Juank

Its not so much RAW, although RAWlite and BRAW have brought it to the masses; its about having an edit friendly codec.  Its about the ease of editing with what you shoot with without proxy or transcode.  I've shot in BRAW on a SSD drive and edited it directly on a laptop and delivered a video onsite within the hour.  So quick and works well with Resolve.  In comparison, H264 can take longer to edit.  I actually work quicker with BRAW in Resolve than H264 in Premiere.  Thumbnails load quicker, playback smoother so you can preview the finished video without encoding first.  Saves so much time.  
A Cinema camera should offer a professional codec for editing rather than a deliverable one you need to transcode. You say RAW workflow is as time intensive as transcoding H264, no its not.  The flexibility to work with what you have, to alter white balance and ISO so quickly can take the pain of correcting shots that didn't come out just right.  You can apply a LUT you used when filming for quick turnover or spend more time if you need to.
And yes, I have the P4K and soon P6K for that.  Its not unreasonable to ask for a similar workflow from a camera costing more.  
That said, I do like a lot about the camera.  The lack of proper codec is a negative, but for me the only major one.  I can live without the evf.  This camera ticks so many boxes for me; I am very tempted to look to buying one.  Its the camera the R5 should have been. 
With Canon it feels like specs are all over the place.  No consistent pattern across their line with what they offer.   The R5 should have the video recording specs of the C70 and the C70 those of the R5.  Then the R5 wouldn't need an overheating cripple to stop people from using it professionally and the C70 would be video camera of the decade.

Good point. Panasonic aways chose to add a special feature or two, to chase market share and they have provided supreme value for money over the years. Where is the 10bit full frame camera from the other manufacturers at the same price as the S1 for instance? Or anamorphic cameras for under $2K. But people see a Canon badge and go mental. Another crippled very high margin product. The same people who would deride the lack of IBIS or EVF on a cheap mirrorless camera under $1000 seem to give Canon a pass when these are missing at $5500. I do get that it's a cinema camera and image is a big step up from C100. It is by no means a poor camera. I just personally would have found an EVF very useful. I'd also have preferred a full frame sensor. IBIS is another big one.
But yes if you are into crop sensor look with good dynamic range, I am sure the C70 ticks a lot of boxes.

Years ago I saw a post explaining various companies' segmentation strategies, and I think it still holds true today.
Canon have always made cameras that lack one specific major thing that you take for granted on other cameras at the same price point, apart from their very top models. This is why they have the cripple-hammer reputation. There's always ONE thing that's just a disappointment. For the C70, I'd say it's the EVF. For the R5, obviously, it's the recording time limits. 
The one time they neglected to do that was the 5D Mark II and they're still dealing with the unexpected consequences of that internally, I think. 
Panasonic by contrast have always had the reputation of giving you one specific thing that everyone else's camera lacks at a given price point. For DVX100 it was progressive scan. For HVX200 it was solid state recording and HD (of a sort). For the AF100 it was slowmo in HD. It persists to this day - I have a GH5 purely because it offers PROPER anamorphic shooting without costing the same as an Alexa. (I only wish their AF was up to scratch for video). 
Sony's pitch has always been technical advances. But they cannot design a user interface to save their lives, either physical or virtual (menu systems). It's the same with every Sony product I own, from PlayStations to BluRays. Great product technically, bloody awful ergonomics. For example, my Sony Blu-Ray player ignores the eject button if it's on standby. Every other player I've ever owned knows that if I press the button, I want the disk to eject. Now.  Only Sony makes me turn the player on first (thus incurring an interminable boot sequence delay). 
RED's pitch has always been resolution and readout speed, facilitated by the best video codec there is. I still love my original RED Scarlet- in some ways it outperforms my FX9 and I'll probably keep it for decades. The main problem that is they tend to be assholes; the world would be a much better place with licenced REDcode RAW everywhere. 
And Arri's has always been targeting the top end, but I can't afford one so I don't know how they differentiate their cameras. 
The C70 and R5 show me that Canon are still just being Canon. The trick is to figure out where the missing feature is and does it kill your use case?
Cheers, Hywel

It is when a photography camera gets it and in 8K....
Its not so much about heavy grades as giving a codec that plays well in editing suites even after grading.  H264 and H265 are deliverable codecs not editing codec  despite many believing them to be so.  
Its a great camera otherwise let down by a few things.  

But is it really "the best chip"?

Not for a target market which is S35 4K. 
Not for a target market which cares about RS, DR, and other factors more instead. 

That is correct because the handle is right in front of the MI
But seriously, here's the thing, when the heck would you ever have your handle on (run and gun) AND be setup for 4 channels of audio?  One of those silly arguments from people not involved in the actual use case.  When I'm in interview mode, my handle is off, and I put it on when  I shoot B Roll or run and gun.  Shouldering or operating the camera from behind you are more likely going to be using handles from the sides of the cage or proper extended hands in the cases where you might be in that setup and still need 4 channels of audio.

Some more tidbits I checked out tonight, before I head to bed..
ANY output over HDMI restricts you to only 2 audio channels (for those using the XLR-K3M 4 channel, it does do 4 internally, but you are currently restricted to choosing 2 of the 4 to go out HDMI for RAW or regular)  Those Sony G memory cards (UHS-II SD) that Sony sold before they came out with the TOUGH series, do NOT register as V90 cards to the Sony A7SIII unfortunately   Even though they have the same performance of 300MB/s read and 299MB/s write, they apparently can't sustain V90 speeds or something.  This REALLY sucks for me because I had invested several hundred dollars in those cards.  I only have 4 of the new TOUGH G cards and 2 of the TOUGH M cards, so will keep bugging PRO support to figure something out there (either Sony needs to support those very expensive cards or swap them for TOUGH G cards). The LANC option and record option in the Ninja V does not seem to be triggered by the Sony A7SIII.  This is a feature I use all the time on my Ninja V.  When I hit record on my other Alpha camera, it also triggers the recording on the Ninja V at the same time.  Atomos has been having problems with this as they were releasing new versions of their firmware, it would get fixed then broke again. There's a pretty cool audio monitoring feature that actually helps you monitor 4 channels (see the attached photo).  The caveat is to do 4 channels, it combines channels 1 and 3, and 2 and 4. but it does work I was able to record and monitor 4 channels.  All the controls of the levels were done on the XLR-K3M The only way to record proxy's at the same time you are recording to both memory slots and outputting over the HDMI, is with the high priced Express cards.   HOLY CRAP did my Ninja V get hot when recording that RAW output.  It has a really good exhaust fan and heat sync (you will hear the fan in your recording if your mic is not at least 3 or more feet away).  It literally blows hot air out like a tiny space heater.  The A7SIII was very hot to the touch as well.  I have an IR temp gun, once I calibrate it and make sure it is accurate, I will take some measurements of the two. Good  night, will work on some footage tomorrow (or today I guess, lol).

Here's the XLR-K3M running 4 channels into the A7SIII.  This way you inject 24bit/48khz digital signals straight into the media file and have dials and switches of control.  In the A7SIII screen shot you can see the 4 channels levels on the bottom left with a peak marker.  Once the XLR-K3M is plugged in, you can no longer control levels in the camera, it is all controlled on the outside dials of the XLR-K3M.
My typical setup and what I used in this example is a boomed MKH-416 on Channel 1, the XLR mic that came with the XLR-K3M as the on-camera mic (or could be a second boomed mic) as Channel 2, and 2 RODE Wireless Go setups using a splitter that runs one of the lav setups as the left channel (Channel 3) and the other as the right channel (Channel 4).
I verified that I can take the MP4 from the A7SIII with these 4 audio channels into Premiere and see each of the 4 channels and can control each one separately.  For me this is HUGE, because you are basically looking at the FX9 I could not afford (or justify this year) and I needed 4 channels of audio preferably not external, for doing in studio or on location interviews. 

I was pleasantly surprised to see that the A7SIII does PD charging faster than it can use the battery.  Which is why I went with the FXLION NANO TWO V Mount.  As you can see in the output of the NANO TWO, it's pushing 9.3volts and a couple of amps out to the A7S3, it too supports PD charging in and out.
I WAS thinking about putting a dummy Z100 battery in my A7SIII to run off my V Mount, but.... now, I'm leaning towards running it off of USB-C PD.  Between this solution and the previous post with the Atomos Sync Time Code device that allows you to swap batteries while recording; this PD solution between the NANO TWO and the A7SIII would also allow the same since the camera actually would be running on the Z100 battery.  I could be in the middle of recording to both memory cards and outputting RAW, yet swap my V Mount battery with no disruptions to video or audio (the XLR-K3M also runs off the A7SIII through the MI port).  
Of course depending on how much space you have memory wise, you will now run out of space before battery.  It's just comforting to know if you starting recording when lots of space on your sd/ssd, but low on your V Mount, you could swap while recording (mostly useful for events, weddings, interviews, etc).  Obviously movie production or any filming involving shot lists, you could manage a swap of the battery around takes.

I've been using Timecode lately and have gone with the Atomos Atomx Sync on my Ninja V's.  For multi camera that don't have a Ninja V, I use the Atomos UltraSync ONE (then unfortunately have to do audio based timecode on those camera's).  But at least on my main camera's the Sync device is absolutely seamless and your timecode is embedded in your media file as timecode and not audio.  
Was a relief to see that it still works on the A7SIII and the timecode ends up the my NLE 🙂  If you haven't played with wireless TimeCode networks, you should, the technology has gotten a lot better.  One warning though, if you buy into the Atomos solution (which is really the old TCS company that they bought), you pretty much will need to go mostly Atomos.  For me that was fine, as I was building up my timecode solution, but if you already have a bunch invested, you might want to look into interoperability.  But that $149 price tag is really hard to beat on the Sync
(a little known secret is that the Sync device also has a small capacitor/battery in it, that allows you to swap batteries WHILE recording)

Well, I got her earlier today, but it was senior night for my oldest and a big high school football game to attend to.
I will share a photo of my Ninja, receiving a 16bit RAW 4.2K output to it 🙂
One VERY odd thing though is, I was testing 4 channel audio through the Sony XLR-K3M plugged into the hotshoe on the A7SIII.  And it did 4 channel internally just fine, but restricted output over the HDMI down to only 2 channels?  Not sure what is going on there, the Ninja V is capable of like 10 audio channels.
More to come soon 🙂
 

One thing that I am still trying to catch my breath on, is that it can only get about 48 minutes of 12bit ProRes RAW out of a freshly formatted 1TB SSD.  Get your wallets out, if you are looking to do mostly RAW.  I think it may be showing the amount of record time based on 60fps, because the calculations I was seeing put a 1TB 4K/24p recording at around 100 minutes for ProRes RAW and 70 minutes for ProRes RAW HQ.  I will know more once I test..
BTW, I confirmed that the Western Digital Blue SSD 1TB drives, can handle the RAW output from the Sony A7SIII.  And those are only $104 with a decent warranty.  I use only the WD Blue drives on my NAS and my Drobo 5C, so was hoping these would handle the RAW sustained write speeds.  We'll see, I will do more testing, like filling up the drive with a frame that has moving objects in it and see if it starts having problems towards the end of the space.  I mention this drive, because Atomos is terrible at adding new drives and such to their supported drives page.

The grip on the A7SIII is so much more comfy depth wise (though part of my pinky still does hang off the end).  In this picture you can see my the grip extender from my A9 and how much deeper that grip is.  It feels like you have so much better control

I know some people were interested in the reported in camera Highlights and Shadows adjustment in the Standard Creative Look and aren't plan on using SLog-3 or RAW.  For those, you will be pleasantly surprised at the adjustments you can make in camera (and these make a lot more sense than some of the concepts covered in Picture Profiles).  I still recommend trying SLog-3 with this camera. 
Here are the Standard Creative Look settings and the amount of adjustments you can do now.  Defaults are 0 on all of them except Sharpness defaults to 4 and Clarity to 1.
Contrast -9 to +9 Highlights -9 to +9 Shadows -9 to +9 Fade from 0 to +9 Saturation from -9 to +9 Sharpness from 0 to +9  (default is 4) Clarity from 0 to +9   (default is 1)

except an evf...
That z-cam looks good but is still a big lump - suddenly you've got hdmi lead, power to think of (and another lead). This little camera is going to become very unwieldly quickly. 

Guten Tag @Neumann Films 
great to hear that your 12K URSA is on its way. I´m looking forward to the first samples.
What I´ve already seen from BMD and John Brawley looked awesome. I just like the BM Color-Science and BRAW aswell. Back then it was CDNG and ProRes with the BMCC and the original Pocket, ahead of Canon here. Now it is the great Codec in combination with an enormous amout of recording-modes and really high-res formats.

quite insane DR vs C200 and other camera when shooting underexposed shot (like interior with window and expose for the window)
The RAW on C200 cannot help at all.

Canon can go and fuck themselves.

My bank account is empty after EOS R5.

He said "For a very large majority, 12MP is more than enough for photos. " not "everyones"...
I don't think that is inaccurate, as you are not the large majority.  Many will never even print a photo and the few who do, don't print larger than A2, A3..  I actually own a large scale printer and color lab, and am very familiar with dpi and viewing distance, and many of the photo's I print, have an excess of pixels that have to be interpolated down to the dpi being printed, which is usually 240dpi (sweet spot IMHO) to 300 dpi.  
The pro's I print for, usually don't crop much if at all, as the MP size of the image they send me is equal to that of the camera they shoot on.  
I will go out on a week or two solo wilderness backpacking trip, and shoot astro, wildlife, and landscapes; specifically for my calendar or large scale prints.  And yes, in those cases 12MP is not enough.  Thought to prove a point, I will produce a video showing me using the A7SIII for those 3 types of photography.  For landscape, I am pretty sure my 5 shot pano technique in portrait will yield an image that will be printable larger than I can print in my shop.  I'm hopeful the Milky Way Shots will actually be improved thanks to the low light capabilities of that camera.  But, for wildlife, even with my 100-400GM, I'm pretty sure I will miss the A7RIV at that point, as I do heavily crop, usually for more reach.  Versus landscape is about composition, with good composition and multiple shots together I'm sure it will be print worthy.  And versus astro, getting little noise in low light conditions (and nailing focus of course) are key, so again with a good composition there, I expect a print worthy image as well.  And I also do multi shot pano's for astro.  We'll see though.
But then again, I am mostly going to be using the A7SIII in place of the FX9 I couldn't afford this year, lol.  But I can 100% guarantee, it will also take some really high image quality photo's, and that a large percentage of people would be just fine with 12MP, if they were real with themselves, lol 😉

Also I feel the majority of people are effectively 'married' to whichever brand they choose. They simply dont have the money, time or inclination to switch to another brand. I am a Sony user with a bunch of Sony compatible lenses, flashes and other equipment so really I only get to choose between Sony cameras. No big deal of course although it has been a little frustrating to see Sony fall behind in the video specs - particularly the move to 10 bit. Still they seemed to have made really good choices (for me) with the A7siii and I cant wait to get my hands on the camera....

congrats, same here.  I feel like I've "done the time" with past Sony 8bit color and long gop codecs.  REALLY looking forward to some colors I can push around a little and finally an Intra based codec (even if the "S" variation, I'll take it) as well as seeing 16bit RAW from a Sony.  I really won't need 16bit RAW for the gigs that pay the bills, but for my passion projects (solo wilderness adventures and a couple of Doc's I've written the scripts for), could most definitely take advantage of it. 
We'll see though. 
It is a very great time for photographers and filmmakers, as far as tools available.  Maybe now, people will focus more on "time behind the lens" and improving their skills versus GAS.  I for one really appreciated Sony's A9 and AF/Exposure speed when shooting sports.  In that example, I went from spending a good portion of my brain on exposure settings and nailing focus.  Versus with the A9 and 100-400GM, being able to concentrate most of my attention to tracking and composition.  So these tools can be a good thing, but many times people are putting too much emphasis on the gear over art and creativity.  But even my wife will tell you that I get GAS from time to time, lol

go ahead... tell me how stupid i look in this thumbnail. 
 

A good look at the a7s3 with some ISO tests using various PP's. I'm personally still a fan of the Cine profiles since ETTR is my preferred way of working instead of playing the over exposure game. But looking forward to working with Slog3 too.
Cheers
Chris
 

Even though I'm probably getting this cam (not the first batch though), the resolving power makes me sad 😞
At the end of the day the speed vs the resolution wins in $$$ terms since 90% of people don't care if it's sharp or not and you'll end up watching a video on a phone.
It's just easier to work with and you take a slight hit to IQ that only makes you cry but no one else. The NR is also next level sludge but it "works" so yay?
I'd probably take the Canon image despite it's trash shadow recovery, but dat cripple timer and 30 minute limit... for $4K. It's too hard to work with that camera on regular jobs, so A7SIII it is...
Anyone else getting clients asking for 100mb videos for their streaming software that can't handle anything else?...