure that I'm still at a point where the only way to improve is if I'm sitting at a desk in a class room with Tony standing in the front teaching while Chelsea is SMACKING the back of my hand with a ruler every time I mess up! 😁

@@zoubtube Oh, I totally feel you! For landscapes, I'd LOVE to have gotten the Canon 5DSR (iirc) with the 24-70 mm f/2.8 L lens. (or the 70-200 L, a tripod, and then stacking a shitton of slightly-shifted pics together for one massive digital canvas, lol). But, especially at the time, that was like a 5k investment or something....? And I _really_ had to tell myself that such an expense **only** makes sense if you're a professional - then, it's an investment that will earn itself back, eventually. But I just wanna print my own pictures on A0 sized posters and hang them on my wall. So it was WAY smarter to invest that money in more trips instead 😅👍🏼

From what I've read it was done for tax reasons. For all other R cameras is it possible a firmware change could remove the limit?

Hi Kane

@@MikeHunt4hire 😄😄😄

Yes this is the second biggest issue I have with them. First being that dynamic range

I need to build a garage to host a server farm for that, as well as a super computer to edit it. Oh then, KZfaq will crush the hell out of it, so will just use my Sony RX100 again to take video :D

@@colinhoward2200 use proxy files, you can edit 16k raw on a laptop with proxy files. 180tb das would be big enough for editing. Tape is just for long term storage and back ups (as lto tapes are cheaper and larger than hard drives)

@@legendp2011 Thanks - but editing proxy files - well you are not "seeing" what it will look like. So has never been an option for me.

@@colinhoward2200 proxy files are what it looks like, just lower resolution. They are always used on feature films until final stages or vfx. Using online/active proxy files also means you can switch between full resolution and proxy files with 1 button click (sometimes called “create optimised media”). When im editing i dont need to see the full resolution. 1080p proxy is sharp enough to tell focus, figure out pacing and do basic colour grading. I Only switch over to 8k raw (red camera) when the main edit is finished, and i am just adding the last colour grading touches (or vfx). I can edit in 480p if need be, speed is more important than resolution for editing (being able to scrub and playback at 16x). But in my opinion, even for interviews with heavy croping, 1080p proxy are more than enough to tell whats in focus and get shot composition and pacing right. Proxy just save so much time when editing for me