TheRenaissanceMan

for a scene to look really good, actually the lighting needs to be controlled to be within 10 stops. otherwise, the results will be like in this video, even the camera is the legendary 15-stop usable Alexa 35. 

Maturity level 1: specs are everything
Maturity level 2: specs don't matter
Maturity level 3: let's talk about specs in a nuanced way
Let's try and elevate the discussion, shall we?

That's a shot under the sun with a silver reflector on his face, it can't get harsher than that. A Canon or a Sony would show nasty specular highlights on the skin. Same with the other takes, nothing more revealing that a Fresnel and smoke to show what a sensor can do, or clippping the red or the green channel. Have you ever shot with an ALEXA? This is Youtube compression, but it looks promising, so far. Fuji engineers say with flog2 and 10bit Prores they got an extra stop above and below. The past X were under 12 stops. Let's see

Seems like the BMD EVF works on the Canon C400's USB-C output? Or that is what I've read. 
 

It's not a question of quality, but purpose.
Is a car better than a truck?  Is a TV better than a tablet?  Are headphones better than loudspeakers?

You're watching a video with a single person in an otherwise-quiet room.  Unless listening on high-quality speakers/headphones, the differences will be negligible.
Here's a more useful YouTube search for you to be able to understand why a cardioid or supercardioid mic is different from an omnidirectional mic and when you might choose to use one vs the other.
https://www.youtube.com/results?search_query=omnidirectional+microphone+vs+cardioid

...a skintone comparison it sure 'aint!
But if you know what you're looking at then other things can be inferred.

I guess mileage varies depending on how you look at the footage.
What I see in it is:
pretty heavy grade done but footage looks consistent and hues look right, including skin-tones
this indicates that the sensor and profile behave well in the grade and don't get pulled around in unnatural ways - this is a lot less common than you'd imagine and many of the grades I've done end up making different tonal or colour regions of the footage don't look coherent with each other..  
  saturated edges look fine
this is very difficult because doing a strong subtractive saturation operation is very challenging as it stretches tones apart significantly based on their hue.  this is especially difficult on edges where if you have an edge of a coloured object against a neutral object then in the space of a few pixels you go from saturation being low to being high, now this wouldn't normally be a challenge because maybe they're at a similar luma level but after the subtractive saturation operation the saturated pixel is now significantly more saturated but more importantly its also now dramatically darker.  this will ruthlessly reveal compression artefacts on edges, and is the primary reason that I have to go B&W and blur the absolute crap out of any footage I shoot on the cheap action cameras etc for cheap camera challenges
  greens look good
shots like the dog at 0:54 show deep saturated greens in the foliage in the background, which have clearly been significantly altered.  in real life the graduations in greens amongst footage like this are very subtle, and yet the colours in the video look dense and the opposite of stretched low-quality footage, they have a density that is reminiscent of the things that the 5D with ML does very well (but I'm not saying this is at that same level - this video isn't enough to judge that)
anyone who has declared war on yellow-ish greens like I have and tried to grade them back into looking lush (or even just not dead-looking) will know the whole thing exists on a knife edge.  the fact that you're cooling the shadows and warming the highlights (which this grade does quite considerably) also stretches the greens too
  shots look to have usable DR in outside scenes in full-sun on surfaces that would be blindingly-white
  there is an effortlessness to the colours
when you look at film there is an effortless coherence to the whole thing, like it was always going to be this way that it would be silly for it to be any other way - the colours in film look like this was their destiny - you don't question it.  this coherence is incredibly rare for digital and especially smaller sensors when not given enough light, so although the outside sunshine pics are great, it's the inside shots with the deep shadows that show off a coherency into the lower registers of the tonal ranges.  the colours don't cheapen, they don't thin, they don't shift, or become glaring or dull, etc. etc.
Hollywood colourists can work low-level miracles, but will be the first to tell you that if the footage is lacking then there's a limit to what they can do - more would be asking for high-level miracles!  Either this footage is good and the colourist was a super-star, but considering this is a YT video, I'm leaning on it being a good-to-very-good grade on top of very capable footage.
The more I colour grade my own footage, the more I see when I look into the footage of others.

Not a clue.
Seems odd to criticise a video if it doesn't answer every question you ever had about something! 😂😂😂
But, it's ok, comparisons are coming.

🙌
Not 100% but a pair of GH7’s with the 10-25 and 25-50 twins is just about the perfect set up for me, especially compared with my current set up.
First of all, it’s two matched cameras for ergos, batteries etc.
Second, whilst there are comparable zooms in FF at the wider end, there are not at the longer end.
Third, lighter and more portable set up for me.
I don’t actually need all the bells and whistles and it’s the PDAF that swings it for me and why I skipped the GH6, but dabbled with the OM-1.
The ONLY issue I had with the OM-1 was I was not a fan of the video quality, - it’s very purpose for me 😏
A single FF camera with a fast wider ‘indoor’ zoom plus a fast longer zoom for ‘outdoor’ and I’m done. 👾

I'm declaring this a successful launch. Some leaks, but not massive. No one knew about the Arri partnership as far as I know- surprise is always good. No one is crying in their corner because they weren't invited to the "show". I loved the GH6, but I replaced it with a S5ii. The main reason was for photography. Still, I miss all the other cool video features of the GH6 that the S5ii doesn't have, but suspect some will soon come (and better) in a firmware update (like PDAF at 100fps).

Makes it very easy to fit in with established workflows using ARRI cameras. (if that's not your world, then it's much less of a big deal this particular announcement) 

Official certification by ARRI is surprising indeed!
If anything can cause an explosion in seeing Panasonic mirrorless on film sets I work on, it would be THIS! 
Would instantly make the GH7 the #1 choice for crash cam / B Cam / etc, anything that needs very awkward mounting, such as mounting a camera for a shower scene or riding a motorbike or a snorricam. 
 

They pretty clearly didn't- "fx3/a7s3 sensor vs. A7iv sensor" obviously acknowledges the FX3 and A7sIII are the same.

Chivo is a monster, the 0:20 take with the horizon being a breaking wave was beautiful.

Bit I follow the guy on Instagram, he could make a great shot from a Galaxy S3.

I've had my eye on the Sony A1 for a long time. I was hoping Sony would announce the A1 II, so that the prices on it could drop a little. At $6500, it is a bit steep. LongGOP 8K is also not ideal, but the video footage overall is very impressive for a mirrorless full-frame camera. The DR, roll-off, ISO performance, and texture are all amazing. These are video frame stills if you can believe it!
























 

Use an external monitor/EVF, and shut the F3's monitor screen into its body. (but with the screen facing out! Not in)

To answer the question in the article: No, not really. Canon's color space is just more idiot-proof than Sony's. 

Luke Seerveld's Meet the Gaffer series isn't very camera-focused, but it's incredibly educational and features some great work with the GH4 and (recently) GH5.

Hacked cameras are fine if you’re a hobbyist YouTube filmmaker and you like experimenting but on paid sets, things like Sdi, shutter angle, video assist tools, timecode, full hdmi, long battery life, reliability and a big screen definitely helps, especially on long 12hr days.  
 

^^ 
Anyone responsible for paying the crew's wages probably wouldn't choose to shoot a feature on a...
 

Hmmm. My understanding is that a major reason for the almost exclusive use of Arri for serious movie making is the fact that if the camera goes down the Arri network is so good that another will be delivered within hours. I should have thought that kind of protection against downtime would be just as important (if not more) on a low-budget production.

I work on mostly low budget feature films in the 30k realm. They can actually be incredibly profitable if you know what you are doing.