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Canon 5D Mark III with Magic Lantern.

The Fuji GFX 100S is like a medium format X-H1, with very capable filmmaking abilities. I had a hands-on at FotoMax in Berlin, to find out whether Sony should be worried. https://www.eoshd.com/news/hands-on-with-the-fuji-gfx-100s/

cameras: Panasonic Lumix S1, Mavic Pro 2 lenses: konica Hexinion AR 40mm 1.8 + SLR Magic anamorphot 50 (green coating)

Yeah, I have several. I have a Kowa Anamorphic-35 1.75X (a variant of what most call an “Inflight”,) which, while for 35mm gate size, is easily usable on MF (considering everyone and their mother uses 16mm gate scopes like the 16-H on full frame cameras without issue.) I also have plans to modify my B&L CinemaScope Attachment II, which is natively for projecting 70mm prints, and has an absolutely ginormous rear element. I honestly don’t care how much my rig weighs, or how big it ends up being. I’m gearing up to shoot narrative fiction, not a YouTube vlog. I’m after unique, immersive and impactful images that feel at home on a theater screen, that create their own world on the screen. I love Nolan’s work on 70mm, especially Dunkirk and Interstellar. The Alexa 65 has also shot several films which really leverage the larger sensor to achieve a unique look: Bohemian Rhapsody, The Revenant, Rogue One... I’m not saying smaller sensors can’t look great on the big screen, but a really big sensor leveraged the right way can’t help but look like it belongs on the big screen. If prices drop on the S1H, I’ll very likely end up with that body, I’m just a bit bummed with Fuji (or perhaps Sony is imposing limitations on the sensor,) because I REALLY like Fuji. I like their physical design philosophy, their color science, and their overall proclivity towards a “left-field” approach (like leapfrogging Full Frame straight from APSC to MF.) I’m perfectly happy to wait out the market with my GH5S and Pocket 4K, they’re a great duo for getting the job done on contract work... but they’re not what I’m after from a personal creative perspective.

Ah, I don't have one but assumed that because it has a stills/cine switch, it could store different settings. My bad. XT3 (as above), I used the silent video mode and flipped all the time. With my S5 and S1H, I simply have an indoor stills mode set to C1, an outdoor mode set to C2 and then 3 video modes, C3 1-3 (4k 25p, 4k 50p and 1080 100p).

I believe the a7s has custom mode 1 and 2 on the mode wheel. Set one with the options for video and one for photo. Have you tried using this? I remember setting the modes on my RX1RM2 was a bit off a hassle. I had to turn the camera on and off after saving the modes for them to be recognizable. The Canon R5 has different video modes, and you can also customize which mode the camera should record in when you click the "Record video" button. This makes it possible to shoot photos in your prefered photo mode when you click the photo button (For example aperture mode) and as soon as you click the video button the camera will jump to mode C3 which is set up for video.

Received notice they are shipping now. Very excited

You can??? For some reason I always thought it was hevc. Live and learn, I guess.

I was recommended the Colour Correction Handbook - Second Edition by Alexis Van Hurkman so I ordered it. It just arrived today, and I am having trouble remembering a time when I was so excited about a book. I wasn't excited when it arrived, I only got excited when I started reading through the contents page, and flicking through some of the chapters. It's like every heading is a thing I've been wondering and struggling with. At first glance it looks like a good mix of technical stuff, techniques, and creative applications. and the best part? It's over 600 pages!