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..and for exactly those reasons (form factor, weight, operation) a C100mkII is a better option than a C300 these days! The C100mkII is absolutely my favorite camera for run and gun video work. I have done literally hundreds of travel and music doc episodes good enough for Greek TV and corporate and others. My previous favorite was, sadly(!yes, it was a Sony, do not judge me!), an EX1, another workhorse of that previous era. If you want a super easy system to shoot most of your "basic" stuff with super fast turn around times and you do not mind the "weak" codec, even now is an excellent option..For extremely fast run and gun the 18-135 was ace, if you had more time one could use the whole EF selection. My ultra fast and portable kit was the 18-135, an 70-200mm 4f and a nifty-fifty used for some interviews. My most enjoyable set up of all time..great times! ..I didn't like the C300 (and C200) ergonomics, but they were also standard on most of my business back then. oh my.. I want one now..

I guess I can see why some people might feel like the C100 is too big, if they've primarily shot with mirrorless cameras, but it is, in my opinion, the perfect size and was very comfortable to hold. I would trade the mirrorless camera ergonomics for that kind of body any day.

OK so once again armchair expertise. You tend to make a lot of strong assumptions and present opinions as facts on subjects you really have zero experience with. Googling photos, watching a video on YT.. then arguing online against people with actual hands-on experience on the subject matter. Its a recurring theme I've noticed.. Again you lumped the C100 & C300 in the same category. Anybody that has used those two cams knows they are day & night in form factor, weight, operation despite them looking similar on internet pictures. As for context, OP uses a Z6 plus an Atomos. Fully rigged that's already bulkier and heavier than a stripped down C100. To use your analogy its more like a sedan.. with a camping trailer attached to its rear! ..and again the C100 has built-in NDs, fan, all day battery life, WFM assist tools etc. even when stripped down. Rigging the equivalent on a large sensor mirrorless will not be smaller or lighter, hence my point withstands.

I was using 3 cameras when I was doing weddings photography, 2 NX1 and an NX500 with a speciality (oddball lens) on it. All these cameras were on me at all times, but never both video AND photo. Still can't comprehend how you do it. I always have a partner/assistant with me, even for the easiest of jobs.. Sometimes we were 3-4 people for video and 2-3 for photography.. An 24-70 as a workhorse was the most used lens usually, 24mm is good for small group photos, and 70mm is an alright focal length for portraits. The oddball lens on the NX500 could be the amazing NX fisheye or the pancake 16mm..the workhorse lens was the 16-50mm (24-75mm equiv) and 2-2.8f. unique lens and always negated the need for the Sigma 18-35, as at those mm (at 32-33mm to be precise) the NX is 2f, with an incredible I.S, both wider and longer. With the other NX I was usually using the amazingly small 45mm 1.8f for more "artistic" portraits. This lens has a ton of character, especially for the silly price.. Just a different way of doing similar things, I guess!

You'll find the shadows do not hold up as well in 8 bit or 10 bit. But if you expose reasonably you'll be fine.

Using color space transform and the ARRI lut gets them to match contrast wise. The color still looks vastly different. I feel they look quite close after adjusting WB/tint around, but my color blind eyes aren't a great judge. I use 100 iso to see my highlights and then push from there between 400-800 to see what I have in the shadows. I used this method on the last feature I did and was happy with the results. 640 iso does looks underexposed after changing the color space. However after boosting the exposure to match both cameras it actually seems similar to the Alexa in terms of noise performance. So in that sense it actually works out. I could have lit it bright and got a cleaner image but I wanted to see both cameras in a dim situation. The Sigma FP could have been cleaner if I bumped it up to 3200 iso but I wanted to see them at the same ISO.

Sure you can rig up any cam, but you've also got to factor in the added cost. An R5C + ND adapter + Tascam is already a whopping 6K€. As a strictly all-in one cine body C100 is a pretty compact (and affordable) considering its a decade old! The R5C, FX3, FX30 are really a new kind of compact hybrid mirrorless camera though. I like FX3/FX30 fairly better concerning form factor as they are more compact, have mounting options, a native top handle and XLR as well as IBIS equipped and decent battery life: VS For all day battery life though you are also going to need a big source of external power for R5C (imo its biggest con) adding on to weight and bulk. And pretty quickly you're in a situation that makes 1DX3 feel light and tiny..

I haven't proven any point other than it is all relative to what camera you are comparing with. You choose to call it "huge" compared to your GH5 or a Gopro. I am indeed saying it is small compared to most cinema cameras but also action sport mirrorless or a rigged up Z6/R6/A7 with external monitor. I'll stay it again, the C100 is small considering it has: built-in NDs, an EVF, large display, fan system, all-day battery, XLRs. It's like the Pocket 6K Pro. The term "pocket" is really relative but makes sense if you compare it to an ARRI.

The c100 is one of my favorite cameras I've ever uses when it came to size and form factor, I just could never justify the price even on the used market. It was just so comfortable in the hands, at least for me. It'd be hard to "go back" to a c100 given all the new features that have come out since, but I think it absolutely would still hold up IQ wise for a lot of work. You probably wouldn't even need to use software like Topaz to upscale it to 4K. Less DSLR style bodies and more C100 style bodies plz.

The R6II has breathing compensation as well.

.. it is really a small camera when stripped. maybe not Komodo small but considering its got NDs, EVF, Display, Fan.. weights about the same as a Z9, R3, S1H etc..

I love the C100. Still a very capable camera. I only sold it because I can't deliver FHD anymore, even 4K downsampled. The 8-bit is also a challenge and now that I'm more into grading I don't think I could go back to 8-bit. But the SOOC IQ still holds up even though it has Canons older CS which may look more dated than the more neutral CS of recent generations. For me personally, C300 mk2 would be the only older model I'd be able to do pro work with but if you're a hobbyist and looking for one of the best FHD cams, the C100mk2 or C300 would probably be near the top of that list. By the way, C100 isn't large at all, C300 has that awkward tall form factor though.

You actually do not have to shoot vertical to get vertical video, most of my content I post on YT and IG and the content fits perfectly on both platforms. I would much rather shoot landscape and have the option of posting a vertical version vs shooting vertical with no ability to post a landscape version. The trick is to set up the aspect ratios in Davinci Resolve, and when you are shooting, frame the content in a way where it will work in both orientations. One of my favorite features of the S5 was the ability to set up aspect ratio guides which I used to frame the social media content within the landscape orientation. This is also why I discovered the bug in the C70 which does not let you set a custom aspect ratio; so far Canon hasn't bothered to do anything about it. I've been shooting this way so long though that I mentally adjust the framing to accommodate both in post. Here is a sample video where it is in landscape: And here is the same video on Instagram: https://www.instagram.com/p/Cdq3QJtlyQs/