Laurier

If you get a a7siii, shoot on vintage or not too sharp lenses, and get the luts from https://www.joelfamularo.com/colour-a7s3  (or use the official SLOG type A lut from sony as a free alternative), it will be as cinematic as it can be. 

Modern lenses have way too much contrast, and cinema cameras tend to have stronger low pass filters than still cameras (the ones on RED cameras are extremely strong for exemple), the cinematic feel is all about softness and contrast in the shadow.

I had the original 4.6k ( so with a Dual Gain Fairchild sensor) and a a7rii at the same time few years ago, the a7rii actually had more dynamic in the highlight in slog2. 
Of course the codecs on the 4.6k were a lot more solid, but nowadays with 10 bits 4.2.2 in most cameras, something like a a7siii do clearly better than a ursa mini pro.
Out of the camera, the images from Blackmagic are more pleasing because of the colour science , but purely in term of data quality Sony sensors are doing much better.
If you know what you are doing in post you can make very pleasing images out of Sony cameras, the problem with Sony is that their official LUT are just crap overall ( the most usable one is the typeA IMO), and most of the profiles have way to much contrast making the images look very harsh. 
The real value in an Alexa for me is that you can put whatever lens on it, shoot log C, just slap the official lut and it look great, you pay more for the camera, but you could technically pay less in post.

I had the original 4.6k ( so with a Dual Gain Fairchild sensor) and a a7rii at the same time few years ago, the a7rii actually had more dynamic in the highlight in slog2. 
Of course the codecs on the 4.6k were a lot more solid, but nowadays with 10 bits 4.2.2 in most cameras, something like a a7siii do clearly better than a ursa mini pro.
Out of the camera, the images from Blackmagic are more pleasing because of the colour science , but purely in term of data quality Sony sensors are doing much better.
If you know what you are doing in post you can make very pleasing images out of Sony cameras, the problem with Sony is that their official LUT are just crap overall ( the most usable one is the typeA IMO), and most of the profiles have way to much contrast making the images look very harsh. 
The real value in an Alexa for me is that you can put whatever lens on it, shoot log C, just slap the official lut and it look great, you pay more for the camera, but you could technically pay less in post.

I went a7siii + a7rii for photos ( and B-cam if necessary), the only thing missing thing on the a7siii is internal NDs, but then I got two variable NDs that live on the lenses I use the most, so that not really an issue.
I also got a couple of NanLite PavoTube , the form factor is great and they can run on internal batteries.
I m very happy that the all my gear can fit in a backpack + 1 large tripod bag.
 
If you are going to do a lot of weddings, low light is going to be important , very often you won t be able to control the lighting.

I m considering getting a ninja V  for the a7siii as well,
Could you share a small ProRes Raw clip of a challenging condition ? like shooting/someone or something in front of a window, I would like to see how much you can recover in the highlight, if there is a benefit compared to internal recording.
Cheers. 

I m considering getting a ninja V  for the a7siii as well,
Could you share a small ProRes Raw clip of a challenging condition ? like shooting/someone or something in front of a window, I would like to see how much you can recover in the highlight, if there is a benefit compared to internal recording.
Cheers. 

I used a S1h for a project, the only advantage would be the IBS for me. The 6k image is not as good as the 4k image and the 60fps crop is just annoying as it s force you to change lenses to get coverage.
The S1H is seriously large for an hybrid. In the end I found it make little sense to use it over a BMPCC 6k.

Braw was fantastic when I was using it with my G2, but for the A7siii I will probably record internally and transcode to DNxHR ( the form factor is why I m making the switch ) .
I did a few projects with a A7iii shooting HLG and it was very correct in post, so hopefully with the 10 bits 4.2.2 + high bitrate we will be able to correct colour balances and exposure disparities without damaging the images too much. 

You can have the Cinetone colours with Sony official lut when using Slog-3 Sgammut 3.
S-cinetone curve + Gammut baked in camera actually have less DR than Slog3 on the FX9

I actually just got something similar for my Sony kit, DEO-Tech OWL Canon EF Lens to Sony E-mount Drop-In Filter Adapter , Kipon does one too with AF but it s more expensive.

I am not a Sony user, but I don't know what are the expectation for people. I mean this camera is better technically than any DSLR or mirrorless camera in term of specs for video. it's 12 megapixel will provide good 4k which is more than enough for 99.9% of shooting. It also permits such a camera to actually work and not overheat. With FF 10 bit and 422 internal until 120 fps, great DR to exceptional lowlight and autofocus, + it seems it has better ergonomics with flip screen and menu. I can't understand how anyone can be disappointing unless its out of budget for some. As a Nikon z6 user I am not interested in Sony's , I already have great color and ergonomics and supreme image quality. If the z6s had the spec like that or just 10 bit log internal with 60 fps 4k I would be in heaven. For me the as a hybrid shooter the 24 megapixel is more important, so I would not even mind a 1 to 5 minutes 120 fps 4k because who shoots 120 fps 4k for 30 minutes... Just derushing that is like 2.5 hours of 24p!!!

I used a S1h for a project, the only advantage would be the IBS for me. The 6k image is not as good as the 4k image and the 60fps crop is just annoying as it s force you to change lenses to get coverage.
The S1H is seriously large for an hybrid. In the end I found it make little sense to use it over a BMPCC 6k.

It s hard for me to understand why someone who need to record something for more than 30min would need a hybrid camera to start with, I mean that what C100/Fs5 are for and have much better ergonomics for interview/ event coverage.( especially regarding audio recording)
They are cheaper as well and have plug and play recording formats.
For me the advantage of a good hybrids are to be discreet and offer some help for run and gun situations ( stabilisation, good DR, descent codecs), and easy to carry around.
I shoot mostly MV and fashion related work ( did some interviews and video portraits as well as small commercials ), I on average the camera run for 2 to 3 minutes per take.
Keeping the camera recording non stop is plain stupid and end up being more expensive once you start editing.
 

It s hard for me to understand why someone who need to record something for more than 30min would need a hybrid camera to start with, I mean that what C100/Fs5 are for and have much better ergonomics for interview/ event coverage.( especially regarding audio recording)
They are cheaper as well and have plug and play recording formats.
For me the advantage of a good hybrids are to be discreet and offer some help for run and gun situations ( stabilisation, good DR, descent codecs), and easy to carry around.
I shoot mostly MV and fashion related work ( did some interviews and video portraits as well as small commercials ), I on average the camera run for 2 to 3 minutes per take.
Keeping the camera recording non stop is plain stupid and end up being more expensive once you start editing.
 

It s hard for me to understand why someone who need to record something for more than 30min would need a hybrid camera to start with, I mean that what C100/Fs5 are for and have much better ergonomics for interview/ event coverage.( especially regarding audio recording)
They are cheaper as well and have plug and play recording formats.
For me the advantage of a good hybrids are to be discreet and offer some help for run and gun situations ( stabilisation, good DR, descent codecs), and easy to carry around.
I shoot mostly MV and fashion related work ( did some interviews and video portraits as well as small commercials ), I on average the camera run for 2 to 3 minutes per take.
Keeping the camera recording non stop is plain stupid and end up being more expensive once you start editing.
 

I think 120fps is internal in 10 bits 4.2.2, If canon can manage 120fps 4k raw internal that possible.
I think on the leaked pictures its connected to a recorder just for monitoring.
If the rumours are correct we are getting something better than a Venice or a Fx9 in a much more compact package for less money, that quite mind blowing for me.
If they deliver, that would actually be my ideal camera, I loved the images from my G2, but the form factor/weight was really not ideal for me.
 

I think 120fps is internal in 10 bits 4.2.2, If canon can manage 120fps 4k raw internal that possible.
I think on the leaked pictures its connected to a recorder just for monitoring.
If the rumours are correct we are getting something better than a Venice or a Fx9 in a much more compact package for less money, that quite mind blowing for me.
If they deliver, that would actually be my ideal camera, I loved the images from my G2, but the form factor/weight was really not ideal for me.
 

I think 120fps is internal in 10 bits 4.2.2, If canon can manage 120fps 4k raw internal that possible.
I think on the leaked pictures its connected to a recorder just for monitoring.
If the rumours are correct we are getting something better than a Venice or a Fx9 in a much more compact package for less money, that quite mind blowing for me.
If they deliver, that would actually be my ideal camera, I loved the images from my G2, but the form factor/weight was really not ideal for me.
 

I have a a7iii + ninja V as my main video camera setup (and a a7rii for photo )
i got the a7rii when I still had my blackmagic ursa mini 4.6k .
the a7rii in slog 2 had a bit more DR thank the ursa mini in pro res , so I sold the ursa ( mostly because of the form factor and the video autofocus)
The a7iii is a killer camera , I shoot HLG with it because I found Slog 2 to be unusable ( too much chroma noise , even externally) , but in resolve I do a color space transform back to slog3 and use the Venice rec 709 Lut , so you get great colors.
Dynamic range is really not an issue anymore on modern camera , I don t believe that the Alexa is that much better anymore , but it still have a nicer roll off in the highlights when it clip .
 
The roll off is more important than the dynamics range at that point , also realistically Film only have 11 stop , so it s hard to blame mordern cameras over analog for DR.

Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours.
Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect...
Shoot on film, you get several colour cast depending which lab is going to develop .
If the image is striking , no one is complaining about the sky being the wrong shade of blue.
Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.

Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours.
Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect...
Shoot on film, you get several colour cast depending which lab is going to develop .
If the image is striking , no one is complaining about the sky being the wrong shade of blue.
Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.

Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours.
Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect...
Shoot on film, you get several colour cast depending which lab is going to develop .
If the image is striking , no one is complaining about the sky being the wrong shade of blue.
Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.

Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours.
Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect...
Shoot on film, you get several colour cast depending which lab is going to develop .
If the image is striking , no one is complaining about the sky being the wrong shade of blue.
Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.

Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours.
Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect...
Shoot on film, you get several colour cast depending which lab is going to develop .
If the image is striking , no one is complaining about the sky being the wrong shade of blue.
Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.

Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours.
Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect...
Shoot on film, you get several colour cast depending which lab is going to develop .
If the image is striking , no one is complaining about the sky being the wrong shade of blue.
Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.