Geoff CB

Neither! Get yourself better audio/lighting/grip/support gear instead. 

Especially as you've got a Samsung NX1, which even in 2020 is still a very solidly good hybrid camera. 

Ok. I know many dps shooting tv dramas, indie and studio films in Korea using af. But I guess your experience and reality is all that matters.
And I specifically said docus, weddings, bts and indie filmmaking so it vibes with most of you in the West but again I guess your 'pro' opinion is reality. Maybe I need to reboot my simulation.

Oh god if they give it 4K 60p but not 4K 24p that would be awful.  

No joke, but when I saw the title of this thread that is what I came here to write!

Sunlight is best. 

Thus light modifiers can be the best investment, to shape what you've already got. 

10-bit in all profiles.

10-bit in all profiles.

I downloaded the footage by Jacques Crafford. First, thank you Jacques Crafford for sharing these footage so I can test them out. 
So I put it in Resolve, tweaked a little bit and used a color space transform. It took me about a minute or two. Here is the quick result.

Of course this is far from a graded image, only a starting point. 
I have to say this is quite an improvement over the A7S and A7S2. People argue otherwise likely never use an A7S before because its color science is really really bad. I will not say this new color from A7S3 can rival Arri Alexa, but this is definitely a usable image, especially if you consider the codec is pretty solid so you can do quite a lot of adjustments without breaking it. 
Surely, color is subject so everyone can have their own opinion, but I feel like claiming these images are horrible may be a little bit exaggerated. 
Personally for me, although the color from this A7S3 may not be the best, it is totally usable and if one cannot make a good picture of it, he is the one to be blamed. If you think my quick result is very bad, probably it is my fault too. 

2020 and Panasonic still hasn't sorted out their af smh

Hallo Friends, a grim light test for a Grimms fairytale. Midsommer midday sun test. Brutal for no grip shooting day. Filmed with HLG 75Mbit 10bit 420, 6000K. Looking forward to shooting 422 VLOG some day. VLog L did pretty good on the GH5 for me two years ago.
 

I think the love that dare not speak its name regarding a genuine hybrid is that we won't get there until we have  cameras with internal variable NDs.
The fact that in the vast majority of lighting situations you need an amount of ND to make the video exposure and none to do the still exposure in the same light is something that needs to be addressed before we can say we've achieved it.
Obviously, I'm aware that some people will leave a level of ND on that would give them a compromise shutter speed of say 1/100th or 1/250th for both so that they could have a bearable speed for stills and a bearable degree of crossing of the 180 degree rule for video but it will only ever be a compromise.
From my point of view, particularly with variable NDs, if it doesn't genuinely need to be on for the correct stills exposure then I wouldn't really want the side effects of colour casts if I could help it.
Because of this I'd say the only "real" hybrid I've got in my camera collection is the lowly Panasonic FZ2000 because it has an internal 2-6 stop ND filter (as well as "clear") which is operated by a physical selector switch, meaning that even in bright sunlight it can be switched from a "real" stills camera to a "real" video camera instantly.
Everything else I've got is a stills camera that can shoot video or a video camera that can shoot stills but not without what I would technically refer to as "some dicking about".
Canon kind of maybe sort of offer this with the R cameras with that ND adapter but it does limit you to using EF lenses and does mean that if you wanted no ND you'd have to pop the clear filter in.
Sony are the ones who could do it of course but while they are stuck in that A7 form factor they've got no space or inclination to do it.

It looks really good for my taste.
Just Aces Slog3 Conversion to rec 709, no grading.


And the footage is really good to for color grading, much more information on the codec.


I could never do things like that with the past Sony mirrorless codecs and have no compression artifacts and banding issues.
 

Rolling shutter times are in and they are impressive.
 

You can get a Nikon D850 for about £1900 used in decent condition. Absolutely bullet proof and as refined as a DSLR can get. You don't have to 'fight' it like you do some mirrorless!

I don't mind Panasonic AF since the updates, but it's clearly what is holding a lot of people back from going with them. 
The biggest problems they have for their full frame offerings are AF and lack of native lenses. 

Those look great! Awesome setting.


Some from me, these are all Prores 422 LT

Really not interested in the S1R, limited record time, no 10-bit. Extra megapixels alone is no where near worth the extra expense.

It is always going to lag behind, because Sony crammed a FF sensor into a mount that was originally designed for APS-C

Message to Sony and Cannot:
Please add a real time temp gauge to your R5 and S-III. A small, simple 5 dot heat meter line. (Looks like an audio level meter) have 2 green, 1 yellow 1 orange and 1 red colored dot.
This gives people more warning that their camera is getting hot. The more you know BEFORE a shutdown the better. I'd rather know it comming in 10min than find out 30 seconds before!
How hard would that EXTREMELY valuable information be to add to the display?

A lot of it does come down to expense and time.
1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it.
Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. 
Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field.
Shooting slower and more deliberately means you don't have to shoot as much. 
People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. 
I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.

This thread details the teardown process, modifications made and some important findings:
http://c.tieba.baidu.com/p/6848700307?pn=1


He replaced the two thermal pads that did not fully cover the CPU with a dollop of thermal paste and noticed significantly better and more even heat dissipation.
Most important finding: despite the temperature drop and improved heat dissipation, 8K/4K HQ still cut off at 20min mark, suggesting a firmware limit is also in place.

Correction: you bought a seriously expensive stills photography first camera that just happens to have the ability to record pretty high quality video, NOT a video first camera that just happens to record stills. If you intend to use this camera for video first, you shouldn’t be expecting reliable high end cinema performance in a stills camera form factor.  That’s kind of like expecting C700 performance in the price and body of an EOS RP. ?!?! If you need reliable C700 performance, then use a C700, not the RP. I’m using C700/RP as an example.
 
in terms of how canon chose to market the R5, yes, it’s unfortunate that they are chose to market it as video first, however reviews are showing that it’s not that camera, at least not in current firmware form, so if anybody is stupid enough to buy anything based solely on manufacturers marketing (Not just Canon), then they kind of deserve to get what they get. This is why independent reviews exist.

Philip Bloom is - by his standards: unusually - outspoken on the R5:
"This is the first camera I have used in memory that punishes you for using it. [...] I spent £4200 on a camera I cannot use most of the time and that’s ludicrous! I truly hope they find a way to fix this debacle."
 
 

Now Blackmagic has no excuse... ;- )

Highly recommend a PIX-E5 or PIX-E7 if you can grab them, those recorders are tanks and can get 4:4:4. Or get the Atomos Ninja V with SDI adapter. 

Held one of these for the first time yesterday. Love the setup and features and the IBIS seems even better that the Z6. Viewfinder is absolutely beautiful.  Hope the next iteration can improve AF. 

Will be testing out the video next week.