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in terms of sensor, in the photo world, I think the best sensors are from kodak. fuji super ccd sensor is also very unique. unfortunately, they are not available to the video world. Sony F3 sensor is outstanding, f5 sensor is also very good. but canon c300 sensor is good too, and 5d3ml (c100 mk 2 is little bit lower). so are r1mx epic-x. it is hard for end users to assess sensor quality, as there are other factors kicking in like aa filters, olpf, raw acquire method, etc. I can say that go pro 12 sensor is just at consumer level. you can see that clearly once you try to get good color from it. I suspect Panasonic m43 sensors are also consumer level. Panasonic varicam line cams have excellent sensors. -
I've had good luck making pretty radical changes in white balance in ProRes HQ 422, like from 3200 to 5200. I haven't been able to break ProRes yet, although I'm sure it's possible, but it's a lot more malleable than I expected. I can shoot CDNG raw with my video cameras but usually just shoot ProRes. -
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24p is just a frugal choice. nothing more. in the current era, action packed videos or movies with 24p is just no go if you don't acquire with uncompressed raw. once you pan the camera, even c300 f3 f5 which are considered good cinema or high end doc cams, you see blurred footage. only ml raw give me clear panning. r3d cams are close. 24p with thin codecs is just a joke.
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I'm sorry, I don't want to look like a dick but the explanation of your point clearly hints that to write "there is no medium format look" is pretty inaccurate : ) If you have some format versus another and introduce (exactly) the same variables to couple with, leading to different results, this OBVIOUSLY means the only variable to markedly change it, identifies a whole distinct look.
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