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In my opinion the A7S3 is the best camera you can buy on a price / quality / features ratio. It's so versatile and really fun to shoot with. You can focus more on the story and worry less about the gear. Honestly, I think it's one of the best releases we've seen in terms of cameras, ever. It speaks volumes about how many people moaned about the camera being "too safe" - what? They absolutely smashed it and gave us way more than expected. Do people want the camera to fry their eggs too? 😂 They need to merge the cameras completely, get the EVF flipping up, increase the screen size and deliver an even more robust and sexy 4k image. That will be the one.

I've been using the T-3/4 with the Metabones since it came out with older L glass (mainly 17-40 F4 and 70-200 F2.8 non-IS). The image quality is fine. If I want to use autofocus, I tend to use my XF 18-55mm f/2.8-4, which is a nice little lens in its own right. If you do get a Fuji, be sure to get the kit with this lens even if you have equivelent EF focal lengths. I've been a fan of the Fujis overall, and it's nice to grade from F-log, through you do have to mind your white balance, especially in low-light/under exposed situations, or I find, the colors get a bit off. They make fun stills bodies for sure, and the Fuji film simulation J-pegs really are a treat. These cameras are head and shoulders above Canon crop-sensor cameras (I shot extensively with the 70 and 80Ds). Your biggest issue will probably grading the 5Ds to match the Fuji. I'm sure it can be done, but in my expience Canon color and Fuji color are both very "good," as in pleasing to look at, but not very similar. If you're shooting with ML in raw, this may be less of a problem than it is starting with a baked-in Canon color profile., even one thats as flat as you can make it in-camera. Since I'm personally moving to a C70 as my A cam, I'm hoping Clog 2 will make cutting in a Fuji B cam easier, especially using Resolve's color managment or a similar tool to bring the images into a neutral color space with less user input. Between the two Fujis, the size difference isn't really noticeable unless you're holding one after the other. The T4's extra battery life is very nice, but its IBIS isn't amazing and has bitten me in the ass on more than one occasion. For a video workflow, SmallRig's cages are great. The 4k 60p looks great, and even though the T4 does 120p in 1080 I rarely use it. When I first got the T4, I'd have recommended over the T3, now I'm not so sure. Depending on your shooting style, it might make sense to get the 3 and load up on batteries or third party power solutions (V-mount with dummie battery or a NP-F style battery with a USB port if you're going to use an external monitor). Those are my rambling thoughts. Hope they help.

I sold my C200/FS7 during down time of the pandemic. Work is picking up again now and I need a pro A-Cam for client work. I was sold on getting a BMPCC6K Pro after shooting with it for couple gigs but I'm actually hesitating to go back to the good old FS7. 6K & RAW is very nice but EF mount limits the lens possibilities so much. I still have my metabones EF speed booster which gives the FS7 pseudo FF. I also love the fat 250mbps XAVC-I codec in Cine EI mode and the FS7's AF is actually pretty smooth on native lenses. Price wise the FS7s are really cheap at the moment (maybe 800 more than a P6K Pro) but it feels kinda strange buying a used 2015 cine cam in 2021. The 5" touch screen and double ISO 6K sensor on the 6K Pro probably makes much better sense for future-proofing. Thoughts?

I had a C70 which has a lovely image and an excellent body concept but something was bothering me with it. I couldn’t put my finger on it, but in my gut, something wasn’t right. I also had an A7SIII at the same time, and still do. The gut feeling that overshadowed my positive view of the C70 might have been the A7SIII. That camera is simply a marvel that I love shooting with. Maybe I enjoyed the sheer flexibility of the A7SIII more, hence the demise of the C70. I always shoot with 2 bodies. Instead of getting an A7SIII again, I picked up the FX3 as I wanted the XLR’s and the video centric button layout. When the FX3 was delivered, I was very surprised at how it felt in the hand. I was surprised at how small the XLR handle unit was. The grip feels really good. I was thinking “wow, Sony have nailed this”. At first, the button layout was confusing as I’m used to the A7SIII. It still trumps me now as it has a function where you can lock your shutter, ISO or IRIS and I keep forgetting it does that. So I always have a few sections feeling frustrated when the values aren’t changing, because I’ve forgot they are locked. 😂 The camera is identical to the A7SIII, minus the body design. Everything is the same. I use it with the Ninja V which is a powerful combo for this size. It feels amazing handheld without the XLR handle and the Tilta cage but with the XLR handle it does feel a little clunky and unbalanced in the hand. Now when I’m handheld, I don’t use the XLR handle unless I’m recording some audio with a handheld look, which isn’t that often. On a tripod, it’s fine. Capturing shots with the FX3 is very liberating. You can do pretty much anything with it without lugging a brick around. Some people like to rig it up but for me, it’s just very unnecessary with a body this size. The image itself is fantastic. What I will say is that it won’t perform miracles for you. People have this misconception the FX3 or A7S3 will light an image for you. No, it won’t. Stop being lazy, feed the camera what it needs and it will shine. Again, Slog3 won’t perform miracles. It takes practice, patience and resilience. It isn’t the best between 3200 and 12,800 ISO. To shoot at these high values is a bonus but the best image is SLOG3 640 ISO, so to get great results, shoot for that as much as possible. The FX3, just like the A7S3, does have superb colour capability. If you don’t WB, or expose correctly or nail your focus, it would look like garbage. It is not forgiving, you can’t be lazy. I can match this very easily to the C70 - I couldn’t do that with previous Sony cameras. Using both Alpha cameras together is extremely powerful and liberating. When treated and operated correctly, and not lazily used to perform miracles, the image you can achieve is just fantastic. Peoplr saying these cameras are conservative and underwhelming need to re-check their opinions. Sony gave us almost everything in pristine 4k and it delivers. They are unique on the market in terms of feature set, and it shows. Most importantly, the FX3 as a step forward in camera concept for cinema application is the right one. It’s exciting to work with and getting great shots isn’t a pain in the arse or a cripple on your back. What I would like to see in the next version is the FX3 and A7S3 to merge into one camera offering with: - On-sensor ND or similar tech. - A thicker image in feel and robustness. Not bothered about 6k or 8k, just even better 4k please. - A larger back LCD. - A flip up EVF like BMP6k Pro. - An improved XLR unit that is more modular when used with accessories. - Possibly both an IBIS and non- IBIS version. If they deliver the above, that would be near perfect.

I actually love the FS7 ergos - VF loupe aside which I never use. Again its one of the rare modern budget cine cams you can shoulder mount ENG style. IQ wise, the BM has higher resolution and shoots Raw but on the highest DCI 4K XAVC-I Cine EI setting the FS7 is still capable of spitting out a really nice detailed filmic IQ imo with tons of headroom for grading. Also yeah the 3200 dual ISO setting on the BM is a bit meh, you definitely need to stick to 400 to get the highest IQ/DR. For the price new, the BM is definitely a no brainer but again the FS7 is still a workhorse in 2021 and E-mount is just so much more versatile than EF at this point imo.

I agree. In a perfect world I'd pick up the C70 or 1DX MKIII but they are well beyond my budget as a hobbyist. If I recall you were a fan of the 1DC as well, would you sell yours now if u were in my shoes?

Yes, which is why the plan was to sell the 1DC and get another 5D MKIII (I already have one) along with an XT3/4. That way if I can't match the XT3/4 to the 5D MKIII (ML) I can still use it for b-roll but the XT3/4 would also become my walk around family/travel camera.

Just my opinion, from my experience, but if you like the ML Raw image from the 5Diii and don't mind the workflow, I think you'll have to spend a lot more money to be happy. @TomTheDP was absolutely correct when he wrote, "5D MK3 with magic lantern is about as nice of an image as you can get..." With what is on the market now, I really think I'd need a C200 or 1DX Mark III to warrant an upgrade. YMMV

A fuji would be great for travel/family stuff. If you want something even smaller I'd suggest the XT-30 as long as you don't need 10 bit. Fuji lenses are also nice and compact. In terms of video work I'd recommend staying in the same brand as camera matching is a pain that's just not worth it. Two XT3's would be a good idea if you are looking for a 4k workflow. 5D MK3 with magic lantern is about as nice of an image as you can get, aside from maybe a bit less dynamic range that newer cameras.

Bcuz I actually like the look, don't mind the workflow, I wouldn't have to worry about color matching and the bang for buck is pretty undeniable. I see them going for as little as $700 CAN right now... but also, at that price I could totally pick up another XT3 later... I guess my main question is should I even sell the 1DC? It has always felt to me like a collectors item...

R5?

While this would be nice, it would be a fairly niche approach. The low/mid end of the professional market wants something that has similar (or more!) power than a FS7 but is compact like a FS5. (for instance: FX6 & C70. Both of which are already compact enough for gimbals/drones) That is where the bulk of the sales are, and where it makes sense to target. Komoda makes sense because "modular" is RED's entire DNA, that's what they do! (although even RED realizes this isn't necessarily what the market wants, thus they've for instance brought out the various flavors of RED Ranger) Z Cam is taking this approach themselves because: 1) it is lower cost than making a more fully featured camera & 2) they're very small time players thus need to try targeting a different niche to get a toehold initially Panasonic has the reputation, history, size, experience, and brand name to be able to take on directly FX6/C70/C300mk3. But they need to do it now, not in four years time. Feel that Varicam LT mk2 should aim for half that price, or at least a good 25% less. Needs to be undercutting C300mk3/FX9, and not be priced up at the C500mk2 end. Because that price bracket between FX9 and ARRI Mini is "no mans land", it's tough for a camera to survive there.

Dress like an old lady and wear a scarf over your head. 😂 I do agree with you on screens though, they need to be bigger, brighter and fit elegantly with the body design. Blackmagic have got this mostly right with the the 6k Pro.

The only EOS-M with fully working ML is the original one. It's a nice image, to be sure, but an absolutely awful camera to work with.

Before spending the money, maybe download some sample files and see how you get on with matching them. I've heard good things about https://www.cinematch.com/.

Nice! I think I'm going to get an FS150 to compliment mine.

Thanks so much for this thread! Just ordered my 300. First shoot next week! -Dave

Paid up member of the 90% club here. The extra 50% of; time, effort and sometimes money to get that last 10%, just is not worth it to me, especially as no one but yourself really notices what that ‘extra’ 10% could have been. Life’s too short. Or to coin a very British phrase, I can’t be arsed.

It's definitely a step in the right direction for Sony. If they get internal compressed RAW they'll have it in the bag.