Django

For one man band docu/short film i'd also consider C100 DPAF/Mk2. 4K S35 sensor that records in FHD, ND filters, Dual Pixel AF, XLRs, all-day battery, EF or EF-S lenses..

A7III is cheaper than Z6 & EOS R. Their entry-level lens options are also more affordable. And overheating isn't much of an issue in their third generation bodies. The 100mbps codec is a bit long in the tooth, color science an acquired taste, overall ergonomics and EVF/LCD aren't fantastic. If you want most solid AF, SOOC IQ maybe also consider the new EOS RP. It's by far the cheapest FF option. 4K has a 1.6x APS-C crop which will give you more manageable DoF since that appeared to be one of your requirements.

Advice is a little all over the place. People here tend to obsess over camera bodies but my first question would be what lenses do you own? If you are going to start over from scratch, take a closer look at the lens system offered by each option. Nikon Z only have 3 native lenses at the moment. Also if you wanna shoot log you have to go external (at which point AF becomes unreliable). If you are going FF mirrorless and need IBIS, i'd recommend A7III. Plenty of native lens options, great AF, internal log. It's a quite good all-rounder. Otherwise in APS-C land: XH1 seems to tick all your boxes. The battery life is its weakest link though.

Panasonic has:

Actually, the latest Canonrumors article starts off with: We’re told to expect an “exciting” new cinema camera, possible ahead of NAB in April. You are right though, I don't see Canon placing a better 4K codec than the C200 inside a C100 mk3. Even 10-bit HD is a stretch. Not the Canon way. 10-bit will be external only.

Agreed but Sony also need to update their FS5 who can still only do 8-bit 420 4K at 100mbs max! However, i doubt they will roll-out a mk3 so quickly (hasn't even been a year since mk2).

Here is my wishlist.. Canon: The 8K C300 mk3 is already basically announced: - The C100 mk2 is in dire need of an upgrade. a C100mk3 with 10-bit 4K 422 to SD (no CFAST raw) and pro res RAW out for $5-6K would do a killing in the cine cam market. - Offer them in RF versions too.. Sony: - FS5/7 mk3 with new sensors, latest (A6400) gen AF & 10-bit XEVC codecs. Fuji : - A retro "digital bolex" cine cam which could be a mix design wise of: & - also add an MK cine prime lens trinity. Nikon: - Same as above (I'd really like to see smaller cine/video cams with built-in IBIS, battery/recorder options inside the pistol grip & flip out screen on the side):

Color Science is rather subjective and also relative imo to what you are shooting/look you are going for. I like Nikon CS better for landscape & fine arts. Canon more for portraits. Shoot in RAW/Log and you can match footage most of the time anyways. However accurate WB & exposure/metering is much more scientific and it does help when the camera does it correctly (unless you are using WB cards / light meters and doing everything manual all the time). Highlight roll off, noise reduction & digital sharpening can also be critical in ruining shots.

Sony are probably in the best position to offer an E-ND in hopefully A7S3. They would do such a killing. Part of me still really wants an FS5 for the Auto-ND feature & raw HFS. I feel like that camera might sort of become a hidden treasure as its value starts to plummet in the affordable range.

Oh yeah don't get me wrong I never claimed Canon was the popular choice for video these days.. it is clear from this forum alone that people have shifted their interests towards Panasonic, Sony, Samsung.. and more recently Fuji & Nikon. If anything Canon seems to always disappoint the video community. I understand why, however as an actual user (one of the few perhaps around here) I try and give out my perspective as to why I've chosen to stick with them. In a nutshell, I guess it could be summed up to the overall ecosystem, the reliability, the ergonomics & the mojo from certain exotic lenses combined with their color science. A fair comparison I think could be Apple (vs Android/PC). A lot of the criticism is similar as well: overpriced, old tech, limited closed system etc.. But in actual use, sum feels greater than parts and that's all i'm really trying to say at those obsessing over charts & specs. One thing is for sure, the competition in the FF mirrorless market is pretty fierce now and it's only going to be beneficial to the consumer. It's no coincidence Sony announced their Dual Pixel-like AF improvements for A73/A9 or that Nikon just unveiled the details of their 12-bit RAW output (I'm hoping they take it a step further and add it internally, now that would really put the pressure on Sony/Pany/Canon).

FWIW i made decent coin doing pro work using XT2. I was able to bring that camera in parts of the world were anything more conspicuous might have gotten me in trouble. An often underrated aspect of these Fuji's is most people take them for retro film cameras! The only thing that's given me cold feet about XT3 is all these build quality issues. Really hope they get back to the Sendai manufacturing plant for XH2 etc..

Well actually Canon in their latest Clog color science are doing exactly that: mimecking ARRI Alexa. They're not trying to re-invent the wheel. If Sony were to wise-up, they'd include their Venice color science in their Alpha cameras. Panasonic should do VariCam. Oh but wait, those companies don't protect their cine lines right? Only Canon does.. Again Fuji woke up to that with Eterna film simulation. Nikon offering RAW... definitely a step in the right direction.

Well we are on EOS HD, aren't we? ? Don't take my word for it either.. here is what Andrew had to say about EOS R IQ: Fantastic 4K image quality from a larger sensor than a GH5S. That sounds like an appealing camera, doesn’t it? Throw in the same cinematic mojo in 4K as the classic 1D C Canon colour science – it is VERY film like. Still the best out of the box The codec is actually surprisingly decent – ALL-I is pretty beefy (very high bitrates) and cinematic on this camera. The 4K isn’t over-sharpened – pixel peep it and you’ll think it’s too soft (viewed in normal way, the image is naturally detailed) __________________________________________ Those are the same exact reasons why IMO Canon has some of the most cinematic mojo in the hybrid camera game. That's not to say you can't get cinematic IQ out of other cameras obviously . Fuji are on their way now that they are doing high bitrate 10-bit ALL-I DCI 2K/4K F-LOG internally. And Fuji has never even made a cine cam... same for Nikon if they don't screw up their RAW output. so screw the hollywood establishment. BTW I'm not trying to be a Canon overlord. I got mad love for Fuji & Nikon ( I much prefer them to Canon as far as company philosophy etc)

XT2 is probably the best hybrid camera deal around. Especially since it got the 120fps FHD & internal F-Log update. XH1's have also gone down a lot, and with IBIS + Eterna they are solid affordable options as well.

Yet i dunno why we are suddenly referencing cinema cameras or the entire history of film when clearly the subject comparison are hybrid mirrorless cameras of a sub $2500 range. Canons 1:1 sampling, Clogs super low sharpening, high bitrate ALL-I codecs etc.. all help towards that elusive filmic look IMO. That's not to say Z6 can't get there, especially if that RAW output does indeed bypass all the image processing, internal sharpening etc.. But as it currently stands, the supersampled & over-sharpened IQ doesn't output the most filmic imagery IMO. it doesn't help either you need a recorder just to get past baked picture profiles.

..yeah and the most popular NFL beverage is.... MILLER LIGHT! ..wait i was responding to Robert Collins's claim that "[Canon] certainly dont come close to being competitive from a stills perspective." nobody ever mentioned broadcast TV cameras or NFL Films (who traditionally shot on 16mm film) cameras. It is just as silly to claim Canon isn't being competitive on the high-end every time Canon under-delivers on the low-end. Especially from a stills perspective. Furthermore, the 1DX2 is used (and dominates) a lot more pro segments than just sports photography. It's also a beast for video, unlike the D5 or even A9 (which can't do 4K60p). I believe I already made all those points above, so thanks for not taking out of context or singling out responses to specific attacks..

I can guarantee you the pros that invest in a 1DX2 DGAF about DXO sensor ranking. A7R2 is a high MP landscape camera. Apple & oranges. Canon's strength imo is in their top glass, ecosystem, ergonomics, color science, reliability etc. They develop everything in-house which means a slower camera refresh rate than the competition (who all buy their sensors from sony and outsource various parts). But 1DX2 is still the only FF camera that shoots DCI 4K60p (albeit at APS-H) and was the first hybrid to do no crop FF FHD 120fps (beating Sony to the punch). Even if the Pro R model were to recycle 1DX2 sensor/specs it would still be a pretty solid release even for 2019 standards. Canon however have heavily hinted towards a new sensor (as well as confirmed IBIS) so I expect the pro model to well surpass 1DX2.. EOS R / RP were clearly rushed and had to recycle 5D4/6D2 sensor tech. I expect Pro R model out by 2020 alongside 1DX3 just in time for Tokyo Olympics.

...1DX2? RIO 2016: Pyeongchang 2018: Superbowl 2019:

You can shoot with your EF-S lenses on EOS RP in 4K 24p. The crop is 1.6x which equates to Canon's APS-C standard meaning full coverage of your lenses. DPAF/CLog aside, EOS RP is actually a better 4K camera than EOS R / 5D4 thanks to the reduced crop (and I imagine RS). There are plenty of irritating things about EOS RP, but crop factor isn't really one of them imo (especially if you compare to M50's whopping 2.56x 4K crop). EOS RP is basically a decent FF stills, nice Super35 4K video hybrid with a YT/Vlog FHD mode. Kinda an odd mix, but not really that bad for $1300.

yeah... externally.. and then the AF goes haywire.

Yeah this seems kinda pointless whereas I'd pick up a 4K Ninja Star in a heartbeat. With so many cameras outputting 10-bit now it makes more sense than ever. Definitely a gap in the market for that.

Agreed. Z6 footage to me looks exactly like A73 but with Nikon color science. No surprise since they basically share the same sensor. It has this kind of video look compared to Canon imo. And I'm not saying this as a Canon fanboy. I love Nikon, was with them from FM2 until D750. But what kills me most on Z6/7 is no internal log & the broken AF when shooting log external. I mean people dog Canon for not putting 4K DPAF inside a $1300 camera but Nikon gets away with broken AF when shooting log on their premium cams? All this external stuff is cool but I need a cam to do what I need it to do internally first, external comes second.

I don't know much about landscape photography.. but logic would dictate a high MP camera, without an AA filter & max amount of DR would be ideal. Which is why I assume D810/D850/A7RIII & MF seem to be the popular choices. Canon really only has the 5DSR (+50MP & no AA filter) but the DR on that sensor is old tech. 1DX2 kinda sounds like an odd choice for landscape tbh but what do i know.. Personally.. I shoot people (mostly) which is why Canon CS/Skintones & fast lenses with mojo is my priority.

Canon have also confirmed IBIS is on the way so you can add that to the Pro body specs. Also here is what Canon had to say yesterday about the upcoming Pro body: DE: There's one more question to which I think I probably already know the answer. Do we know anything at all about when the pro EOS R body will arrive? Will it be in 2019 or 2020, or you can't even say which? (...) Canon: We know there's a lot of customers and there's strong demand for a pro body. We're aware of that. But at the same time, the expectations in terms of performance are really high as well, so we need time to make sure that we get everything right in the body. WB: Mmm. That's very smart. DE: Well I think the pro body will demand advances at the sensor level for very fast AF maybe. Sensors take a long time to design and bring to market. Canon: Yes. You know well. <laughter> https://www.imaging-resource.com/news/2019/02/13/juicy-tidbits-on-canon-eos-rp-interview-q-and-a The fact they say "we need time" makes me think later than sooner ETA but it does sound like a new (pro) sensor is being developed for it.. Reading between the lines my guess is this sensor will not be recycled from previous tech this time but will be based on the future 1DX3. Personally, I'm hoping for that elusive global shutter sensor Canon patented a while back. Yeah wishful thinking I know..

My point is that you get 25fps in PAL but not 24fps in NTSC. Rather odd. Zone crippling?