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Like previous years I put my Christmas greetings. Gh5 and Rokinon 35mm anamorfaked (thanks Tito) Merry Christmas!!

Of course, I am. People tend to see it B&W, this is not real ; ) Streaming is a bless for filmmaking and guys working in this industry like me for example : ) I have film credits with Angelina Jolie and Spike Lee, I am not sure I could have them so wide years earlier. This age brought the democratization for this medium never seen before. - E.

You buy the camera you can afford. You buy the camera that is the right tool for the job. If it is really a serious question for you, then you rent all the cameras that you think you like and test them for your use cases. Maybe one camera has amazing image but a terrible workflow. Maybe another has a sweet workflow but falls on its ass in certain modes you like or need. Maybe one camera needs a crew to operate effectively. If you are doing wedding, documentary, lower budget commercials, or events, and you are solo or small crew than any of the higher tier cameras from Sony or Canon you really can't go wrong with (FX6, A7SIII, C70). Rent those and see which one works best for you. They all have gotchas and trade-offs.

1. Bluetooth connectivity issues. External mouses and peripherals don’t work properly (including MM2). 2. WiFi issues. Over 3x times slower than previous models in some cases. 3. USB issues. Don’t expect to see speeds above 400 Mbps on any external drive. This is quite low even for a USB 3.0 controller. The list may be longer but these are the most known issues so far. Various reports and videos have been posted on reddit and YT by thousands of users. I won’t post any links to keep this thread clean but those reports are all over the place. Some of those issues may be resolved through software updates but that won’t happen if nobody talks about them, right? Apple has a bad history of fixing things, my 2015 iMac still has bluetooth connectivity issues and my 2019 4500$ MacBook Pro still has audio issues (pops, crackles etc). I am also excited with the new architecture but i would think twice before purchasing an unfixable machine with major issues like these.

True. True, Part 2. "The opposite of a trivial truth is plainly false. The opposite of a great truth is also true.” ~ Niels Bohr :- )

In my opinion, look at the other subject matter in this forum and other forums -> see where the industry is headed. If I were you... I would go for the Panasonic S1H. I know the arguments about AF and lack of 4K/120fps. But, if your impressed by Sony Venice and Red Cams <- remember they don't have proper AF either. You can't argue with the higher Resolutions, Anamorphic Modes and its Netflix approved (this is actually the number 1 reason why I would recommend the S1H over the other cameras). Just so you know Netflix is planning on expanding on ABQ studios.... just saying...

Meh.... not worth arguing over.

Worrying to say the least -- go figure strictly from a video-centric POV now...

Hello guys ! I shot my first gig with my new A7S III. So far it's exactly what I expected : a formidable workhorse for corporate videos or digital ads and many more things. It made huge improvements in usability even though there are still some things missing (like loading custom LUTs) but not many. Image wise, it's very much a Sony camera. Its image is in line with the other alpha cameras (which is not a bad thing), only with better codecs. The codecs are good but not groundbreaking. It allows the image to show virtually no pink macro blocking and smoother gradation in the sky for instance. Oddly enough, the image coming from the X-T3 feels thicker, less processed (but I HATE the magenta shift in f-log and the skin smoothening effect, impossible to get rid of and never discussed !). The image of the A7S III is quite clinical. I feel the same about what I've seen with the C70 so far (that being said, I've never actually had the sooc footage on my computer). We are far from what we get with blackmagic raw or red cameras. This is not the camera to get if you're after the best organic thick image quality. I was curious to try prores raw to see if things would improve with less digital treatment. So far prores raw support in premiere is very basic but you still get an unprocessed signal. I was a bit surprised. Even though there's no noise reduction (I thought NR + H264 codec was the main factor for this clean/digital image), Prores raw image is very close to internal recording. Sure there's more noise, but the image doesn't feel "raw" at all ! Still very clinical. I'm sure you can make wonders with it, but right out of the box, it has no real "mojo" advantage over the h264 10 bit. Anyway, there are so many things to say about the camera, it is wonderful for anything delivered on the web. The colors have improved a bit (not by much) and are totally fine. I think I might make a video review of the camera since I think there are not many real world experienced user who have done one, but many gear reviewers. I respectfully disagree with the previous OP who shot the commercial for the massaging thing who said it's a totally different camera than the previous models. I think it's almost indistinguishable if you watch footage online with youtube compression. I watched a few old clips from ads I made with the FS7, and dare I say, I find the FS7 having something more, i'm sorry, "filmic". So does my 5d mk III ML Raw footage. I'm sure every manufacturer does something different when it comes to their cinema line. I always felt that way reviewing clips from all the different cameras. And I had a quick question for the other A7S III owners : can you also see faint lines on the rear lcd screen when it's off ? I can't really see them when it's on, I think it's normal, but just wanted to make sure. Thanks ! Feel free to ask anything if you have questions about the camera ! I'm surprised the camera is not much discussed at all ! With everybody waiting for it for years and buying it.

SMH, I leave my house every day, but not to just go and sit inside another building. A nice day out for me is a kayaking trip or exploring a park or shooting landscapes. I'm not saying there aren't any people willing to go to theaters, its just never going to get back to 2019 levels. Ever. Just as studios are pivoting, so are audiences. I have a TV and nothing else, a $500 65" set I bought a few months ago. Its not a monster home theater setup. But still a great covid-free experience without enduring endless previews and jackasses on their phones or talking during the movie. Get some takeout, mix up a few cocktails and its a great date night. Enjoy Chris

The other downside is the a7Smk3 is a much much more expensive camera than the Panasonic S1/S5/GH5 (yet another downside... is that the a7Smk3 lacks waveform monitoring, or anamorphic support)

Once S1H gains momentum at filmschools, it will produce more and more impressive films. Today a friend of mine entered the realm of Varicam colour science and massive cinema image quality with the S1H. I was close to buy one myself, because I was going to sell my S1 due to the paid VLog update and the 10bit 4K60p of the S5. Tell you what, the VLog 10bit puts the S1 way ahead of a C300II image wise, no contest at all! If S5 will continues to sell well, and if Panasonic keeps their model philosophy in logic and neat order, they will grow and give Sony a good run for the money. My friend owns a GH5 and films with Arri at his school. If the S1H convinces him for his project, he is the usual film school image connoiseur, it will be on a whole lot of film school shoots. Film school in Germany means some free tickets for the large German film festivals as Berlinale and others. The S line I think will rock the scene. I hope I can be part of it.:)

Yeah I'm using the S1H and Nucleus Nano, the stills are amazing and the high-res photo mode is exceptional for still subjects, Vlog images are beautiful, and though Ninja V RAW is of limited use TBH it's still nice to have I think the issue is... how many of us are there? For me this is the best image available outside of Red and Arri, but are there enough of us who want it to keep them making these cameras?