ade towell

I've been messing around with it for the past two days. My findings: (of course do your own tests too if possible)

+ Sharpest/most detailed image I've ever filmed on any camera before
+ Easier for me to get a colour grade as a beginner that I'm satisfied with than when shooting V-Log 
+ Edits easily on my mid tier gaming PC (i7-8700k + GTX1060) with Premiere Pro
+ ISO 12800 with enough light looked better than expected. This needs further testing for sure.
- Higher data rate than initially expecting, this means I will still shoot mostly internal probably
- In 5.9K mode only I experience choppy frame rates on the Ninja V sometimes. A quick swap to 4K and back returns this to normal. I imagine this will be fixed in the final released firmware.

I wouldn't worry about the specs of other cameras, the S1H is a known reliable workhorse ,the R5 seems like an unreliable show pony that I can't see anyone using on a serious video production, the A7s3 looks more solid but we're yet to see what the time restrictions with heat management mean for shooting times...
As mentioned above the 4k60p on the R5 is bad, better to have a high quality crop than a sub standard full frame image. 
And yes the RAW update will take this camera above the other 2 for cheaper more efficient and reliable RAW if that's your thing.
4k 120p is not something I would use very often I'm already cringing at the amount of unmotivated slow mo that is going to be filling up Youtube - but if it's really important then let's see what the quality of the Sony is.
All the S1H is really lacking over the other 2 is good AF imho

I guess more will be revealed of the A7s3 but there are definitely question marks over its reliability with over heating. People mocked the size of the S1H but as can be seen by the Canon debacle and the new Sony you can't cheat physics with heat management and it looks like Panasonic made the right decision in making a larger solid camera people can trust. Paying over £4000 for a camera that may stop working is unacceptable in my eyes and so the R5 is not fit for purpose in a video production. (The A7s3 needs more testing)
That leaves the A7s3 and from what I've seen I would say the colour and IBIS are way superior on the S1H, disappointing that the A7s3 doesn't seem to have the same colour dna as the FX9. With RAW and anamorphic modes, higher resolution stills, AF is all that is really lacking
I  

I wouldn't worry about the specs of other cameras, the S1H is a known reliable workhorse ,the R5 seems like an unreliable show pony that I can't see anyone using on a serious video production, the A7s3 looks more solid but we're yet to see what the time restrictions with heat management mean for shooting times...
As mentioned above the 4k60p on the R5 is bad, better to have a high quality crop than a sub standard full frame image. 
And yes the RAW update will take this camera above the other 2 for cheaper more efficient and reliable RAW if that's your thing.
4k 120p is not something I would use very often I'm already cringing at the amount of unmotivated slow mo that is going to be filling up Youtube - but if it's really important then let's see what the quality of the Sony is.
All the S1H is really lacking over the other 2 is good AF imho

I wouldn't worry about the specs of other cameras, the S1H is a known reliable workhorse ,the R5 seems like an unreliable show pony that I can't see anyone using on a serious video production, the A7s3 looks more solid but we're yet to see what the time restrictions with heat management mean for shooting times...
As mentioned above the 4k60p on the R5 is bad, better to have a high quality crop than a sub standard full frame image. 
And yes the RAW update will take this camera above the other 2 for cheaper more efficient and reliable RAW if that's your thing.
4k 120p is not something I would use very often I'm already cringing at the amount of unmotivated slow mo that is going to be filling up Youtube - but if it's really important then let's see what the quality of the Sony is.
All the S1H is really lacking over the other 2 is good AF imho

A Metabones EF to X- mount Speedbooster hit my doorstep Friday and I've started to play with it a bit. I know it was mentioned in a conversation about EF adapters on a recent Fuji thread but I can't remember which one. I'll give my impressions on it once I'm more familiar with it, if people want that. First impression it that is produces a nice image quality with my 17-40L and 180 L macro.  I took some shots with my 70-200 L 2.8 (old non-is version) but I haven't looked at them yet. The autofocus works with both the wide and telephoto zooms, though I'm not sure yet how it compares to native lenses. I did a side-by-side setup with the wide Canon zoom on my T4 and my XF 17-55 2.8-4 but I haven't had an opportunity to look at them side by side yet.
On a separate note, I'm running a test on the T4 right now to see how long it can record in DCI 24p with HDMI out to a Ninja, not recording internally. I know internal recording has limits and possible heating issues, so I'm testing HDMI out recording first. Later I'm going to test how many times I can restart internal recording in DCI or 4K before heating is an issue. I'm recording in my home office, which 78 degrees Fahrenheit, 25.5 C for those of you who live in a place with a rational measurement system. Tomorrow I'll be using the T4 on a doc project outside with temps around 92/33 degrees, so we'll see how it does in real-world conditions.
Btw, is it possible to turn IBIS completely off on the T4? When I turn off the OIS switch on my 17-55, the IBIS option is grayed out in the menu, but the boot mode is still available? And what if I'm using an non-stabilized third party lens like my L-glass or Meike prime?

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 🙂

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 🙂

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 🙂

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 🙂

Canon is apparently DOA already and we haven't even seen rolling shutter tests. 😁
I agree, we should wait and see the results when the final camera is released.  We need more than a few reviews before final judgement can be passed.  If its as bad as suggested, I am trying to see how anyone would seek to buy these cameras for Professional use. 
The 8K and 120fps had created a lot of hype, which has built up since these cameras were announced at the start of the year.  I guess what we are seeing is the down after the high hopes people had.  Once the hype and over reactions fade, it'll be interesting to see where the final views of this camera lie. 
How many will buy it and what their experiences with it will be like.  I am sure the 8K RAW and 120fps in a Canon body will be too big a lure for many and they will struggle through the problems and produce some great content if they have the talent.  Sony endured many jibes over their overheating, often from Canon users.  Now the shoe will be on the other foot.
 

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 🙂

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 🙂

But then you need one set of lenses for full frame photos, one for crop video... 
Anyway hope the OP has enough to chew on to make their own decision

But he says he wants to film in 4k...
Anyway no worries the OP can decide for themselves what is important - I guess to me the difference in video performance is so big between the 2 cameras I find it hard to fathom on a video centric forum the RP being suggested as a better choice than the XT3. The quality comparison isn't even close

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. 

Well, the footage is a throwback into old 5D Mark II days, with 90% out of it being out of focus... - And the rest shot at extremely high shutter speeds without ND filter, so anyone who thinks they can judge motion from this clip should just ditch the ND filter on the camera they're currently using...

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.

Yes this is my dilemma, would be pretty frustrating spending £4200 and not being able to trust the higher quality modes, don't see the point. If you're only shooting very short sequences fair enough but not for me

Your ignorance is overwhelming. And I thought you were a real DP the way you big yourself up in that hot air way of yours
John Brawley uses BM cameras with Alexa all the time on real sets on big productions. Check out this recent thread for example on dvxuser, the guy is a fountain of knowledge
http://www.dvxuser.com/V6/showthread.php?367345-John-Brawley-s-quot-The-Great-quot-on-Hulu&highlight=brawley

IDK.......
 
It may not work for YOU but it may be just the ticket for others.
 
I can see this being a great tool for wildlife doco's using S16 lenses. On a tripod in a hide sitting and waiting for days at a time for THE shot.  I have a very nice selection of S16 glass in PL, ......Angénieux , Canon.  Some of the S16 lenses have impressive reach for thier size - S16 lenses really help when you have to hump all that gear into the bush. 6K @120 fps down scaled to 4K. Whats not to love? A long S16 lens shot at 6K - this allows for re-framing and punching in with a 4K delivery - if I need that. I f I dont I can just down scale to 4K. If I need 220 fps I just shoot at 4K. I see this camera as an exciting enabler.
4/6K from an RGB digital sensor seems to give S16 glass a new lease on life. And those frame rates...where exactly do you get that on S16 other then here ???
OK so you have no use case.......good for you. But to exhibit such a small mind to say this is just no good for S16....hmmmm, ok then fella...if you say so. You keep believing that while the rest of us explore what we can do with our high end S16 glass and 220 fps @4K. A game changer I would say. A TRUE game changer. I can see the price of S16 glass going up because of this, much like the effect the BMPCC  had on S16 glass some years ago. Before the BMPCC, S16 glass could be had for little. Not now. Looks like history may repeat here.
Its going to be interesting to see how this pans out.

Yes this is my dilemma, would be pretty frustrating spending £4200 and not being able to trust the higher quality modes, don't see the point. If you're only shooting very short sequences fair enough but not for me

Your ignorance is overwhelming. And I thought you were a real DP the way you big yourself up in that hot air way of yours
John Brawley uses BM cameras with Alexa all the time on real sets on big productions. Check out this recent thread for example on dvxuser, the guy is a fountain of knowledge
http://www.dvxuser.com/V6/showthread.php?367345-John-Brawley-s-quot-The-Great-quot-on-Hulu&highlight=brawley

RED color and footage holds up.  RED blows away BM across the board. 
Black Magic footage is always graded away from natural color.  Always.  The same with the GH5.  Give me one color grade that has a natural look and let's see how these cameras hold up. 
 
 
 

I said it in the other thread which is now getting a bit fractious but I think they're going for RED's market