As I'm not a Canon engineer, I'm simply assuming it either comes down to market segmentation or sensor limitations. I don't have the R5 yet but I do have the A7S II and 5D mark IV and paid for the CLOG upgrade and I've only used it on a few shoots when I was in really challenging light and needed just a little something more to preserve some detail in the highlights while also having more detail in the shadows and midtones.Which is which is weird, I wonder what goes into the decision to include or not include the Log 2/3 profiles? It used to be a paid upgrade for regular log. I wonder what the tangible difference is?
You have to think at least offering a paid upgrade for log profiles and no 29:59 min record limit would reduce the number of product returns. It has to expensive reselling open box or refurbished. I hit the 29:59, playing around with the camera and didn’t notice. It’s not a huge thing but just something to manage. Kind of takes away from the Canon just works a bit.... but definitely not more than taking just the right amount of yellow and green out of most Sony files
In most of my paid shooting work I ensure that I have a lighting environment where I don't need to use the Log profiles to get a sellable image but I'd never buy a professional cinema camera that didn't have either Log or RAW. Has to be one or the other, ideally both. The C300 Mark II had both but didn't have full frame 4K, which is why I bought the A7S2 as a back-up for sexy product shots and extreme low-light.
The problem with the A7S2 was the data rate. I really always film with it in a WYSIWYG capacity because the maximum bitrate is 100mbs which means that is the total amount of image information I have to push around in post and it starts to break up when I start pushing too hard whether I filmed in Slog/2/3. The C300II has the CLog/2/3 plus various gamma profiles which allow me to push it harder, but in extreme low light the artifacting and noise did not produce a sellable image, but the A7S2 would and the dynamic range really wasn't an issue as I exposed for the key subject and then let the blacks fall off but with considerably less noise than the C300II.
I'm hoping that one of the new RF Cinema Cameras is full frame (even if pricier), or failing that, that it has the C300III DGCO sensor in it. IBIS is nice but not a must, I'd rather have 4K 120 if I had to pick between the two.