TheRenaissanceMan

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.

So in terms of hybrid cameras - and including the BMPCC4K even though it isn't a hybrid camera - is the a7 III still tops when it comes to dynamic range?
Purely dynamic range. Not colors, not ergonomics, not soul, not flame-proof-ness. Just DR.
I've read Sony a7 III with slog 2 has close to 14 stops of DR.
Is the BMPCC4K able to compete / beat it when shooting in RAW? (New BMRAW firmware was just released, BTW).
Will Z6 beat it once it gets ability to shoot in RAW via hdmi out? (I am reluctant to spend $1,000 getting a recorder, battery and SSD card for it).
What's the DR of the Panasonic S1 cameras like? Another site said that it had 12.2 stops when shooting HLG at ISO 400. I think V Log is a paid firmware update coming down the road, right? (Hopefully it won't be dependent upon the US Postal Service for delivery).
ALSO: I thought someone on this forum posted a few months back that the 8-bit codec of the a7 III actually helped increase dynamic range when compared to 10-bit codecs. Was I dreaming? Was I on drugs? Was my mind being controlled by @mercer cat???
(P.S. I know that Sony cameras - much like my wardrobe choices - have many serious flaws. No need to comment on either of those things here.)

In tech I imagine it's also difficult to show a judge that has a limited understanding of the subject matter why these patents are bullshit. 

The pro support is a big factor in these decisions, cameras going down in the field = lost $$$ for company like AP where timeliness is everything.

They obviously are convinced Sony can deliver pro support. In particular if  I were Canon I'd be worried because their pro support has differentiated them for years. Nikon pro support - not soo much.

Beach food shoot. Both with Nikon 24-70

John Brawley has said they are still tweaking the IR filter and it will be a different one on the final camera release
From.dvxuser.com
IR filtering is still being tweaked. My comments wouldn’t mean much because I had a prototype camera that had a different IR filter than what will ship so that’s a bit difficult to draw conclusions from.

I used all internal ND’s on my shoot. There was also a calibration difference with my camera that wasn’t picked up till recently. Most of the RAW files are shot at the default WB of 5600K +10, which is the “standard” BMD daylight default.

BUT

When you start to go into he RAW tab you’ll find it’s really about -500K to -1000K (Less warm) and -5 to -10 tint (less magenta)

I didn’t change these on my initial clips, but I have on these ones...

https://vimeo.com/440479199

Which also by the way show the 8K and 4K modes 🙂

Mieke are making extremely affordable PL lenses as well, which should be released in the near future:
 
For the insanely low price of $539.99!

I wasn't saying you should fix IR in post as a rule--just that this specific instance didn't seem to lose much. 
My experience with Canon has been mostly good, especially in regards to pleasing color.  However, the extended ND settings on the C200 invariably needed an IR cut to decontaminate the shadows. On the 2 commercial projects I've shot with newer Canons, I've run into issues with cycs lit by blue LEDs turning purple. Turns out I'm not the only one--there's a whole topic about it on DVX User (the answer from Canon: "the camera is operating within spec" lmao). And while rather pleasing at first glance, the color isn't what you'd call accurate. It took a ton of secondary work in post to get the company colors dead on without fucking up everything else. 
All I'm really driving at is that every camera (and brand) has its issues to mitigate, be it form factor, color accuracy, IR, codec, sensitivity, etc. In the scheme of things, considering what the 12K offers, remembering to use some IR cut is pretty damn manageable.
 
At least for my kind of work. Ymmv.

That's because there's two ways to handle IR Pollution. Hard IR cut or gentle. Gentle gives you an more accurate color at the expense of needing to use IRND filters.  ARRI uses gentle IR cut and so did RED up until their newer cameras. Blackmagic used gentle IR cut but it's a little too weak so you sometimes may see IR cut without even using ND filters.  Blackmagic is either lazy or for whatever reason they haven't bothered to source a better IR filter. Because blackmagic uses a softer IR cut you end up having to screw on your own which defeats the purpose of using smooth IR cut in the first place. A lot of blackmagic's early camera choices were inferior copies of what ARRI was doing and a few of them have stuck throughout all their cameras.

8K RAW frame grab, shot with animal eye AF.

In the Camera RAW settings in Resolve, you can do the subsampling from 12k to 8k, 4k or even 2k. Is Blackmagic doing Oversampling in the Resolve and in camera it is a different type of math? We may see a quality difference when comparing the two methods (in Camera and in Resolve).
Subsampling to 2k looks to be straight averaging so that should look about the same in camera or in Resolve.
Because it is not an even ratio of RGB pixels when going from 12k to 4k, the subsampling conversion should benefit from doing advanced math to get the most out of the subsampling process as you are turning a 36 pixel 6 x 6 group of pixels in to 4 pixels. There is a lot of data to work with and maybe simple math, if that’s all that is available in camera, won’t be a big difference when going from 12K to 4k in camera vs in Resolve, if the math is different in camera vs in Resolve.
For the 12k to 8k subsampling coversion it is a 2.25 ratio so you are going from 36 to 16 pixels. I would expect to see the most difference between capturing at 12k and subsampling to 8k in Resolve vs subsampling to 8k in camera and creating a 8k BRAW file, if the math is different in camera vs in Resolve.
If the subsampling math is simpler in camera, I expect the 12k to 8k in Resolve subsampling to look better. It is possible that they may look very similar now and eventually look better in Resolve when higher math options are available. Testing and time will tell.
 

Repair/replacement is very different for a $500 camera versus a $10K camera

lol, this clown is going through my post history and downvoting everything. What a cesspool.

You're not wrong, I was just sharing my experience. 

Repair/replacement is very different for a $500 camera versus a $10K camera

It's RAW. You don't lose any information pulling color casts out of shadows. That's the entire point of the format.
Alexa skews green out of the box. Canon has issues with blue-ish grass, inaccurate reds, and blue fringing around bright highlights (depending which matrix you use). RED has had heavily documented color issues since they've been around, including massive IR problems with all their pre-Dragon sensors.
"Perfect color out of the box" is a myth perpetuated by pretentious gearheads; every camera (and many a lens) has quirks that must be managed. Try using the heaviest internal ND settings on a C200 and not seeing IR pollution!
I understand that you were unable to screw an IR filter on some BM cameras in the past, which bit you in post. That's unfortunate; however, the issue is easily managed with skilled workers who do their homework. 

It's RAW. You don't lose any information pulling color casts out of shadows. That's the entire point of the format.
Alexa skews green out of the box. Canon has issues with blue-ish grass, inaccurate reds, and blue fringing around bright highlights (depending which matrix you use). RED has had heavily documented color issues since they've been around, including massive IR problems with all their pre-Dragon sensors.
"Perfect color out of the box" is a myth perpetuated by pretentious gearheads; every camera (and many a lens) has quirks that must be managed. Try using the heaviest internal ND settings on a C200 and not seeing IR pollution!
I understand that you were unable to screw an IR filter on some BM cameras in the past, which bit you in post. That's unfortunate; however, the issue is easily managed with skilled workers who do their homework. 

It's RAW. You don't lose any information pulling color casts out of shadows. That's the entire point of the format.
Alexa skews green out of the box. Canon has issues with blue-ish grass, inaccurate reds, and blue fringing around bright highlights (depending which matrix you use). RED has had heavily documented color issues since they've been around, including massive IR problems with all their pre-Dragon sensors.
"Perfect color out of the box" is a myth perpetuated by pretentious gearheads; every camera (and many a lens) has quirks that must be managed. Try using the heaviest internal ND settings on a C200 and not seeing IR pollution!
I understand that you were unable to screw an IR filter on some BM cameras in the past, which bit you in post. That's unfortunate; however, the issue is easily managed with skilled workers who do their homework. 

Repair/replacement is very different for a $500 camera versus a $10K camera

Blackmagic's IR pollution is not a color science issue and it's not a complicated issue at all. The IR filter they use over the sensor (it is the same one in all models) does not do a strong IR cutoff so that you get more "pure" color. As you add ND filter and use full spectrum IRND ones, in theory you shouldn't get IR pollution.

The reason you get some is IRND are not perfect and the blackmagic IR cut filter is a touch too weak. Also in most scenarios without ND the IR pollution is fine but under strong hot lighting like tungsten, IR can show up even without ND.  Blackmagic is very stubborn on this issue and it's something you have to accept. They won't change.

One other issue is that the speedbooster manufacturers and others have claimed that the glass that blackmagic uses for their IR cut is too thin and creates focusing and Chromatic aberration problems as well. That's why ever blackmagic camera with a speedbooster has always had to have a custom designed one.

A lot of BM users rock IR cut for every shot or even use internal IR cut replacements like the rawlite OLPF.

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.

Is not a YouTuber camera
Is not a documentary camera
Is not a "one man" crew camera
Is not an autofocus camera
Is a CINEMA camera what's else?
 
 

By the way, if you have to say something to the owner of the forum, please tell him to his face, don't be a little girl hiding behind the door, and include @Andrew Reid in the sentence.

my gosh...who threw peanuts to the monkeys?

He/She is angry that the 'RUMOURS' said that BMD would be releasing a camera with AF and IBIS,  and this cinema camera doesn't have those features. 
Despite this, he/she keeps coming back to a thread about something he/she has zero interest to keep he/she's anger boiling.
Makes a lot of sense right?
To add to the confusion, many users of EOSHD and the owner of the site himself says they have every right to be angry because this is a forum for users of small DSLR like cameras and Solo shooters so AF and IBIS should be mandatory .......but then the forum owner continues to post news articles of cameras that don't appeal to his user base and the circe of anger just continues to go round and round....
I love it, it's hilarious!