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The great thing is you can just stick it on Aperture priority and Auto ISO, and concentrate on getting the shot perfectly with pristine image quality, no noise to speak of. Try doing that on the A7S III or EOS R6!

These YouTuber's switch cameras faster than I change my underpants. It took him 2 weeks to go C300 Mark III -> A7S III And now A1!

12,800 is too high for a native ISO. You will be shooting at base 640 boosted to 3200 or 6400 most of the time in dim light or indoors. Therefore the A7S III has a problem especially in S-LOG 3. The files look a bit shit. They are noisier than the EOS R6 and Panasonic S5!

I prefer A, skintone look more better?

The oversampling doesn't mean anything. In both the 24p and 60p it is the same and looks sub-sampled with some aliasing visible. The 10bit 422 is a pain to edit. The 120fps HD isn't unique, that has been around since the Sony A99 II several years ago. The IBIS is no better performing than the competition. Actually DPAF is no longer even top dog. The newest Sony AF systems are better. I don't mind 20MP. I do like the C-LOG 10bit image quality on the whole it nails the rendering of a shot with perfect colour and white balance. It's a good sensor and that is why it is frustrating to have the other issues and strange crippling but I no longer expect anything different when it comes to such an unethical company in my opinion I know what you mean, I am not gelling a whole lot with many cameras at all at the moment, all a lot of room for improvement really. The manufacturers need to step it up.

Sorry I have no idea as I hate external recorders.

Sony A1 in 8K video has exactly the same rolling shutter as the R5 15.5ms..... don't trust marketing bla bla. Why you want to use ProRes Raw instead of Canon Raw Light? Did you test both 8k RAW in your machine?

Yeah don't get me wrong I think it's fantastic and very rare to have such clean 12,800 and 25,600 results. The other way you can get around the noisy S-LOG 3 results between 3200 and 10,000 is to simply change to a Cine gamma mode instead or use a flat profile like EOSHD Pro LOG. It is just that if you want maximum dynamic range at these commonly used ISOs in S-LOG 3 then other cameras like Panasonic S1H will give you much cleaner results from a higher resolution sensor and 6K.

The F2 lenses are nice I just never found them to be great with continuous auto focus for video. I'd probably go with Viltrox if I was going the Fuji path again.

Speaking purely from a personal perspective why I don't use an external recorder (either Ninja, or anything else): - A second complex interface to operate, on top of the one already on the camera distracts me from the shoot - The bulky ergonomics makes handheld shooting a chore at double the weight, unless you go all the way and turn it into a shoulder mounted ENG camera - No weather sealing on the recorder, and big brick of a battery on the back rather than it being internal and discrete - I absolutely can't stand HDMI as an interface. It's so flakey and unreliable. Easy to damage too - I like packing away a single unit, I don't like having to dismantle something between takes on-location. If you're only shooting studio work then ok, then external recorder is better suited - Having to babysit not one but two batteries - one in the camera, one in the recorder. - What is the point anyway when image quality is so good with internal codecs these days? Even 8bit. You don't really always need to shoot 10bit and if 8bit is easier to edit then that's ok with me. One of my favourite cinematic images of all times is 8bit (Canon 1D C). - Placement on the rig is never quite ok - I don't like a big screen hanging off the hotshoe, it is unbalanced. I don't really like it hanging off a bit arm from a cage either. - What is the point of a small mirrorless camera if it isn't small any more? May as well get a C200 or something. For years Atomos and the manufacturers haven't addressed any of the above. I like them from a technology standpoint. They have some very talented engineers. Their UI is well designed, albeit somewhere I don't want to have to go when I'm trying to get some fleeting moment run & gun style. I think if you're concerned about Canon's issues, you've every right to be. The dilemma at the moment is that everything on the market has some sort of drawback so it is time to choose your poison. - Canon. Do you go with a company that seems to be unable to stop lying to its own customers, in my view - ethically a concern, but one that makes cameras that often nail color and skin tones, with the best LOG profile and obviously they are market leading for a reason but I haven't quite been able to understand why - Sony. Do you go with the best autofocus, best sensors, but still quite humdrum boring to use bodies that don't inspire you to pick them up and whose results are often a bit wonky to say the least in the overall look department? - Fuji. Do you pick APS-C or really up the ante and go full on in at £6000 with 4K medium format? Their APS-C cameras are the best on the market but they are still crop sensor. Also the X-H2 seems to have gone down a toilet somewhere never to reappear, so there's that. The X-T4 is no S1H. - Panasonic. Do you forgo autofocus? - Olympus. Do you forgo the entire existence of the company? Pick your poison!

Are you the resident Atomos salesman or something?

For sure. Also on what device, - phone, ipad, laptop, monitor, big screen TV? Is it a back-lit screen or not? Is it calibrated? What environmental conditions are you viewing in? And then there is how we each see and perceive colour etc... So many variables... I've long since stopped taking into consideration anyone else's opinion, - not colleagues, clients or even the wife's. The best thing you can do IMO is shoot and present to please yourself and if it's not for personal use only, no reason why not to and if it is for clients, book clients who like and want what you do without any of their own input. Unless you are happy/need to shoot to specific client needs, which is fine and equally valid. In 20+ years, with over 1000 clients however, I have never had a single one ever question my presentation, grading (photo or video) or any other visual factor. At least not after the fact. I have had maybe 4 or 5 that have asked certain questions prior to booking and then either did or didn't (book) and I have no idea how many have dismissed me without any conversation or even awareness on my part that there was something they did not like. But who cares if you are hitting targets. Yes, the odd wedding client, usually a mother asking why there are only 37 pictures with her in them but there are 38 with the other mother...because she's counted, or the very occasional soundtrack question, but this has nothing to do with the visual capture or processing. I did have one bride comment once that her pink bridesmaids dresses looked a different shade of pink to the actual material in my photos and the difference was exaggerated in; outdoor photos in the sun, outdoor photos under/in green trees, indoor photos with fluorescent tube lighting, indoor photos in a marquee with purple uplighters...but you know, life's too short to try and have a conversation explaining that what you are looking at is not, 'a dress', 'a colour singular', 'your mother', but tens of thousands of different coloured pixels... 🤪

Loving the AFX so far. Can you get the setting for having it upside down, and the offset be made permanent?

Nice work. Crazy that there are companies charging money for editing software without proper color management. Glad you've got a solution available.

I've put my dick into too many things, tbh. Also, an Olympus camera has been up my arse searching for polyps. But my nether regions have avoided SD slots thus far. I suppose for some fan boys they could eventually be STD slots if they're not careful?

Here's an example of the issue.

The body shape is just... disgusting (and that’s coming from someone who owns and uses a P4K). They should just make the screen AND EVF each a $500 extra, and reshape the body into something more like RED/Kinefinity/ZCam/BGH1.