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Funny enough, I went to go buy a Fuji GFX from Oren the DP recently. He used the GFX100s on the film in preproduction and to document some BTS while they were filming at all the locations around the world. Really nice guy. I've gone back and read through the comments in this thread. Kind of dated now that things have slowed down on the FX3 news but as I've heard it, the FX3 was just the smallest and lightest package to rig up minimally and get good low light and raw out to the Ninja. Even though an FX6 is not much bigger, the way they were traveling and shooting, the FX3 was the tool they wanted. I know for me as a travel doc shooter that every bit of size and weight shaved off the kit makes a huge difference. Also, we all now how much easier it is to shoot in scenarios where a small camera keeps people at ease and creates opportunities to steal shots and go un-noticed. Oren said that they were filming in a lot of locations in Asia where the locals were in the background and people just thought they were dumb tourists shooting Tim Tok reels. He said they wouldn't have been able to do a lot of stuff they did with even a slightly bigger setup. Passed on the camera BTW, I need the GFX100ii for the better video specs even though this would have been a great conversation piece LOL.

For me when you get to post and you start messing with the files you realize why larger productions opt for an Alexa/RED. We have options now like the Raptor that only weigh 4 pounds and can be powered off a small v mount battery. I would say the Raptor dynamic range is very similar to the S35 Alexas. What it delivers over them is that it holds the dynamic range in the shadows. At 800 iso the Raptor is much cleaner than an Alexa mini, but with much less highlight retention. You can boost it to 2000 iso maybe even 3200 iso and still get a nice image. The Raptor pictured below could be rigged even smaller (smaller monitor, smaller lens, no top handle). There isn't much you can do to get an Alexa smaller though. Even the mini is 8 pounds with just the body and viewfinder and is also a powerhog. The Alexa 35 is even larger. I did a feature a couple weeks ago on the Raptor. As convenient as it is to use I think we would have been better off with an FX3. The crew was so small that any convenience is a big deal. This was our rig, I traded size for battery life. All this to say I really do notice a difference shooting with Alexa/RED But after putting the files to a REC709 colorspace and adding a lot of contrast which is what I usually end up doing, the results between that and a mirrorless can definately be hard to tell if it was shot resonably well. The truth is you can sometimes shoot things better with a mirrorless. It saves you time, which then gives you more time to fine tune the things that actually matter (lighting, composition, etc...)

I am not shooting blockbusters but I did use the FX6 on a feature earlier this year. After getting a chance to color it I think I will use it on most smaller productions going forward unless something else is requested. I might prefer a C70 over the FX6, but I do like the FX6 form factor better and the fact that is has SDI and XLR. I definately prefer the FX6 to the FX3 because the internal codec is better and I prefer not to shoot RAW. I do like having the FX30 for a dedicated gimbal cam, it is easier to rig than the FX6 if you are going for a very minimal setup. Color was all done in Filmbox.

Where? Can you post a link, please? :- )

Love the EF 40mm f2.8 pancake. It lives on my R5C for basic run n gun and gimbal stuff.

Yes, that's pretty ridiculous. Reminds me of Peter Mckinnon in his review of the R5 when the overheating light came on in the middle of his review.....he explained it away saying of course it's going to get hot shooting 8K footage....it was his ONLY mention of overheating well before the R5 showed its true colors and there is no way that's the only time it overheated on him during his review of the camera. I have never watched one of his videos since.

DPR are in the business of writing advertising copy now and had been going in that direction for a long, long time. Rarely do they have a bad word to say about anything.

I remember those videos. He really led the early movement for minimal camera setups at the time. Very inspiring to me and my travel kits over the years. I think about those old videos and also Kenny Ty and his early Canon T2i stuff on Vimeo whenever I get too fixated on camera specs or have late night GAS...

Rebel moon was also shot with 5 and 6 figure lenses, had a $166 million budget, and was graded by professional Hollywood colorists......the R5II's footage would be just as different under the same situation. Not saying different cameras don't look different and obviously a Red 8K camera is built for a very different target customer, but just trying to figure out your point here.