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I have ran with the S5 + VA for a long time. The only real benefit of BRAW is file size and playback speed. You will get no additional benefits in DR or "motion cadence"

Meanwhile, far from handing out cease and desist notices, Nikon are absolutely thrilled with a 3rd party releasing lenses for their system. Hopefully this might see Canon reverse their policy? Nah, me neither.

So I've been using a bmpcc 4k for nearly 4 months now, and while I love the image from it, the braw codec, and the UI, it definitely has some limitations as a camera with a 5 year old sensor and lacks things I've missed from the GH5 and G9 like IBIS and the ergonomics (I'm not a fan of the P4K body/ergonomics). With the new S5 cameras being released, the used prices of the original have already gone down to tempting prices, so I've been thinking about getting the original S5 and using it with the BM Video Assist 12G. I figured that could be sort of the best of both worlds between mirrorless and cameras the p4k: ibis, braw, prores, bm touch screen UI, less processed/sharpened looking image, an XLR audio interface, options to use SSDs or SD cards, high quality monitor, false color. I was actually thinking maybe the Video Assist would be a worthy investment because I can always use it with different cameras if I decide to switch to something else later. It's almost like a cine cam brain but without being limited to one sensor or lens mount, you can basically use any camera (though not all offer raw, you could still record prores). It turns the S5 into a FF 6K braw cine camera/audio interface it ibis for around $2K. The only tradeoff is rigging and powering a separate device. I was hoping to hear of the user experience from anyone who has used this setup, or if there are caveats I'n not aware of, etc.

What are the thougts? New camera, or new firmware... or both?

Ok, I really love the image coming from the C500 MKII. Forum members stated that the Log profiles on the Canon Hybrids are not up to the quality of the C300 MK2. Regardless the sometimes mushy codec of the C300II in low light, i really love how the camera responds in grading. C500 MKII is a dream to work with in color grading. So how doe the R5,6,8 full frame cameras compare to that when it comes to the pracitcalities of color grading? @FHDcrew Highly deserved! 🙂

I’m not disputing that the P6K may have better highlight rolloff. I have both the 6K Pro and the FX30 but haven’t done any side by side tests. I do wonder how accurate comparing two cameras can be when using a lut.

People from the marketing departments of these companies must read these threads and start furiously pleasuring themselves.

Another thought if weather sealing and top-notch IBIS in a fairly compact ILC body is important are the Olympus/OMDS E-M5 iii and OM-5. Both have PDAF and basically the same video quality (up to DCI4k@24p & UHD4k@25/30p) plus mic inputs. Essentially the E-M5 iii is most of an E-M1 ii and the OM-5 is most of an E-M1 iii in smaller & lighter bodies. You lose the dual card slots, the headphone jack and the large battery (and Log video on the E-M5 iii). Never owned either of them, but I do own the E-M1 ii & iii - the video C-AF is definitely more flexible and better behaved on the E-M1 iii and you get auto-iso capability in manual exposure video. That also has adjustable movie IBIS (3 levels) but I don't know if that has carried over to the OM-5 (the user guide for it doesn't go into that level of detail).

14bit readout on X-H2s absolutely does not offer any tangible benefits. The sensor design cannot take adavantage of higher bit-depth readout as the extra bits are really only there to quantise noise.