Gregormannschaft

Absolutely.  Camera discussions mostly ignore the broader workflow, which is a shame.

In a nutshell, that is what I'm trying to do based on my own unique circumstances. thanks for the feedback!

I was looking for a B-cam to my C200, and didn't like any of the Canon offerings. In the end, I think the S5 footage beat out the C200 raw in a lot of circumstances and was definitely easier to work with in post (the C200 raw needs a lot of noise reduction and has huge file sizes).
In terms of image, I think the S line cameras edge out the Sony and Canon cameras, but it's very close. To be honest, I've been thinking of switching to all Sony as I find myself wishing I had reliable AF on a lot of recent shoots. That's a very expensive switch though so I'm dragging my heels on actually following through.
In the end, as others have said, all this gear talk is pretty useless. You can do pretty much anything with any modern camera. All you're really paying for with upgrading is improving your workflow and easing your shooting experience.

I was looking for a B-cam to my C200, and didn't like any of the Canon offerings. In the end, I think the S5 footage beat out the C200 raw in a lot of circumstances and was definitely easier to work with in post (the C200 raw needs a lot of noise reduction and has huge file sizes).
In terms of image, I think the S line cameras edge out the Sony and Canon cameras, but it's very close. To be honest, I've been thinking of switching to all Sony as I find myself wishing I had reliable AF on a lot of recent shoots. That's a very expensive switch though so I'm dragging my heels on actually following through.
In the end, as others have said, all this gear talk is pretty useless. You can do pretty much anything with any modern camera. All you're really paying for with upgrading is improving your workflow and easing your shooting experience.

I was looking for a B-cam to my C200, and didn't like any of the Canon offerings. In the end, I think the S5 footage beat out the C200 raw in a lot of circumstances and was definitely easier to work with in post (the C200 raw needs a lot of noise reduction and has huge file sizes).
In terms of image, I think the S line cameras edge out the Sony and Canon cameras, but it's very close. To be honest, I've been thinking of switching to all Sony as I find myself wishing I had reliable AF on a lot of recent shoots. That's a very expensive switch though so I'm dragging my heels on actually following through.
In the end, as others have said, all this gear talk is pretty useless. You can do pretty much anything with any modern camera. All you're really paying for with upgrading is improving your workflow and easing your shooting experience.

The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck.
Here are a couple of videos a friend and I shot last year on the S5 and S1:
 

The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck.
Here are a couple of videos a friend and I shot last year on the S5 and S1:
 

The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck.
Here are a couple of videos a friend and I shot last year on the S5 and S1:
 

The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck.
Here are a couple of videos a friend and I shot last year on the S5 and S1:
 

The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck.
Here are a couple of videos a friend and I shot last year on the S5 and S1:
 

The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck.
Here are a couple of videos a friend and I shot last year on the S5 and S1:
 

Yeah, been looking at getting either a Canon or a Sony to add to my collection just for the AF on a gimbal. Need to look in to it more though since there are a lot of boxes checked by the S5 that are un-checked by the R6 or the a7 IV.

I'm more and more pleased with this camera all the time. I recently purchased the 1.5x aivascope anamorphic adapter (amber flare) and, paired with my trusty Helios 44-2, a little black pro mist, and of course that thick V-Log image, this little Easter Weekend run-and-gun lens test I shot last week felt effortlessly cinematic:
(this was even before the big firmware 2.0 update, so now I'm even more excited to try out some of the new anamorphic ibis modes and especially that 6k, 3:2 open-gate/full sensor mode.) 
Also: 12-bit, 5.9k anamorphic Pro Res Raw, anyone?! 🤯
The S1 is going for like $1500 used these days. Absolutely incredible what it's capable of. The best bang-for-buck in the camera world right now 👌🏻 

I'm going to disagree with all the sentiments in this thread and recommend something different.
Go rent an Alexa.
For practical purposes, maybe an Alexa Mini.  Talk to your local rental houses and see if there's a timeframe you can rent one and get a big discount, often rental houses are happy to give you a discount if you're renting it when the camera wouldn't be rented by anyone else so have a chat with them.
Shoot with it a lot.  Shoot as much as you can and in as many situations as you can.  Just get one lens with it then take it out and shoot.   Shoot in the various modes it has, shoot into the sun and away from it.  Shoot indoors.  Shoot high-key and shoot low key. 
Then take the camera back and grade the footage.
I suspect you won't do this.  It's expensive and a cinema camera like an Alexa is a PITA unless you have used one before.  So I'll skip to the end with what I think you'll find.  The footage won't look great.  The footage will remind you of footage from lesser cameras.  You will wonder what happened and if you're processing the footage correctly.  
I have never shot with an Alexa, but I am told by many pros that if you don't know what you're doing, Alexa footage will look just as much like a home video as from almost any other camera.
Cinematic is a word that doesn't even really have any meaning in this context.  It really just means 'of the cinema' and there's probably been enough films shot and shown in cinemas on iPhones that now an iPhone technically qualifies as being 'cinematic'.  Yes, i'm being slightly tongue-in-cheek here, but the point remains that the word doesn't have any useful meaning here.  Yes, images that are shown in the cinema typically look spectacular.  Most of this is location choice, set design, hair, costume, makeup, lighting, haze, blocking, and the many other things that go into creating the light that goes through the lens and into the camera.
That doesn't mean that the camera doesn't matter.  We all have tastes, looks we like and looks we don't, it's just that the word 'cinematic' is about as useful as the word 'lovely' - we all know it when we see it but we don't all agree on when that is.
By far the more useful is to work out what aspects of image quality you are looking for:
Do you like the look of film?  If so, which film stocks? What resolution?  Some people suggest that 1080p is the most cinematic, whereas some argue that film was much higher resolution than 4K or even 8K.  What about colour?  The Alexa has spectacular colour, so does RED.  But neither one will give you good colour easily, and neither will give you great colour - great colour requires great production design, great lighting, great camera colour science, and great colour grading.  By the way - Canon also has great colour, so does Nikon, and other brands too.  You don't hear photographers wishing their 5D or D800 had colour science like in the movies. What lenses do you like?  Sharp?  Softer?  High-contrast?  Low contrast?  What about chromatic aberation?  and what about the corners - do you like a bit of vignetting or softness or field curvature?  Bokeh shape?  dare I mention anamorphics? But there is an alternative - it doesn't require learning what you like and how to get it, it doesn't require the careful weighting of priorities, and it's a safer option.  Buy an ARRI Alexa LF and full set of Zeiss Master Primes.  That way you will know that you have the most cinematic camera money can buy, and no-one would argue based on their preferences.
You still wouldn't get the images you're after because the cinematic look requires an enormous team and hundreds of thousands of dollars (think about it - why would people pay for these things if they could get those images without all these people?) but there will be no doubt that you have the most cinematic camera that money can buy.
I'd suggest Panavision, but they're the best cameras that money can't buy.

Hello guys !
I shot my first gig with my new A7S III. So far it's exactly what I expected : a formidable workhorse for corporate videos or digital ads and many more things. It made huge improvements in usability even though there are still some things missing (like loading custom LUTs) but not many.
Image wise, it's very much a Sony camera. Its image is in line with the other alpha cameras (which is not a bad thing), only with better codecs. The codecs are good but not groundbreaking. It allows the image to show virtually no pink macro blocking and smoother gradation in the sky for instance. Oddly enough, the image coming from the X-T3 feels thicker, less processed (but I HATE the magenta shift in f-log and the skin smoothening effect, impossible to get rid of and never discussed !). The image of the A7S III is quite clinical. I feel the same about what I've seen with the C70 so far (that being said, I've never actually had the sooc footage on my computer). We are far from what we get with blackmagic raw or red cameras. This is not the camera to get if you're after the best organic thick image quality.
I was curious to try prores raw to see if things would improve with less digital treatment. So far prores raw support in premiere is very basic but you still get an unprocessed signal. I was a bit surprised. Even though there's no noise reduction (I thought NR + H264 codec was the main factor for this clean/digital image), Prores raw image is very close to internal recording. Sure there's more noise, but the image doesn't feel "raw" at all ! Still very clinical. I'm sure you can make wonders with it, but right out of the box, it has no real "mojo" advantage over the h264 10 bit.
Anyway, there are so many things to say about the camera, it is wonderful for anything delivered on the web. The colors have improved a bit (not by much) and are totally fine. I think I might make a video review of the camera since I think there are not many real world experienced user who have done one, but many gear reviewers.
I respectfully disagree with the previous OP who shot the commercial for the massaging thing who said it's a totally different camera than the previous models. I think it's almost indistinguishable if you watch footage online with youtube compression. I watched a few old clips from ads I made with the FS7, and dare I say, I find the FS7 having something more, i'm sorry, "filmic". So does my 5d mk III ML Raw footage. I'm sure every manufacturer does something different when it comes to their cinema line. I always felt that way reviewing clips from all the different cameras.
And I had a quick question for the other A7S III owners : can you also see faint lines on the rear lcd screen when it's off ? I can't really see them when it's on, I think it's normal, but just wanted to make sure.
Thanks ! Feel free to ask anything if you have questions about the camera ! I'm surprised the camera is not much discussed at all ! With everybody waiting for it for years and buying it.

I feel the same way.  The classic EOS C body suits me much better.  I'm thinking the C200ii might fit right into the right spot (fingers crossed).

Recently shot a project with both and much preferred the C200's form factor. It's just more comfortable to shoot on the fly stuff. If the C200 MkII has a good 4K 10bit codec and is reasonably priced I'll definitely upgrade. 

Recently shot a project with both and much preferred the C200's form factor. It's just more comfortable to shoot on the fly stuff. If the C200 MkII has a good 4K 10bit codec and is reasonably priced I'll definitely upgrade. 

I am in the same boat.  I need to see how 2021 develops before investing in a new camera.  By the time I know if I can expect a good year in 2021, the C200 Mark ii will either be out or at least announced and I can decide between  it or the C70.  
The smaller form factor of the C70 is nice, but the lack of RAW and EVF are annoying omissions for me.  Plus I'm not a fan of being tied to SD cards only for recording internally.  I've preferred CFast card recording on my Pocket.  As much as I've valued the mirrorless form for my cameras, I prefer the C200 body if I'm honest over the C70.

Been using the C70 the past few days and have to admit I wasn’t the biggest fan at first. It felt a little unwieldy to use, I’d have loved to have been able to swivel the handle a little as the joystick is in a tricky spot to reach sometimes. The dials are also a little oddly placed. Second day filming and it feels a lot more natural after I started to think of it more as a small cinema camera rather than a big mirrorless or DSLR. As always, love the internal NDs, like having false color and so many customizable buttons. The DPAF seemed snappier than the C200 but still not perfect and not something I would fully trust for some shots. 
Footage seems clean, not overly sharp but I haven’t really had time to play around with it properly yet. I’m still not entirely sure the price is justified, it seems a little high in Europe especially, but once it drops a little with cameras appearing on the used market I think it will be a lot more attractive. The BMPCC4K, and even the LUMIX S1, have really screwed with how I perceive what a camera is worth these days. There’s so much value to be had at lower price points, it’s really becoming more about convenience features and ergonomics.

Been using the C70 the past few days and have to admit I wasn’t the biggest fan at first. It felt a little unwieldy to use, I’d have loved to have been able to swivel the handle a little as the joystick is in a tricky spot to reach sometimes. The dials are also a little oddly placed. Second day filming and it feels a lot more natural after I started to think of it more as a small cinema camera rather than a big mirrorless or DSLR. As always, love the internal NDs, like having false color and so many customizable buttons. The DPAF seemed snappier than the C200 but still not perfect and not something I would fully trust for some shots. 
Footage seems clean, not overly sharp but I haven’t really had time to play around with it properly yet. I’m still not entirely sure the price is justified, it seems a little high in Europe especially, but once it drops a little with cameras appearing on the used market I think it will be a lot more attractive. The BMPCC4K, and even the LUMIX S1, have really screwed with how I perceive what a camera is worth these days. There’s so much value to be had at lower price points, it’s really becoming more about convenience features and ergonomics.

Been using the C70 the past few days and have to admit I wasn’t the biggest fan at first. It felt a little unwieldy to use, I’d have loved to have been able to swivel the handle a little as the joystick is in a tricky spot to reach sometimes. The dials are also a little oddly placed. Second day filming and it feels a lot more natural after I started to think of it more as a small cinema camera rather than a big mirrorless or DSLR. As always, love the internal NDs, like having false color and so many customizable buttons. The DPAF seemed snappier than the C200 but still not perfect and not something I would fully trust for some shots. 
Footage seems clean, not overly sharp but I haven’t really had time to play around with it properly yet. I’m still not entirely sure the price is justified, it seems a little high in Europe especially, but once it drops a little with cameras appearing on the used market I think it will be a lot more attractive. The BMPCC4K, and even the LUMIX S1, have really screwed with how I perceive what a camera is worth these days. There’s so much value to be had at lower price points, it’s really becoming more about convenience features and ergonomics.

Use V90 cards. Get used to the joystick as it’s a stubborn little bugger. Other than that, it’s very easy to shoot with. 

I'll be filming with the C70 later this week as a replacement cam for the C200 in RAWLite – any tips at all? I'm familiar with the C line of cameras and exposing CLOG 3 so I don't expect many issues there unless this new sensor has dramatically changed anything.

I think the final sentence is the best piece of advice you can give. Seriously, at this point is there a worse investment than a new camera if you don't have a job that specifically requires it?
YouTube channels or blogs promoting new gear and tech during this pandemic is not just irresponsible it's almost a little sinister.