IronFilm

Thanks for the honest review - it's a pass...

This was my main work camera for two years. I struggled with it. Coming from the C100, I thought that it would be a home run but I found myself missing the C100 a lot. The C100 was easier to handhold, had more reliable DPAF (even though it was center-weighted), and monitoring wasn't as confusing.
I was unimpressed with the H264 and only used CRL, recorded to a Solidpod that I mounted externally. Other C200 shooters have told me that they are okay with the noise levels, but to me the CRL footage was noisier than I was comfortable for client work at ISO 400 or above. After almost every shoot I would run NeatVideo on all of my footage, apply a LUT (unless they wanted CLOG2), and export ProRes files before handing it off to my clients. The resulting footage was really nice, but it took a lot to get there.
The day that I shipped the C200 out, I breathed a sigh of relief. I now have a C70, which addresses all of my problems with the C200.

Btw, the seller of the 5dii mailed me, if i wanted the nifty 50 f1.8 plastic fantastic and a camera bachpack for free. So i got a 5d2, less than 28.000 shutter counts, the 50 1.8 and a backpack for 150 eu. Now looking for cheap cf cards. Love the ergo and look of the camera body.

I think…actually I know, that if I had not already been invested in L Mount when the S5ii came out, I would have gone with a pair of FX30’s with probably the A7iv for primarily stills but occasional hybrid use.
If Lumix (or Leica or Sigma) don’t have something like an S2R available by end of March, in stock, then it’s fairly inevitable for me it will be throwing my lot in 100% with Sony.
Pair of FX30’s and a single A7RV which will allows me to do away with the 70-200 and crop instead because you know, megapixels.
I would rather NOT switch primarily from a cost point of view because buying one single body and selling maybe one lens (the 70-200) if any ‘S2R’ has around 60mp, is a MUCH better option than trading 3 bodies and 7 lenses for a new system!
So we will see.
I think if making a decision from scratch re. a system for my specific needs at any point this year, it would be as above.
Nikon a close second and Fuji third.
Or maybe I’ll just trade the S1H and get another S1R which are uber-cheap on the used market now…
Cheap, but 60mp vs 47mp allows a bit more cropping latitude for my stills work if I want to shift the 70-200 and I’d rather have PDAF even though for stills it’s less of an issue.

Yes, a speedbooster will improve low light performance. I think the argument that the FX3 is better in low light is overblown. It's always nice to have, but 99% of the time you'll never need to film at those higher ISOs. And the FX30 is no lightweight when it comes to low light anyway, especially if you're using fast lenses, which you can buy with the money you save not buying the FX3.

Yeah, if the FX3 had a good crop mode Id probably chose it as a second camera as I do sometimes need a B/C Cam when working with the FX6 and FX9 so having a FF sensor makes sense but while I can’t shoot S35 on FX3 I CAN shoot full frame on FX30 with the Metabones speed booster so to me, the FX30 is the more versatile choice.
Also, when I’m B or C cam-ing to the FX6 or 9 it’s almost always with cine  lenses so the lack of AF with the speed booster is a non issue.  
I’m also a big fan of the over sample the Fx30 sensor does. Looks great and makes the clear image zoom super usable. As an example, I used it today on a small shoot with my Sigma 18-35. 
Clear image zoom gives me an 18-52mm 1.8 internal zoom lens with amazing AF if I need it and an image that rivals many primes. So versatile!

I think whether or not it's the best camera depends on what kind of work you're doing and what your needs are. We're really fortunate to have so many options to choose from, and frankly you can't go wrong with most cameras these days as they're all quite excellent, but some cameras have better strengths than others and it also boils down to preference. 
At one point I was leaning towards going with Sony, but ultimately decided against it. For my work I do a lot of handheld shooting, so Panasonic's IBIS was a big selling point for me. I also prefer Panasonic's colors over Sony's, and find V-log to be better than S-log to grade. I did have to compromise though on things like autofocus (though I still insist its not nearly as bad as people say.) Ultimately that's what ya gotta ask yourself when choosing a camera: what compromises can you live with? 
I think though if you're just doing video, have decided that Sony is the best tool for you and don't need any photo features then the FX3 is the better option, especially given it has received more firmware updates as @ntblowz stated. The FX3 also pairs well with the FX30 in the event you ever need a reasonably priced b-cam. Heck the FX30 is an excellent option as an a-cam and is a bargain. 

If you need anamorphic, dci 4k, cine-ei, timecode, 24p then FX3, if you think you don't need those feature then A7SIII, bear in mind a7siii doesnt have firmware update for years unlike FX3 which have more frequent feature update.
A7SIII is like abandoned child by Sony.

Was/is "one of" my dream lenses. As I'd love to have used it with my Sony PMW-F3 for general doco / R&G / event coverage. 
And compared to what it originally cost, then $1Kis "cheap"(ish). 
But.... the only other cameras you can use it on is the F5/F55. 
Nothing. Else. 
And there will never be another camera you can use it on. The F55 is the end of the road, there will never ever be a better camera you could put that lens on. Ever. 
In the medium term this lens is going to trend down in value to a big fat ZERO. 
So I'd look at this way:
Are you a working professional? Will you have at least 20 working days over the next few years (whatever the working lifespan is of your FZ Mount camera) where you'll get at least $50 of benefit from using this lens? (be it due to working faster/effeciently, or just a more painless day for you, or due to charging a higher rate, or however you define "value) Using 20days times $50 = $1K as the math here, but you could structure it differently, say 50days x $20, or 10days x $100
If you can make the math here work for you, then buy it. 
Otherwise, don't. 
  
No.

Rode is a prosumer company. 

That’s good because I clicked the link to the Sony jobbies and my wallet cleared it’s throat in such a manner, I got the message immediately 😉

Watched a bunch of these ages ago, quite fascinating! But of course very broadcast focused. 
Wish they'd done the same for filmmaking too. 
Of course I checked out the ones on sound: 
  
 
Classic example from Economics. 
High barrier to entry = lowered supply = more relative demand (i.e. easier to sell)
Vs now, which is the opposite!

I really wish they'd make these less tacky/cheap looking and relax on the branding, especially on something labeled "pro." It'd be nice if they were inconspicuous.

Can't wait to hear what @IronFilm thinks about this!

I've done fruit picking for a hot second way back ages ago during a summer break when I was a uni student, you'll need to pay me more than $60/hr to go back to do that again!! (also, "$60/hour" is a bit of a lie... unless you're skilled and very fast at it, then you won't earn that much! While if you can't and you struggle, you could find yourself earning less than minimum wage) 

I had a tip off by a man who should know, that a certain Leica SL3 is coming in March next year, which will be a huge updated based on Panasonic's latest tech, which means we should see an S2H or S1H II whatever it will be called before then, perhaps even this year. The S1 and S1R will get an update too, so not long to wait for some excitement in Panasonic land.
By the way I just noticed that WEX in the UK have an S1H for £1399, which is simply ridiculous.
This was a 4 grand camera when it came out and is Netflix standard!!
It is amazing how the market punishes Panasonic for such a high quality piece of kit.
In fact I felt sorry for it and bought it. Autofocus be damned.
The S2H is sure to have PDAF but will it be an 8K overkill monster and lose some of the low light creaminess that the S1H is well known for? That is the question.

$60 an hour for fruit picker during the lockdown, that was good money 😆
https://www.stuff.co.nz/bay-of-plenty/300551480/60-an-hour-to-pick-fruit-kiwifruit-industry-desperate-for-workers

shocker. overheats in 24p. 🙄
 

Some cameras had even shorter limits, just 20 minutes, or 15 minutes, or even just 10 minutes! 
The first ever HDSLR, the Nikon D90 (and the one I started out with), had a recording limit of just 5 minutes!!! Quite frustrating 
  
Go become a rubbish collector! Least glamorous career 
I really don't like that Software Engineering has become "glamorous". Damn you TikTokers! 

Also no need to buy a new camera every year when your Nikon D7100 DSLR (or Sony a6000 mirorless) from years ago still takes stellar pictures. 
A kiwi company btw! One of my friends founded Serato, I remember going out for drinks with him say 15+ yrs ago, and when we're in a club he'd have a nosy to see what the DJs were using, seeing if they're using Serato or not
He also dabbles in acting a little bit (as he's kinda semi retired now), I worked on a film with him a few years ago. 
  
Curious how many of those books being read are nonfiction, I bet the stats are even more depressing when it comes to people educating themselves from books 

Also no need to buy a new camera every year when your Nikon D7100 DSLR (or Sony a6000 mirorless) from years ago still takes stellar pictures. 
A kiwi company btw! One of my friends founded Serato, I remember going out for drinks with him say 15+ yrs ago, and when we're in a club he'd have a nosy to see what the DJs were using, seeing if they're using Serato or not
He also dabbles in acting a little bit (as he's kinda semi retired now), I worked on a film with him a few years ago. 
  
Curious how many of those books being read are nonfiction, I bet the stats are even more depressing when it comes to people educating themselves from books 

Panasonic (and Sony) both put fans into mirrorless cameras before external fans started to become more and more of a thing. You see, until recently, it seemed as though overheating was becoming a thing of the past. See: why I keep saying it feels like we're going backwards. 
People's purchasing decisions impact all of us. So yeah, I do care that people keep supporting this nonsense. You give these camera companies an inch and they'll take a mile. Only when you hold them accountable and force their hand do they start to improve. You need only look at Canon trying harder after the R5 debacle to see evidence of that.
What we've seen from Sony is that their overheating issues have gotten worse despite showing that they are more than capable of doing what is necessary to prevent it, given they did it before. What we're also seeing is an army of influencers and paid shills doing everything they can to downplay it, to the point that now people not only accept overheating but applaud third party manufacturers for creating a solution for a problem that shouldn't fucking exist in the first place!
Maybe you weren't around back then, but there was a time when everyone loathed the 30 minute record limit imposed on these cameras. EVERYONE celebrated when those limits were removed. It was one of the things EVERYONE could agree on, a rarity! Just a few years later and now people defend cameras that can't even record for 30 minutes before shutting down! "Who records that long anyway?!" It's ridiculous and disheartening. 

Which is also why I think I am pretty safe being in the wedding industry for the next decade until I retire.
It really would require something like a Nexus 6 to replicate what we do!

Met an ‘olde schoole’ DJ at a wedding the other day who mixed the various latest tech in lighting (reactive to the music?) but only spinning vinyl.
AI can’t replace this guy. You’d need a Nexus 6. Or 5 a least…
He’s set up in a tent on the afternoon taking requests (you go through his boxes of discs and pick stuff) and he then mixes it and twiddles knobs and dances along etc…
In the evening, it’s a different location indoors and he’s spent several hours setting up his lighting not behind him as ‘all’ DJ’s do, but throughout the entire room.
If you want to protect your career, then carve a niche that is hard to replicate and basically impossible to do!

All female DJs I follow are super model first and a DJ second 🙂