Juank

I agree. And I primarily take photos and have an A7riv with 63MP. Sure those MP are nice to have and come in handy for cropping or shooting birds - but 90% of the time they are not strictly necessary. As for printing - the largest print I have in my house is 210cm x 210cm and that print was created from an 8MP photo!!

No, Lensbaby’s are not naff. The problem is too many people don’t understand their purpose. 
They are all about isolating the subject in different ways. They have a steep learning curve, but for the right use cases, the results can be spectacular. And no, you can’t replicate what they do in post. 
My favourite ones are the Sweet 35 and Sweet 50, plus the Sol45. I also love the Omni Filter Kit, which again, so many people dismiss as an Instagram gimmick, but when you actually use it, you realise it’s not. It’s very clever actually. 
These are not the type of lenses you keep on your body and do an entire shoot with. I use them for specific shots where the aesthetic will contribute to the story. 
I would try before you but too, they aren’t for everyone. 
For actual character lenses, check out Iron Glass Adapters or search for modified Helios 44-2 on eBay. The Mir 1B 37mm. Trioplan 100m. Vivitar 28mm. Helios 85mm. 
There’s also lenses from Lomography and new ones from Dulens. 

One large format, coming right up... 8x10 is only available in anamorphic cinemascope sir, there's no demand for any others.

 

The Sony PRO Support person I have been working with, replied back that he had to ship back his A7SIII.  He is getting his production model in the next week'ish before the bulk starts shipping.  He is going to do another zoom with me once he gets it.  Currently all of Sony PRO Support is working from home, so they are not driving into a common place where all the gear they normally have access to.  So they request specific hardware based on the customers they work on.  There's no data set yet on when they return, so for now, until he gets his unit, he has not way to verify where those settings are and if they are in there.
I did however, find a small blurb listing in the final production document he shared about a shadow setting (I assume the highlight would be there next to it).  I'm beginning to wonder if Brandon confused a photography setting with video?  He is the first to tell you that he is not technical, like the opposite of Gerald Undone, lol (he's modest though, he knows some technical, just not deep)
"Use Creative Look to create moods in camera"
A selection of new Creative Looks makes it easy to create interesting moods for stills and movies right in the camera. 10 Creative Looks are provided as presets that can be used without modification or customized by the user, based on the currently selected camera mode.
The [FL] preset, for example, has clear contrast and an interesting blend of subdued but impressive colors. The [IN] preset has a soft, matte look. The presets provide a wide range of variations with different combinations of color, color depth, brightness, contrast, sharpness, and more.
Eight customizable parameters including contrast, saturation, shadow and others can be adjusted while viewing the resulting image via the monitor or viewfinder. Customized Creative Looks can be stored as Custom Looks for later recall and use.
So, maybe Brandon customized this Custom Look with those shadow and highlights adjustments.  My understanding is that these creative looks are only for stills and don't apply to movies, but I could be mistaken.
The other part of your question to do with firmware update to the A7III to add this, will depend.  If my above guess is right, that wouldn't help you if you want those adjustments for picture profiles (video).  Will update this once I hear back from support (may be 7 to 10 more days).

Will be interesting to see how this compares with the new RF Canon Cine cameras, it needs to have the colour science of the FX9 rather than the A7s3 to really stand a chance imo

Nokishita spotted a new Fuji camera that has just been certified. 
Fuji Rumors don't say a lot about it as they tell people to wait a bit before giving us some bits of information about it. It seems to have the same wireless communication module that the upper Fuji model like the X-Pro 3.
The announcement day should be on October 16th. 
Is it possible to see an X-H2 announcement out of the blue? 
 

Dang, I just noticed the "Max Rec. Bitrate" on XAVC S-I 4K is 1,200 Mbps 😮    
Notice how they support V90 or faster for that.  What is weird to me, is that sure if you multiply out the 299 MB/s (Mega Bytes/sec) rating of the Sony Tough G cards you get 299 MB/s x 8 bits/1MB or 2,392 Mbps (Mega Bits/sec), so clearly those Tough G cards are capable of such speeds. 
HOWEVER, the whole point of a V rating is to identify the max sustained write speed of the card and V90 is 90MB/s sustained write or 90MB/s x 8 bits/1MB = 720 Mbps, which is supposedly the max sustained bitrate from a V90 card.  So not, sure if Sony has a typo here or if their TOUGH G cards are more like V150 cards which is the rating that would be needed to sustain writes at 1,200Mbps

So the official lists have been finalized on the production model that will start being sent to PRO Support in a week and other pre-release places.  Mostly for reference if you need it, but I found the movie recording option one to be well laid out with everything I needed in one chart.
Getting excited to get mine.  Fingers crossed, but I had my paid invoice literally in the first 10 seconds on pre-order and was the first to fill out the "prioritized shipping consideration" from Sony PRO Support.  It has been a long wait for this camera release, hope it proves to be worth it.
 
FULL Specifications (which is currently missing from Sony's page for the A7SIII):

 
GREAT Single place for all movie recording options, depth, framerate, codec, bitrate, memory card req.:

 
Breakdown all of the controls, dials, covers, holes, jacks, etc:

So many work wonders on it, I have been writing stuff down and keeping track of what's good.
Would still be great if Fuji put a full frame crop mode in there for 4K as well.

They probably have a deal with RED. “We’ll give you an RF license if we can use internal RAW.” Or something. 

The R5 was primed to be near perfect - on paper it had everything people wanted for a reasonable price and then Canon went and throttled it.
So instead they offer this, “a proper video camera” with essentially the same form factor but smaller sensor, no ibis, no viewfinder, and looks like no flip screen?
So you’re paying $2,000 more for what? Built in NDs and the permission to use the camera without it locking down due to “overheating”?
I’m curious what about this C70 is better than what the R5 should have been?

You are wise to make switching very seriously, as it is a huge cost on many fronts (lenses, getting that second nature back with the new platform, different workflows, different software/drivers, etc, etc.   I was about 3 months away from switching, because for my video needs, I required 10bit color in a small body size.  My a9 meets most of my photography needs, and a7R3 the rest.   I'm heavily invested in GM glass (24, 16-35, 24-70, 85, 100-400) and some additional choice primes that I would hate to be without the Sony 90mm macro f/2.8 and Sony/Zeiss 55 f/1.8.  
But on my radar was the S1H, X-T4, and R5 was in the running (until it was clear that camera is not going to be a work horse).  If I could bring a Sony FX9 to the places I shoot, then I would have just gone with one of their FS or FX cameras.  Now with my commercial video and corporate work kicking up, I can justify an FX9 level camera now (just still couldn't bring it where my passion projects are shot).  That a7SIII may end up being my solution for both professional work and passion projects, so for me I don't have to think about switching any more.
It is no small decision to switch, so hopefully the X-H2 is everything you need.  From what I have seen Fuji doing with video lately, they will likely hit that one out of the park.  You may be looking at having S1H level video with decent tracking based AF.
I wish you good luck!

I have zero doubt it is going to be 10-bit 4:2:2 as even the $2500 R6 has such codec. The pricing however does appear a tad steep for an entry level cine cam although Canon C line has never been cheap..

The form factor and model number would suggest a price point and segment under the C200, which surely has a mark 2 coming soon. 
 
This is basically the super long awaited C100 mk3.

Why no ibis?

I've just published a utility that allows for the automation of camera functions on newer Canon cameras like the R5/R6. It can be used to automate the thermal tests. Here's my thread on Dpreview with all the details:
https://www.dpreview.com/forums/post/64307212

After all the drama about the R5 I've surmised some things:
The "R" line is more of a toy for video than anything else. Time and time again we've seen the company push users to dedicated (and expensive) video solutions. Beggining with Canon's 5DM2 we lived through different models with some kind of video crippling: lower resolution, noisy mic inputs, and a hard recording limit. Despite all this, people bought a Canon DSLR for reliabilty and lens selection. Lens selection was adressed quickly for RF users with good and expensive glass. However, they are losing their "trustworthyness". The R5 wil NEVER replace the tank-like 5D. Never, not 5 or 10 years from now. The damage is done. Was it Canon's true intention to replace the 5D with the R5 by way of an "umbrella effect"? I'm having doubts. No manager worth his salt would have released this fiasco product. Especially not a Japanese one working at Canon. Not one that damn well knows the brand represents (boring) reliabilty. Maybe the "R" line is more of a "moonshot product". Aim high. Fail fast. Ride the mirroless wave, but always differenciate between the photo and cinema lines.

Since you can't download version 1.0, it's not possible to downgrade. Once 1.2 arrives, we will know if downgrade (to 1.1) is still possible. But I guess they can always block it if they really want to. Biggest danger is if they ever disable or protect the UART port on the camera. If they do, there is no peaking inside.

@Trek of Joy I was not aware of Brandon before so thanks for the heads up.
Very impressed. I have never been much of  Sony fan before but this unit and the lens options available are ticking just about every box except...
Price
I’d prefer 20 megapixies 
I’d prefer a tilt screen
None of the above are deal-breakers however.
Otherwise that XH2 had better be damn good and available by end of March 2021 otherwise for only the 3rd time in my 20 year professional career, I will be switching. 

Unlike those folks that switch 3 times in a year.
And then actually admit it in a specially made YouTube video...

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That is the CSV data, so have at it 😉

Oh Yes, I forgot someone all right, Andrew Reid, how could I, thanks Andrew!!

My R5 survived the 1 hour and 45 minute 8K IPB SD FAT32 recording test! Peaking at 62C exif from the end of the 3rd run to the end of the 6th run. Will the FW update allow us to run 8K IPB for more or less than 100 minutes at a time? I will present the exif temps shortly and send the data to Horshack.

Hope they dont sprinkle in a little more cripple