IronFilm

Looks like DigitalRev TV deleted 100% of their YouTube videos.  RIP the old GH2 and 5D Classic videos I used to watch.
https://www.youtube.com/@DigitalrevTV

And budget for several lighting trucks. 
And budget for a six figure sound package. 
And budget for all the crew, and actors. And feeding them. 
And budget for all the locations. 
  
Yiiiikes, that doco starts out harsh
"There is no reason this shot ever has a boom shadow", the director shouts while pointing an angry finger at the Boom Op. 
Poor guy

Ah, getting say an ARRI ALEXA Classic might be pushing it beyond the reasonable max for it. 
Nobody can really accurately tell apart a Zoom F8 vs a Sound Devices 788T (or a F8n vs a 888) in a double blind test. 
So it's more about the feature set and workflows, you can just handle more with the Sound Devices 8 Series. 
(I wish it was also about reliability too... but I tend to feel the Zoom F8n has the slight edge in reliability over my Sound Devices 833! Although, I am recording to not one, not two, but three media with my 833!)

GH5 III = GH5 II + punsh-in during recording + Pdaf + timecode, for 1099. @IronFilm😊

Here is a comparison between a FX9 and a Red Scarlet by my favorite camera user and tester of the Sony Cinealta F3, who switched to the FS7 and then upgraded to a FX9. He still holds the colour of the F3 in high regard but for client work he needs 4K. He is from Sweden. Not the only cool camera loving Swede doing great presentations on youtube.:) He makes some interesting points, regarding reliability and usuability and gives a sneak peak into image character and besides, I just love the fellow. 😊
 

Yeah it's not bad at all, but still too much when on set. If you are using a Sony FX9 it could be as quick as a lens swap because the you can get adapters that attach the same as a lens. That isn't as secure as a mount that is bolted in though. 

If you aren't using vintage or stills glass it doesn't matter though. 

 

If it pushes you over the edge for hitting the buy button on the C300, lensrentals.com has a pretty sweet BF sale - use code KPRBF2023 for 15% off any used gear.  They have a C300 III for $6,240 in "good" condition ($5,340 after code) - which means it probably won't be the prettiest camera on the block, but probably works fine (and they have some sort of return window if it craps out in the first X days).

For the C70 I planned to trade for, MPB didn't get me a final quote back yet and don't seem to be running any BF deals - so I grabbed a C70 in similar condition from 'em along with the 0.71 focal reducer - just about $4k for both ($3900 + tax).  I don't think MPB do any special extra value for trade-in so I'll just have 'em pay me if that's the case.

Having this morning taken delivery of a used Sony FS7 at an amazing price and in amazing condition, I'm going to throw a spanner in the works and suggest that getting something like that, initially, would give you the opportunity at little cost to find out if you actually enjoy shooting with a cinema style camera. It ticks most, if not all, of your boxes (especially the FS7 II due to the locking mount which would be great for adapting to PL) yet also gives a taste of the differences between hybrid and dedicated ergonomics etc.

I'd give a nod to the Z8/Z9.
It ticks the boxes you need, the ones you might use the option of if you had them and even the ones that you are absolutely uninterested in that, you never know, you might develop a taste for.
Loads of resolution and frame rate options, internal RAW and ProRes, very respectable rolling shutter and, most importantly, the most flexible lens mount around.
I appreciate you don't have any interest in AF but if you develop one (either out of choice or necessity such as going further with longer lens wildlife imagery) then it is unique in offering near native adapted AF performance of F,EF and E mount lenses and via the TechArt adapter it will even do AF on MF lenses with any mount deeper than Leica M.
So if you change direction from your current needs then the camera can change with you.
With regard to your current needs, EF and PL cine lenses are obviously able to be used with the added bonus that, with it being a very shallow mount, the Meike adapters incorporate variable ND filters.
 
It also has the MC-N10 grip which offers full control including of the virtual zoom function which is very effective in turning primes into par focal zooms or just extending the reach of actual zoom lenses.

Although timecode sync is not on your lists of must haves, the Z8/Z9 have internal support for the UltraSync Blue wireless timecode system that is used in your wife's Zoom F6 so, again, the option is there if you do require easy sync at some point in the future.
Is it a true "cinema" camera when its actually a hybrid ?
Well, its only a hybrid if you actually decide to take stills with it so its each to his own use case really.
Naturally, if you do decide to shoot the odd still with it then it rinses every cinema camera out there at that particular task 😀
As a cinema camera, its an 8K internal RAW and ProRes shooting one with PL mount and in built variable ND filter with wireless TC sync, EVF and tilting screen for under $3700 which is pretty compelling.
It is also a lot more discrete which I suspect might be an advantage if you are shooting urban cityscapes etc.
Anyway, its another option to consider amongst the 37432 different ones offered up in this thread.
For my part, the only thing I regret more than not buying a Z8 when I had the chance in June is not buying one in October when I had another chance.
I will definitely rectify that the next time one comes up !
Good luck with your choice, although I think the fact that there are so many viable options offered up in this thread illustrates that there are very few - if any - wrong choices these days in terms of getting great image quality.
And then turn the internet off.

And budget for several lighting trucks. 
And budget for a six figure sound package. 
And budget for all the crew, and actors. And feeding them. 
And budget for all the locations. 
  
Yiiiikes, that doco starts out harsh
"There is no reason this shot ever has a boom shadow", the director shouts while pointing an angry finger at the Boom Op. 
Poor guy

Yeah, who the hell needs 4K 120fps anyway??? Not me

Not at all true, I'll commonly be suggesting mid range to premium grade cameras. Such as FX6 / FX9 / URSA Mini / etc to ALEXA Classic / Varicam LT / etc (when it is appropriate)
The thing though is that there is a much much broader range of camera prices, and the level for "acceptable" reaches down far far lower than for audio.  (such as Unsane and Tangerine, which were shot on an iPhone, yet still used a Sound Mixer with $50K+ worth of audio)
So there is a huge range of pricing with cameras that could be used, while I'm going to bring a pretty much similar audio package to a shoot no matter if it is being filmed on a P4K/FX3/GH6 or FX6/C70/URSA Mini or VENICE/ARRI/Varicam
Prosumer audio recorder will cost about $1K ish, give or take a few hundred. 
Prosumer wireless will cost around $600 ish. 
Professional wireless will cost over $1K per channel for the receivers, and about $1K ish to $3K ish per transmitter
Professional recorders will cost around $5K ish to roughly double that (except for the outlier that is the Aaton Cantar X3, at over $17K)
Professional mics will cost from around $1K ish, to about roughly double that. 
It's a much tight spread in prices than for cameras and lenses. 
 
It's no secret MSM are some of those feeling the most crushed of crushed budgets. 
But anyway, their sound needs have always been low and basic for many instances of basic reporting. Using for instance just a handheld mic, or a hardwired lav. 
As you've typically got one (maybe two) people talking on camera, mere feet away. With low expectations for audio quality. 

With the boom in vlogging and social media it's insane to release a camera without at least a 3.5mm mic jack 
Hmmm... I should check out the Sony ZV-1 if I'm foolish enough to buy another camera in 2024

I wonder if Panasonic would be crazy enough to bring out a GH5 mk3, that is simply identical to the GH5 mk1 / mk2, but with DPAF added! Especially if they could hold the price the same, or even better drop it slightly to fall under the magical US$1K mark. Could be a smash hit then. 
(although, I would dream that they make one more addition to the GH5 mk3: add timecode support! At least like the GH5S has)
The GH7 can get the kitchen sink at it, but let the GH5mk3 carry on all that is great with the GH5, but with PDAF

I wonder if Panasonic would be crazy enough to bring out a GH5 mk3, that is simply identical to the GH5 mk1 / mk2, but with DPAF added! Especially if they could hold the price the same, or even better drop it slightly to fall under the magical US$1K mark. Could be a smash hit then. 
(although, I would dream that they make one more addition to the GH5 mk3: add timecode support! At least like the GH5S has)
The GH7 can get the kitchen sink at it, but let the GH5mk3 carry on all that is great with the GH5, but with PDAF

That's true for 90%+ of cameras released today that are priced over $1K

I cannot say much but give you two dear forum friends a hug in spirit and from my heart. This forum has been a comforting place for me as well. A puny little camera, nobody took serious back then for video, but you image lovers did, was my rock to hold onto in the roughest of my times, a black small GX85, my dearest trusty video mate. I filmed butterflies with it and my parents garden. I will never make fun of anyone filming flowers, except when they do it with a Leica.:)

And budget for several lighting trucks. 
And budget for a six figure sound package. 
And budget for all the crew, and actors. And feeding them. 
And budget for all the locations. 
  
Yiiiikes, that doco starts out harsh
"There is no reason this shot ever has a boom shadow", the director shouts while pointing an angry finger at the Boom Op. 
Poor guy

Plus I hate change...though it is inevitable for some things.
The key to what I do though is making everything as simple as possible and as bulletproof as possible.
The Rode stuff I use is 'prosumer', but in something like 200 (?) jobs, it's earned a place with me.

I was just skimming the news this morning and the verdict was:
Ukraine vs Russia
South vs North Korea
Israel vs Hamas...and maybe others
China vs Taiwan/Japan/US
A straw thatched buffoon vs an old man
The United Kingdom.
YouTube comments
Other assorted fuckwits
Random shit
I think I'm going to go back to doing what I did during Covid and that is stop looking at the news completely. Because it's utterly depressing.

I would still like to see the 2 forum members who were fairly dismissive towards my suggestion their video work or ideally their reels. I’ve seen some stills of Tom’s work and here and he is more than able to produce great images, so I think his opinion is definitely worth reading.
to clarify my suggestion, which imo, I shouldn’t have to do to this extent, my reasoning is simple:
- op was considering an fx9 originally, and i think ironfilm recommended an fx6 at some point.
- We know that the p4k uses a sensor from the same family of sony dual iso options, and that they perform about the same in non raw codecs (and you can easily find that on cined too). 
- braw has a highlight recovery option, which can yield you an extra stop of highlight data, which means its actually better performing than both those (and i can actually speak from experience. Way easier to blow a highlight on an fx6 than a pocket cam). The DR argument is now invalid
- in regards to rolling shutter: from what i’ve read, the p4k performs about the same as the c70 from what ive read. The fx6 performs better, and the rolling shutter on the fx9, which is what op originally considered, performs way worse. so what’s the point of bringing this argument up? 
- what is the point of a bigger sensor if you want more reach and don’t care about super shallow dof on wide angle lenses? Its easier to get those results on mft.
- why are you already thinking about upgrading to different lens mounts? This person might quit within the year? What end result is a potential upgrade going to bring?
 
i dont have any experience with canon cameras. Im sure the c70 is great, but it seems like a waste of money unless you’re a docu DP who already has a bunch of bigger canon cameras and you needed a slightly smaller one as a bcam.

Give a serious thought to the Deity Theos system it's only just came out. It's very affordable, not much more expensive. (especially when you factor in the extra cost factor of buying lavs for the Rode GO)
More range, better design, more features, also is internal recording (for non-Americans, such as yourself). 
https://deitymic.com/products/theos-digital-wireless/ 
https://www.bhphotovideo.com/c/product/1779378-REG/deity_microphones_dtu0253d56_theos_digital_uhf_wireless.html
 

Are you referring to Jedi Master's thread? 
He doesn't need any of the professional features required by productions. 
Just needs a sensor to capture pretty landscapes in a slow paced chill manner on the weekends. 
That's like expecting someone to read an article before commenting on it on Facebook! Totally unrealistic expectations. 
 

Have you considered a C500 MK2 

6k, Internal ND, Great lowlight performance, great latitude and good dynamic range, internal RAW and 10 bit capability. 

Pretty well designed package that works great for building up or building down, good battery life. 

To me IQ/usability wise it would be the C500 MK2 or the RED Monstro. In that price range they are the top performers. With the Monstro you have to deal with 8k but you have tons of compression options. You're getting better dynamic range and color depth over the C500. Only downside is no internal ND's, probably more expensive media (redmags), and power consumption is higher(though not terrible). 

I see some mentions of the S1H. I think it's a great bang for your buck camera. Great battery life, great sensor. They sell used now for incredibly cheap.

Downsides are the HDMI out latency is terrible, slow rolling shutter, no internal 12 bit/RAW, and color isn't the greatest compared to higher end cameras. Again you can get great images out of it and for a hobby camera it would excel. If you are looking for a more high end experience I just don't think that would be it. In terms of value it is incredible though. 

I might also suggest an ARRI Alexa XT, but that might be too far into the too heavy spectrum. It's quite a beast. 

The Pocket 4k has BRAW which means you get 1 stops more in the highlights with highlight recovery in Resolve. The Red Komodo does this internally to get its 12.5 stop rating ( a $6000 "cinema" camera). That makes around 12.6 stops for the Pocket. Also the C70 only gets 12.3 stops in RAW, because it has no NR. Again you can get an additional .5 stops or so out of the Pocket with NR. 

The comparison between a RODE wireless GO and the Pocket 4k makes little sense to me. 

Also the Pocket has held its value pretty well over its entire lifetime. Hardly a waste of money. I still see them making money all the time on different projects.

M43 mount is hardly dead. The GH6 just came out with a brand new dual gain sensor, Z-cam is putting out a new global shutter M43 camera with higher dynamic range. Z-cam didn't likely design that sensor, probably made by Sony, which wouldn't be designing and making M43 sensors if there was no demand. 
But it doesn't really matter. If you aren't shooting for clients the camera you have is irrelevant outside of it giving you a usable image, which almost any camera on the market in the past 5 years does. 

Recommending a cheaper camera is not dissing someone's abilities. Award winning films have been shot on a GH2. The Pocket 4k is very capable. 

Anyways the Pocket 4k wouldn't be my choice in camera. Something like an S1H, FX30 would be as they are more run and gun friendly. My reason for not getting something "high end" for hobby uses is not because I don't want to spend money. It's because such tools are inconvenient and annoying for doing anything non work related. But that's me. Maybe you like to move slowly for your hobby uses an a big ass camera rig works for you.

Even a DSLR for photos is annoying, would rather have the smallest APSC or M43 mirrorless option that I can at least sort of fit in my pocket.