Juank

funny you mention that.  I JUST finished testing the Leeming LUT's with S-Log3, S-Log2, and Standard Creative Look.  In each case, I recorded internally in XAVC S-I 4:2:2 10bit and externally at 10bit ProRes HQ.  I did one test with S-Log3 RAW out to ProRes RAW HQ.  I exposed using Paul Leeming's latest recommendation of ETTR -1 from the already published numbers, so S-Log3 ETTR 94+, S-Log2 ETTR 106+, and Standard ETTR 99+.
Something very odd happened in Premiere when using the RAW footage (using the latest Apple ProRes RAW drivers) and the S-Log3 Leeming LUT.  In the Ninja V, the 16bit RAW from the A7SIII looked AMAZING (and was using the S-Log3 Leeming LUT for viewing).  The internal footage came out the best of the bunch of above as far as dynamic range and color depth, but the RAW ended up being VERY over exposed.
Now, I am sure it was just my inexperience working with RAW.  Maybe there is something else I am supposed to do in Premiere and applying the corrective Leeming LUT made it worse.  But considering the image looked so perfect on the Ninja V using the Leeming LUT as a monitoring LUT, and exposing exactly per instructions, I have to think it is something in how I am bringing it into my computer and/or Premiere?
Any way, here is my results (I am starting a separate post with full details on the testing conditions and such, this is just a quick share)  BTW, I also did some noise tests with lens cap and black velvet covering the lens to see the noise floor at 1/50, f/1.4, ISO 640 in the above 3 profiles
In the photos below, the top is the external ProRes (one RAW HQ and the last 2 HQ) results and lower is internal XAVC S-I 4:2:2 10bit
S-Log3 (top external ProRes RAW HQ, bottom internal XAVC S-I)

 
S-Log2 (top external ProRes HQ, bottom internal XAVC S-I)

 
Standard (top external ProRes HQ, bottom internal XAVC S-I)

Hey @Oliver Daniel, yes I have the XLR-K3M and have reported on it's functioning in some detail with the A7SIII.  Good news is that is really does give you 4 channels of digital audio at 24bits/48khz as digital straight into media file internal recording (as LPCM 24bit/48khz 4ch).  Bad news is, when using HDMI whether RAW or not, you are restricted to only 2 channels, though they do let you choose which pair of 2.  Kind of sucks considering the Ninja V can handle 12 channels of audio.  So maybe this will be fixed in a firmware release.
Other topic may be using it with a cage and a top handle (even with the 12" MI cable relocator).  My take on that is, when I will be shooting 4 channels of 24bit audio, I will not be off tripod or motion controller and therefore don't need the top handle and will just remove (probably come up with a lanyard to hang it close out of the way).  So really that is not an issue.  Possible issue even without the top handle on is if your cage is too much higher than the top of the MI shoe AND you want to use the 12" MI cable relocator (comes with the it).  That relocator cable, protrudes forward a good half inch plus a thick cable that leads forward.  This too is likely not a big deal, depending on how your cage works and adjustments available.  PLUS, if you just want to install the XLR-K3M directly into the MI, then there is no issue there either, as it doesn't protrude forward right close the shoe.
Hope that helps, I think that was most of the topics so far.
Photos are my lightweight setup for frequent repositioned locked in shots.  I don't have my cage yet, Kondor Blue should be shipping in mid October.  In this picture I have all 4 channels of audio used.  Channel 1 boomed (out of frame) via XLR to MKH-416, Channel 2 onboard XLR mic that came with it, Channel 3 and 4, is 2 sets of Rode Wirelss Go mic's lined up such that I can monitor them (for battery and signal strength).  Battery is FxLion NANO TWO which P Tap's to my Ninja V and USB-C PD charging my A7SIII (which also has USB-C PD charging and you can charge faster than it can use the Z100 battery finally).  Lens is 16-35GM with Tilta matte box.  I'm experimenting with a "poor mans" EVF, aka 5" Loupe attached to my Ninja V.

No need for ignorant bigotry.
 
The notion that camera people got work in the 1980s by owning cameras couldn't be further from the truth.  "Hiring for gear" didn't happen in a big way until digital cameras appeared, especially the over-hyped ones -- a lot of newbie kids got work from owning an early RED or Alexa.  To this day, clueless producers still demand RED.
 
Back in 1980's (and prior), the camera gear was almost always rented if it was a 16mm or 35mm shoot.  Sure, there were a few who owned a Bolex or a CP-16 or 16S, or even an NPR with decent glass, but it was not common.  Owning such a camera had little bearing on getting work, as the folks who originated productions back then were usually savvy pros who understood the value of hiring someone who actually knew what they were doing.  In addition, camera rentals were a standard line-item in the budget.
 
Of course, there was also video production, and Ikegami and Sony were the most sought-after brands by camera people in that decade.  Likewise, not too many individuals owned hi-end video cameras, although a small production company might have one or two.
 
Today, any idiot who talks a good game can get a digital camera and an NLE and succeed by making passable videos.  However, 99% of the digital shooters today couldn't reliably load a 100' daylight spool.

More first impressions...

- The 4k100fps is excellent. To have this feature in 10bit, in 1.1x full frame, in a camera this small is fantastic. Makes the EVA1’s downsampled 2k100fps look like mush. 

- The extended ISO at 100 in SLOG3 certainly limits the DR, certainly in the highlights. I wouldn’t recommend it, only if you are desperate. 

- Active Stabilisation works a treat. Tried a “gimbal shot” and did a fair job with stabilisation. 

- Footage doesn’t look overly sharp with a ProMist 1/4. Recommended. As the image itself is really very clinical. 

- Colour is definitely better. Don’t care what the naysayers say. Don’t know how good we can get it yet. 

- But, the skin definitely has a tinge of yellow in SLOG3. Dialling it out is fairly easy. Bit annoying but not a huge issue. 

- The 4k 10bit files in XAVC-S aren’t playing back on my Mac too well. Will try again as FCPX may have needed a reboot. Maybe not. 

- XAVC-I seems the tiniest tiniest tiniest bit sharper. You can barely tell though. 

- The colours with Gamma Assist On looks like classic Sony zombie look on LCD. I wouldn’t use the standard Rec709 LUT ever on SLOG3 in post. 

- I definitely need to play with Ninja V. Screen is too small to really get into the image. 
 
This early experience is just me filming cats, trees, kids, babies... whatever I can see. I’ll be putting it in the deep end soon. 
I’m impressed so far but I think the Canon C70 reveal hurt it’s thunder. The crafty buggers released the camera that I once described as my perfect camera. Read my mind. I’m suing. 

Got mine Saturday. Agree about the EVF, its incredible. The larger grip compared to the a7III is really nice, still wish it was about 2cm taller so my pinky doesn't wrap under and a 1cm or so further away from the lens mount - its pretty tight with fat lenses. Touch tracking is amazing, it sticks to everything. 4k120p in something this small also nuts. And you can use v90 SD cards for just about everything, as opposed to something like the R5 which needs the CFexpress cards. Haven't tinkered with raw/Ninja yet either. There's so much to this camera. So far no regrets.
Cheers
Chris

Hit that nail for sure. I felt that way with Touch AF since the 70D. 
I don’t know.... there is something to be said about those eureka moments that comes with setting it up (WB, ISO, Shutter, Aperture and yes manual focus, flags, reflectors and lights) - framing and composing - getting that perfect B-roll... sometimes takes patience and luck. But, when you do get it right... it’s like you did that.... not the camera... the camera just captured what you did.
 
If you leave it up to the camera.... feels like you don’t care anymore. Just my thoughts, but I understand for those that want AF like wedding guys. In my opinion.... charge enough for the gig to have multiple cameras (and operators) and angles... and if all fails then fake it. Missed the shot where the groom kisses the bride? Take them out later and ask them to do a mock kiss the bride, in the garden, under the twilight sun or something ... stitch it all together in post... 

My friend has an A7s3. Played with it a little bit yesterday. 
First impressions:
- the viewfinder's FOV is huge. Almost like rea life with added information on screen. Amazing.  Much bigger than that of my s1's. 
- build quality feels solid, but boring. Soulless as Sony is often being accused for.  The S1(H) and even the S5 feel much more pleasant to hold and use. The way the buttons feel. The placement. Etc. 
Same goes for the menu system. It looks like a DOS text game from the eighties. 
Footage i cannot comment on. But having the option to shoot full frame 60 fps 422 is very nice.  I am a bit jealous of that since my Panny's can only do that with a crop. 
From the other hand, that s35 mode with no quality loss also comes in handy sometimes. And i would miss that option on the a7s3 as it can only do that in 1080p.
 

I also took ownership of the A7SIII last week. A few minor inconveniences but for the most part a solid camera. Here's a few things I have found on the negative side of things:
No Clear Image Zoom in 120p, all other frame rates it works. No animal eye detect in video mode, only in stills. Human eye detect does work in video and stills mode. In video mode, tracking only works by using touch on the display to activate. No way to assign a button to start tracking when using the viewfinder. Strange and frustrating if you plan to use the EVF instead of the display. Another note, at least on my 3-year old iMac, 4k 422 10-bit is hard to edit @ 120p in either XAVC S or XAVC HS while 420 10-bit edits fine with both of those codecs using DaVinci Resolve. I ran some tests using 422 10-bit and 420 10-bit and cannot tell them apart, even when applying heavy, excessive grading. I could use All-I but will probably stick with XAVC HS 420 10-bit for what I do.
The EVF is really amazing.
I am waiting for a CF Express type A card to test 240fps HD and high-end All-I 120fps 4k using S&Q.

Got the A7SIII as wanted a small body that could do 4k120 10bit with high calibre AF tracking for gimbal work, and more.
Coming from the EVA1 and GH5. 
No footage yet to show. Haven’t used it on a job yet but I’ve took it for a casual spin in the park.
Is the hype real? Not sure yet. Need more time. 
Some observations: 
1. The body is very very light. The buttons are nice to press. The screen is a little thin. The menu button is in the wrong place. The grip is far better than before. It’s much bigger. 
2. The EVF is insane. Never seen an EVF that clear and sharp, ever. 
3. Menu’s make sense, finally. Woo woo. 
4. AF tracking is great. Feels like cheating. I’m not sure how I feel about it as part of the craft though. Feels less rewarding, if that makes sense? Lovely on a gimbal though.
5. Working on a screen this small makes me feel disjointed from the scene. Much less clarity than the EVF. Good I’ve got the Ninja V to test then! 
6. Dynamic range is impressive. Very nice roll off. 
7. There’s a “Shockless” WB. When you change it, it transitions smoothly while recording. Same with ISO and shutter speed. Nice!
8. How am I using ISO 100 in Slog3? Thought this was BANNED. 
8. Rolling shutter looks gone. Ran off. Away.  Thank the Lord. 
9. Battery life - hmmm. Not Panasonic standards. 
10. Tamron 70-180 seemed a bit drunk with close distance AF. 
11. Image looks quite clinical. Used ProMist 1/4 - not judged it yet. Seems better. Will decide later. 
12. Why is the skin tone in FCPX yellow looking when the skin is on the line in the vector scope? Not that the skin tones are bad (they are good off the line),  just doesn’t make sense. Maybe I’m blind. 
13. Colour is better. I’m not sure how much better yet. Definitely an improvement. 

I need to get this thing on a proper shoot. Got a triple music video shoot in Turkey coming up so I’m going to throw it in the deep end on that one. 
Overall, I’m impressed so far but I can’t help feel a slight bit of disappointment when Canon announced the C70, which is the camera I described some years back as the one I would love to have. Now it exists. Funny world. 
 

It's the same sensor. The magic is a dual gain output, like Arri. But not the same; Canon's advantage is in the shadows while Arri's is in the highlights. So you should still protect the highlights w/ the C300iii or C70 

Moving away from the laboured topic of Codecs.  I am interested in a few things in relation to the C70.
Does the camera offer punch in focus during recording?
Does the ef speeedbooster adaptor impede AF in any way.
What sort of lenses are there for RF to start off with and are there any crop given its a S35 sensor.  Any S35 RF lenses out there or just fullframe.  
I'm more familiar with Panasonic lenses than Canon; its been ages since I've seriously looked at one, though the R5 and R6 came close before disappointment again reared its head.

To be honest, when I say RAW, I am just as much referring to ProRes or any codec that is easier to edit with than H264 and H265.  As I said before, these are delivery codecs not editing codecs.  Whilst I'd not argue that most here don't need RAW, many would benefit from a codec that edited easier whilst keeping file size to a respectable level.   So my wish is less RAW and more an editable codec other than H264 and H265.

I think just the fact that the baked in profiles on the Canon looks so damn good, is a huge selling point. No fuss image.  You're getting the image from the 11 thousand dollar C300 Mk3 sensor for around half the price in a small form factor.
I do wish it had an EVF and full sized XLR. There are way to work around those, but you gotta wonder if the C100 or C300 would sell as well as it did with no EVF. The answer is most likely no. 

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
https://en.wikipedia.org/wiki/Cineon
Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

I really only have one question and that is why did they name it after a Volvo?
A used Volvo C70 is also cheaper and less good at video, but the Canon C70 is easier to park.

There are several recent trends that make this difficult to assess. Past experience may not be a reliable indicator.
Historically most use of RAW video has been proprietary formats which were expensive and complicated in both acquisition and post. By contrast both Blackmagic's BRAW and ProRes RAW are cheap to acquire and easy to handle in post. However they are both fairly recent developments, especially the rapidly-growing inexpensive availability of ProRes RAW via HDMI from various mirrorless cameras. If a given technology has only been widely available for 1-2 years, you won't immediately see great penetration in any segment of the video production community. There is institutional inertia and lag.
However, long before BRAW and ProRes RAW, we had regular ProRes acquisition, either internally or via external recorders. Lots of shops have used ProRes acquisition because it avoids time-consuming transcoding and gives good quality in post. BRAW or ProRes RAW are no more complex or difficult to use than ProRes. This implies in the future, those RAW formats may grow and become somewhat more widely used, even in lower end productions.
Conflicting with this is the more widespread recent availability of good-quality internal 10-bit 4:2:2 codecs on mirrorless cameras. I recently did a color correction test comparing 12-bit ProRes RAW from a Sony FS5  via Atomos Inferno to 10-bit 4:2:2 All-Intra from an A7SIII, and even when doing aggressive HSL masking, the A7SIII internal codec looked really good.
So the idea is not accurate that the C70 is somehow debilitated because of not shipping with RAW capability on day 1. OTOH Sony will also face this same issue when the FX6 is shortly released. If it doesn't at least have ProRes RAW via HDMI to Atomos, that will be a perceptual problem because the A7SIII and S1H have it. It's also not just about RAW -- regular ProRes is widely used, e.g. various cameras inc'l Blackmagic record this internally or with an inexpensive external recorder.  The S1, S1H and A7SIII can record regular 10-bit 4:2:2 ProRes to a Ninja V, the BMPCC4k can record that internally or via USB-C to a Samsung T5, etc. 
With a good quality 10-bit internal codec you may have less need for either RAW or ProRes acquisition. OTOH I believe some camera mfgs have an internal perceptual problem which is reflected externally in their products and marketing. E.g, I recently asked a senior Sony marketing guy what is the strategy for getting regular ProRes from the FX9. His response was why would I want that, why not use the internal codecs. There is some kind of disconnect, worsened by the new mirrorless cameras. Maybe the C70 lack of RAW is another manifestation. This general issue is discussed in the FX9 review starting at 06:25. While about the FX9 specifically, in broader terms the same issue (to varying degrees) affects the C70 and other cameras: 
 

This is all anecdotal but in my experience the Pocket 4K is EVERYWHERE in the low budget circuit, with its entry price of 1400 dollars and great image.

$5500 for a Canon cine camera isn't high. Yes, you're paying the Canon tax, and yes there are cameras out there with better specs and for less, but there is a large group of folks that won't leave Canon and this is an incredibly enticing camera to get people to enter their cine lineup that haven't already. 

I was using a 6 year old analogy to explain the current attitude to shooting RAW today... sorry if that was confusing... 🙄
And low/mid budget are often using external recorders...  to circumvent the internal codec.  
Actually I came across a small video shoot in my home town of Reading.  They were using Pocket 6Ks....  and shooting RAW, so not all low/mid budget shooters are avoiding it.

You're over generalising consumers.  Many here on this forum were looking at the R5, Professionals included and those same people will look at the C70.  I am one of them.  I would argue that 8K is a feature more for a hybrid as Photographers will use it for short bursts to get stills.  Features like the upcoming RAWlite upgrade is however less an R5 feature and more what I would expect on the C70 and it makes no sense for a hybrid to have it and a dedicated video camera not to.  I don't care if its a low budget, mid budget or high budget, its laughable to even defend a company that offers Video RAW on a hybrid that is crippled by overheating, but passes on it on a dedicated cinema camera.  
This lottery of specs that Canon seems to dip in and out of for their cameras is perhaps the most frustrating aspect of their company.  C200 gets RAW but not a 10 bit codec.  Buy a C300 if you want both or the R5, except that overheats, so people say, if you want long recordings, you should buy a video camera, except when you do, you're not getting the same features the R5 has.  

Don't forget raw, 6K, EVF, weather sealing, and the ability to toggle between Full-frame and APS-C at the push of a button rather than needing to swap out an adapter...overall I think the S1H speaks to different needs so it can still effectively compete with both the c70 and a7s III. In fact the only other camera that can offer all of the above features is Panasonic's own S5 (not going to count the R5 because it's such a mess...) 
The one extra thing I think Panasonic should have done to make the S1H a true "video-first" hybrid would be to replace the mechanical shutter with an ND filter. Hopefully enough people are asking for that and they'll deliver for the S1H mark II. Unlike Canon and Sony, Panasonic seems to listen to user feedback!
Also there was a wild rumor some time ago that Panasonic was developing an "S1V" which would basically be a Sony A7S III-alike with a 12mp sensor and 4K 120fps. What is interesting though is that this rumor preceded any leaks of the a7S III specs, so now I really wonder if it may have had some substance... But on the other hand, Panasonic might be happy enough with their resolution advantage for now. 

6 years ago many would say they neither needed or wanted 4K, or 10 bit...  if we keep to that attitude of what is, nothing would change or improve in the Industry at all.  Why do Photographers make such good use of RAW and Videographers are stuck shooting H264.  If Videographers need and want H264 and H265, why do they transcode or use proxys.....? 
A Professional Cinema camera should look to have at least one codec that wasn't a deliverable codec.  H264 and H265 are what you use to deliver video files to YouTube.  Its not ideal for editing, whatever spin is given on it. 

R5 8k RAW video? Marketing. It worked a treat. 
Also, bringing the Canon name back onto major motion picture sets. 8K RAW crash cam? Great press for Canon. 
BRAW is incredible technology and more people will adapt it in time. However, most shoots in this segment will ask for ProRes or the nearest thing (XAVC-I on the FS7 / FX9).
RAW would be a “nice to have” on the C70, just like it is with the A7SIII. I agree with that. 
I have the A7SIII in my hands now and I’m wondering if I’ve spent my money incorrectly. 

So explain the purpose of the R5 having RAW video capture???  Do hybrid shooters need it more than the examples you give??   I've shot Promo, Music Videos and events on BRAW and have benefitted from the smooth editing and extra freedom it gives.   
Look I like the C70.  I may well buy one.  But its not negative to wish for a feature I would value and which can be found in a cheaper Photo camera.  
Maybe everyone here loves H264 and H265 so much, they're happy with these codecs.  Except they're not.  They're transcoding it half the time or limiting grades so as not to bog down their computers.