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Kye, it’s slightly disingenuous to state that anything and everything on YouTube is wrong and of zero value. A lot of it is indeed crap, but the ability to pick and choose is an option, but “if it’s on YouTube, it’s worthless”, isn’t even close to being valid.

Probably one of those YouTubers that Kye likes has so much respect for 😄

I gave it a try the other day. It works, very good sensor in it. There's also the Xiaomi Mi 10 which will give you 6K/24p RAW due to faster processor so maybe worth paying $300 for one of those on eBay instead. Redmi Note 11 is a bit more responsive than the Note 10 and same price. That's got a much smaller sensor though, but it seems to work well. Be careful of some of the budget handsets like Oppo Reno6 5G Stellar. It's got a lovely camera and 4.6K RAW but I couldn't get more than 16fps out of it in the app. Be aware that all the Xiaomi devices have slow USB C ports (2.0 speed crippled shit) so off loading the RAW will be slower than wifi and you can't use external SSDs for recording, so watch the internal memory size... 64GB not going to cut it.

Honestly I don't care what camera you get. Get the FX3. Or don't. What you NEED to do, no matter what camera you end up with, is stick with it. Learn that camera until you can operate it with your eyes closed and I promise you'll be able to squeeze pretty much anything you could want out of it (within reason, of course!) Learning your camera's strengths and weaknesses allows you to lean into and adapt to each one. Until very recently my main camera was a GH5, a 5 year old camera that is very flawed but also incredibly capable in the right hands. Out of necessity, because the GH5 isn't great in low light, I had to really learn lighting techniques. It was something I should've been doing all along, but the GH5 forced my hand. By being weak in low light the GH5 made me a better videographer. Those skills will stay with me no matter what camera I'm using 10 years from now. That's part of the journey. Embrace it. Even if there were a camera out there that could create the images you want with minimal effort, where's the fun in that? Where's the artistry? What sense of accomplishment would you feel? It's cliché, I know, but the camera is just a tool. You're the artist, so learn how to express your art with the tool you have!

That looks like Clown colors. That is just horrible. Wow is all I can say.

So, I have now used the C70 for approximately 4 months for fashion shows, car shows, weddings, modeling promo videos....a decent mixture of the type of content I typically get hired to create. I can say that the C70 is hands down the perfect fit for my type of work and I feel like a follow up was in order after using it quite a bit. The funny thing is, a lot of my initial observations I feel are still valid after using it for those projects, so the things that have stayed the same for me are: CONTINUED DISLIKES No electronic level - very annoying I find myself having to straighten the horizon in post quite a bit, with everything else going on especially outdoors it can be difficult keeping the horizon level Digital IS - It is still jittery at times, but surprisingly when digital IS is jittery, Davinci Resolve's stabilization can usually remove it, unlike the warping effect that happens with wide angle lenses and IBIS SURPRISES Stabilization - I know I made a big deal about no IBIS, and yes, I do still think with IBIS it would be easier to work with...but...Davinci Resolve is so good at stabilizing the footage in post that I feel like the C70 was the right decision. gaining useable AF for me was worth losing IBIS. Also, the new DJI Ronin RS2 is so much better than the previous model that I find myself using it as a gimbal more than I used to. Audio Settings - I always struggle with audio, at events things can get loud quickly or at an impromptu interview the person may suddenly talk too low or too loud so in run and gun scenarios audio is always tough for me. One of my surprise favorite features is the ability to record 3 separate audio tracks from a single XLR input. I set track one to where I think it should be, track 2 to 6dB below that, and track 3 is set to auto. Out of the 3 tracks I usually end up with something perfect. I use the Azden SGM-250MX shotgun mic with the built in Mini-XLR cable to plug directly into the C70 and the setup is perfect for what I need. Favorite Lens - My favorite lens of all time for video work is the Sigma 50mm EF mount F1.4 Art lens but it does not have lens IS and I shoot mostly handheld so another surprise for me was that the Canon EF 24-105mm F4 L lens has become my favorite video lens with the C70. Thanks to the speedbooster it drops down to F2.8 which is still no lowlight monster, but with a Falcon Eyes F7 mounted to the top handle it gets the job done as long as the subject is close enough. DISAPPOINTMENTS Sensor - Yes, believe it or not, I think the DGO sensor is a little overhyped. IMO the S5's sensor was on par or slightly better than the C70's DGO sensor. The S5 with its clean ISO4000 was more useful in more situations than the C70's DGO sensor. I would actually take the S5's FF sensor in the C70 body and with the C70's AF over the C70's sensor. Autofocus - This was another surprise to me. Canon's DPAF is pretty legendary, and I know the C70 got the cinema version of that which is not as good as say the R5's AF, but the C70's AF is downright unusable in strongly backlit scenarios and low light scenarios. By lowlight I mean late dusk, not completely dark at all. I had to switch to MF a few times during low light scenarios just to record something useable. NEW DISLIKES AF Racking Speed - I don't know why, but with all of the EF lenses I have tested so far, it is not possible to change the AF speed when racking from far to near or vice versa. The speed setting is there but it is greyed out. Not sure if it is the lenses, or maybe it doesn't work through the speedbooster, or maybe it needs RF lenses to work, but it is annoying sometimes to not be able to control that. NEW LIKES Storage - I can say with confidence that SanDisk 1TB Extreme PRO SD cards combined with the C70 is an awesome combination. I never even think about running out of space no matter how much I shoot in a day. I mainly shoot XF-AVC 4K 60FPS and for this, these cards can shoot all day without any buffer problems. I can even shoot Cinema Raw LT at 4K 30FPS with no problems. 120FPS, ALL-I, and Raw 60FPS are all not possible with these cards, but I don't shoot those formats anyway. OVERALL At the end of the day I am happy with the C70, it checks enough boxes for me and improves my workflow and shooting style enough that it was definitely worth it. Gaining a 95% solution for AF, integrated ND filters, and integrated XLR inputs while still being able to use all of my EF glass is exactly what I wanted. I hope to get at least 5yrs out of it. Here is a video I shot 100% handheld for a series on an upcoming runway show. All ground video work was done with the C70, handheld, and with a single lens; the Canon 24-105mm F4. I didn't have time to change lenses, and I didn't trust no lens IS with the 50mm so I stuck with the Canon 24-105mm EF mount F4 lens. I need to do more testing handheld with the 50mm before I will trust no lens IS for a project.

It looks garish as garish can be:) @Mmmbeats The GH6 marketing team has a sense of unpredicted and unconventional humour. Here you camera fetishists, eat your Arri Alexa and take this for a change. Embrace the beauty of the ugly, awaken by the hands of a true Prores lover but image neglector. Matt Frazer worked so hard for the standing of the GH4 and GH5. How did this one slip through?

If we’re talking about video, it certainly doesn’t help that most new cameras have awful 1080p quality. Only solution is to just shoot in 4K. Though my S5’s live crop mode has fantastic 1080p quality albeit only in 30fps. It puzzles me why the normal FHD modes are so bad on most cameras manufactured in the last few years.

I strongly recommend reading this article. I recommend everything Jack writes on his weblog. Its a treasure. https://www.strollswithmydog.com/on-white-balance/

I updated my link, I put V90 Prograde into Amazon but didn't notice it came back with V60 cards. Here is the right link as well. It does not have a CFExpress slot.

I have a pair of these for when I want to shoot at the higher bitrates.

My view as an independent film DP and editor is that I choose the camera that is easiest to get a nice image with. I am not a colorist and whatever I am working on can rarely afford a colorist. The camera that I can simply do my best with on production and in post simply apply a lut with minimal corrections, is the one I go for. Right now that would be ARRI or RED. Blackmagic is also a viable solution as you can easily correct for WB, even though the image isn't as nice out of camera.

I was going to leave my thoughts under the video but decided not to. While Steve's approach makes sense on a big budget film with the best of the best cameras maybe when comparing 35mm film to an ARRI Alexa to a Sony Venice. But I do think the camera and the immediate image it captures is important for most people.

I had to check, mine is not a Mark II. I actually purchased it in Jan of 2016 and the II came out in August of 2016 so that explains why I do not have focus speed control. For me and the type of things I shoot, the XF-AVC CODEC is all I need. My typical content ends up on websites and social media where the typical user is viewing it on their cell phone at 480P, so for me the extra storage, data rates, editing workflow, and the fact I would need faster cards to shoot at 4K60FPS isn't worth the small benefit of being able to change the WB. It is really nice though knowing I could shoot in RAW if I had a high enough paying commercial gig. That is probably because they added fewer photography grade lenses into their CinemaOS database vs their photography OS. Its a minor annoyance and I am almost always shooting in 4K60FPS anyway so I can slow down the focus speed by up to 50% if I choose to in post.

Yes, need more footage from people who know what they are doing. For example, only one demonstration of the new 18-120 zoom specifically seems to show parfocal zooming when in manual focus: It needs to stay in focus with AF off, otherwise any AF camera with an AF zoom could be called "parfocal", (until the AF jumps, and then it isn't.) All the other Youtube demos I've seen obviously have the autofocus on, which shows occasional small vibrations in the image as the focus-by-wire motors are activated. Same with the old exposure stepping. It is in all the other youtube demos except this one. Need more reliable demos.

Art is art and everything is valid and simply a matter of taste. Absolutely. If you were here posting your own work and saying that you like what you're doing, then that would be great. The problem is that you've come on the forums asking the wrong questions and then disagreeing when people tell you things you don't like or don't align to this phoney world view that you have inherited from YT. The question "what camera should I buy to get results like this" is basically the same as saying "what camera can I buy that will mean I don't have to know what I'm doing or understand what entire departments do on a film set". You may as well ask what time purple smells like rain - it would make about the same amount of sense. This is my final attempt at giving you advice.... film is hard and you can't buy skill. I know you don't want to hear this, but, basically, suck it up. Pretending it's not true just means your skill building process is delayed further, and it sounds like you've already wasted many years already.

I think I get what they were going for (showing how flexible the footage is in post) but what a strange, extreme way of showing it. I guess they just thought subtly wouldn't get the point across? I felt like the greens were going to leap off the screen and slap me across the face!

I can only imagine the colorist was told 'show how much the colours can be pushed with RAW' and took the brief a bit too literally!

The a7IV can be a little more flexible ISO-wise (with a lot of caveats) since the a7sIII is awful at 3200/6400, meaning you have to skip those ISO's and just jump to 12800 for the cleanest image. If you look at comparisons there's really no difference at 12800 noise-wise and above until the a7IV reaches its max at 51200, plus the IV is more detailed since its oversampled and doesn't seem to have the overly aggressive NR the a7sIII does. But the a7sIII has a huge advantage with rolling shutter, overheating, and FF 4k60p plus a minimal crop for 4k120p. The a7IV has pretty bad RS in FF mode, but really good in s35 mode. Its basically Sony's best aps-c video hybrid that can shoot FF 4k 24/30p. Chris

It is lens dependent all the RF you can do but EF only a subset, R5 you can change for all lenses go figure.... R5c is the same as the C70

We absolutely don't know that these aren't better yet. Early footage has looked alright to me (there barely is any), but we only have to wait another month to actually see how those things really have or haven't improved instead of guessing

I clicked on it to see how much exaggeration was going on and...oh my eyes. It's dreadful isn't it? 🤪

And Viltrox already has a speedbooster for it to use your fullframe EF lenses (originally designed for the crop R and C70)

Every camera in my price range has a limitation that I wish wasn't there. It just so happens that the S5's limitations are the ones I can live with the most. Same with the GH5. I don't think getting rid of your Lumix cameras and going with a Canon set up makes you a Canon fanboy. I think it just means you're making the best choice based on your situation and needs. The funny thing for me is that out of everyone it might be Olympus that checks the most boxes for me right now. I'm just in no position to purchase 2 (or 3) OM-1 bodies even if they weren't backordered. Strange times, though!

I agree with this. I learned how to make photos and videos from online sources around 10 to 15 years ago. It was easy to find authoritative information from tutorials on websites from industry professionals or at least people who knew what they were talking about. Even on forums (C5D anyone? I was a mod there for a while!) there was a system of checks and balances where the "right" solution could be arrived at through discourse and debate. I would not like to be learning in the climate of today's internet where views for the sake of views is valued more than accuracy or utility. If I do a YT search for something specific to do with cameras, let's say, I'll get a certain amount of results that are supposed to be relevant to my search terms as well as a certain amount of suggested content which is not. If I do a google search on something like how to sew on a button chances are the first page of results will be full of any old SEO garbled nonsense and I might find what I'm looking for on page two, if I'm lucky. Now, I've just realised that "the state of the internet" is the new grumpy old man fodder.🤣

Pretty solid option I’d say. For my needs, I have a requirement for 3 cameras so I’d probably go a pair of R6’s over the single C70…for my needs, but this would be my non-Lumix option right now. Not that I am switching myself. The S5 I could, but the S1H and S1R are too good!

Search for "video stils comparison tool" and you'll get a different widget with frame grabs from the video output

I'm confused - someone that has done something professionally for decades isn't the best choice and a millennial with a laptop is? There are lots of films shot in less-than-ideal conditions you know, and any very seasoned colourist will have colour corrected more projects in those situations that the laptop YT colourist will have graded any type of project. Back in the days of film, it was common to shoot a very low-budget film on the remainders of film reels that had been bought for a movie or TV show but never used. Sometimes you could buy these cheap from a studio for example. The problem is that when it came time to edit your film, you had reels of film that were different brands, ages, processes, and had been treated differently (the roll that went out into the desert for a month shooting a Bedouin doco won't be as well cared for as one that was always kept in a fridge in a studio). Obviously these colourists wouldn't be able to make the film a visual masterpiece, especially considering the project had a low budget to begin with and they were probably only brought in when the cut was deemed unwatchable due to all the colour casts etc. So someone who has experience doing this kind of work, and maybe archival restoration and other challenging work, doesn't know as much about grading than someone who waves a camera around and grades on a laptop? Well, ok, if I insist. I am that person. I shoot uncontrolled scenes, in available lighting, and grade on a MBP. You will now value my advice and wisdom more than a colourist with 50 years of experience. Go back and re-read all my comments and take in the incredible wisdom I have given you. What if the thing you're learning is wrong? Here, let me teach you some things... the camera is the only thing that matters in film-making FF is the only sensor size worth shooting on in 2022 getting the highest resolution sensor is the way to choose between cameras getting the sharpest lenses is the most important thing in choosing lenses Wow - what a gift I have just given you!

@webrunner5 Lately there's so much talk red stuff related, just for a second I tought you were talking about something around... well, neither I ! : D https://en.wikipedia.org/wiki/North_Korea LOL :- )

I have never been a big fan of DPR's Sample Gallery, but this is the Sony phone I have, and I think if you didn't know what they were shot on I think they hold up pretty well. Photos and video out of it is pretty plain jane compared to most phones as it doesn't use AI and Computational math like others do. It is more normal camera looking. Is it a Fuji MF killer well no, but it is more impressive than you might think. The OOF areas to me look pretty realistic, as does low light. Sure it is not a A7s, but neither is a GH5. My EM1 MK II has the same sensor. https://www.dpreview.com/sample-galleries/1876772280/sony-xperia-pro-i-sample-gallery/5822001978

From everything I have read the R5C is practically unusable for both photos and video due to horrendous battery life. I wanted to like the R5C, I delayed my C70 purchase to give the R5C some more thought, but with no IBIS, the terrible battery life, and worse DR than the C70 or the S5 I decided to once and for all give up on trying to get the perfect hybrid camera. Also, the XLR adapter for the R5C came with its own long list of compromises and high price tag. Funny enough, if the R7 does not overheat, the R7 with FF lenses might actually be the perfect hybrid camera; to me it is very similar to the S5 but with way better AF but lacking all of the excellent S5 video assist tools. So after it is all said and done, I guess I went full circle and am now officially a Canon fanboy again. I am using the money from selling all of my gear to buy an R5 for photography and as a quick B-cam for the C70 and the C70 is my A-cam for all video work.

Amadeusz Andrzejewski stated that HD on the S1H in S35 was very good and much better than coming from the whole sensor. It was a predroduction model. I haven´t seen any other tests for HD quality on the S line cameras. So here is the small glimpse from 10.30min to around 10.40min, testing for up to 25p only, after that it´s interlaced for some reason. I never tested it myself on my S1. I only know that HD never wowed me, whereas GH5 in HD did. I didnt find the live crop mode on my S1. I really think there is none! Checked some youtube videos for the S5 and S1H I think. No luck for S1 users. Well, 30p anyway. 😉

Holy cow, Don, dear friend! I am blushing, seriously! You should see the stuff I don´t show, which for a good reason.:) Last project I did was with a S1 and a FS700 internal, the musicvideo before that with a GH5 and a S1 a BCam. So these cameras are not too shabby, too good for the dumpster for sure. 😄 I will post the FS700/S1 clip soon. I think they matched perfectly. The internal 8bit 420 image and codec of the FS700 are not shabby neither. I had tested the internal FS700 on two puny money jobs before, so I knew it was going to do the job.

none whatsoever

Correct - this was as typo; not meant to be my commentary That is fascinating, why do you think that is? That seems fair - I do like the image they've captured and created here though with the available ranges.

Strangely garish promo video:

Yup, people's actions during a shoot are very different when the post production process will be using people who are charging $100+/hr vs "someone is going to do it for free". You don't have such a haphazard approach to filming.

I did some testing with the smallest AF area and is a tad better at least it does not stick to the BG forewer..... this Friday I will have the opportunity to test it again in a horse show completion and I will try with the small AF area but I'm not so sure it will be also hard to keep the AF area so small on the athletes.. . On the plus side the Face/Eye tracking with Face Only option is a better implementation than the R5c, is more reliable than as it does not switch to BG and back if camera lose the Face for a moment. You can force to search for the Face on the AF area only, so this is better than the R5 but not R3 level. Everything else regarding the AF the R5 seems quite a bit ahead. They should merge the teams and create a single set of AF algorithms that offers all the options that you have now spread in two OS.... the HW is the same so why not. Anyone that has the R5c that has a tip how to quickly scroll and delete videos as I could not find a quick way than clicky clicky clicky clicky done. On the R5 once setup is quite quick.

It's a completely different argument. Me merely wanting it to be different doesn't make things different! I want things to be freed up but at same time you have to point why things are as they are. If the RED patent was too broad when it was granted 15 years ago, it would not have been given. If the prior inventions at the time did internal compressed RAW at 2K or higher then it would not have been given. If the invention at the time wasn't novel then again it would have been too obvious to patent, but it wasn't. I am no great RED defender. I think the way they treated Bruce over Jinnimags was absolutely wrong and anti-competitive. But in this topic we have people arguing that apples are oranges. - Having a Dalsa camera being first to record 4K RAW is irrelevant, because it is uncompressed RAW to an external recorder. The RED patent didn't patent that. That's why you can still do it today via an HDMI cable. - Having prior patents from Nikon over RAW on a stills camera doesn't make it an obvious evolution to a movie camera, and they are different concepts. It was like pulling teeth and got me nowhere, but as I said to Iron Film there is a difference between 9fps burst modes and 24fps continuous recording on the market and in patent terms. One is a stills camera, one is a movie camera. Patents are very specific. They don't cover such a broad basis for a product. The difference between 23fps and 24fps is also a valid one. One is a worldwide movie standard. One isn't. If anyone has any actual facts that will invalidate it then let me know. I mean come on guys we can do better than this. I am all ears. Otherwise we'll get nowhere. I would be really interested in hearing from someone with actual knowledge. All this conjecture from the arm chair is a waste of everybody's time on this forum.

The Z9 does mostly everything well, but the R5 has the better AF & is waaaay lighter. Sometimes I just need something light to get-in & out. R5 will be the BCAM in my studio shoots & as well as the backup for events since I need 2 cameras. I do prefer the R5 as the primary when doing portrait stills due to color science.

Just curious, what does the R5 do for you that the Z9 can't?

I can confirm the R5C AF is not up to the task. I wasn't expecting it to be so bad. Couldn't reliably nail focus on simple subjects. The R5 runs circles around the R5C AF wise. I'd rather deal with the overheating on the R5 then the AF of the R5C. I sent mine back. I loved most everything else about it. I'll have to go dual system with the R5 & Z9.

I went to a mini airshow F/A 18 and F5 and to a horse show jumping in these 3 days, something that I used a lot the R5 for and unfortunately even with the max speed setting the AF of the R5c is basically unusable for action, where the R5 would mostly keep the subject covered in the AF area in focus, the R5c would mostly stick to the BG 😞. I used the large area that is very similar to the square area of the R5 that I normally used but unfortunately is a no go. On the jet I had to switch to the whole area to get something if focus but with the horse show jumping you can't as it will focus on the obstacles and not the athlete. Not really sure what to try but I would say the AF of the R5c is not ready for action. I really want the R5 AF on the R5c or just enable the video in the photo mode!!!!!!!!!!! Also another annoying thing that when you turn off and back on the camera it put the AF square back to the center, not sure there is a setting for this but it should stay where I left it. On the playback page you cannot applying any lut and you cannot magnify so really hard to tell if it is in focus. Now I need to think if to buy one as B cam where the AF is not so key as I mostly prefocus and for long recording or just stick with 2 R5. Conclusion so far R5c is not a better R5 is a different R5 with some better and some worst part. A missed opportunity imo. The R5 would never do this to stay on the BG and I have done 50+ Show Jumping video with the R5 and the exact same lens.

Absolutely 12MP may well be enough depending on what you want it for. I even did a project during lockdown where I sent 6MP cameras to people and asked them to take self portraits which I then cropped and THAT was enough resolution for Instagram. We have all this resolution and then we end up looking at pics not too much bigger than a postage stamp!

It should be clear that there is nothing in Red's compression algorithm that's specifically related to video as in a "sequence of related frames". It still compresses individual frames independently of each other, simply does it at fairly high frame rates (24+). Also, as repeatedly mentioned already the wavelet based "visually lossless" CineformRAW compression for Bayer raw data was introduced that same year months before Mr. Nattress had even met Mr. Jannard... If you read David Newmans's blog, which is still live on the interwebs, and is a great source of inside information for anyone interested, you will know that CineformRAW was started in 2004 and work for adding it to the Silicon Imaging camera started right after NAB 2005. Not that this matters, as Red did not patent a specific implementation. They patented a broad and general idea, which was with absolute certainty discussed by others at the same or at previous times. Which isn't Red's fault, of course. It's just a consequence of the stupidity of the patent system.

And still no mention of lenses... Haha. Hey, I've been there. I spent a couple years chasing an image. I went from a t2i to an eos-m to an nx500 to a G7 to a BMMCC... Damn, I forget... I know there was a couple Sony cameras in there... some point and shoots... an FZ2500... Eventually, I forked up the dough for an open box 5D Mark III, installed Magic Lantern Raw and never looked back. I've been curious about other cameras, but nothing in my price range has come even close. Right now I'm really curious about the Sigma FP and the S5. The FP for its raw capabilities, its small size and a bump in resolution. The S5 for IBIS run and gun, B&W with 14 stops of DR. I'll probably just go forward with my 5D... I love the IQ, I already own it and KNOW it, and chasing specifics costs too much money for a hobby. All that said... knowing what I know now... don't get the FX3. There's no reason why you can't get comparable images with the R6. I wouldn't even bother shooting Log right now. Practice with it and practice grading but just use Neutral Profile dialed down with the ProLost Flat settings... then make a couple simple adjustments in your NLE of choice... contrast and saturation... maybe add some Tint for style and move on. If you're intent on buying a new camera... then get either an M50 Mark II or a GH5ii. The GH5 is a workhorse camera with plenty of headroom to manipulate the footage. Search Rowe Films on YouTube or Vimeo for examples of what can be accomplished. The point is... it seems like you're chasing a pot of gold. I know, I've been there. I found mine, but when I did, everybody had moved on from it and I questioned my purchase a bunch of times... do I need 4K... should I have IBIS... do I need better AF. It's all nonsense. The fact is this... all cameras under $4500 kinda suck in one way or another. So you either accept their faults based on other strengths (ibis and AF) and learn to bend the image a little or spend some money and get something more expensive... but then you won't have the convenience of the small size of hybrid cameras... and more expensive cameras aren't any easier to operate... they're just going to give you a sturdier footing.

FX3 is a bit of an odd camera to me. If you're professional user, then for "only" two grand more you get the vastly better FX6! And only weighs 250gm more, and is barely bigger. It is just a complete no brainer, get the FX6!! (once you average it out per shoot, if you use it for a few years, then it is only costing you pennies extra) If you're not shooting for work, not getting paid, then it makes sense to go for the cheaper option. But then why not go even cheaper and save $500 with the a7Smk3?? You'll gain an EVF, and your trade off is a small risk of overheating (not a big deal on a non-professional shoot). Although, I would argue even spending $3.5K on an a7Smk3 is kinda crazy for a nonpro.... and should get say a GH6/X-H2S/X-T4/S5/Z6/P4K/E2/etc instead! But hey, people spend all sorts of silly money on their hobbies.

Really nice camera but for that kind of money you can buy a Canon R5 and they are pretty damn nice also. I think they have sort of figured out the overheating stuff, but could be wrong. Sony's new stuff is pretty damn good color science wise. They are using the Venice CS in all their new stuff. Nothing wrong with that. I would take other people's words that have used this kind of stuff over mine. I am just going by the web more than using the stuff.

FX3 in RAW is one of the best options right now IMO.

BTW: Saw a test from the S1H done by The DP Journey and he noted that shooting in 6K then downrezzing to a 4K timeline reduced more noise than shooting in 4K from the full-width 6K sensor. It wasn't night and day difference, but it was noticeable. FWIW.