Geoff CB

When your starting point for the grade is a better quality image than the RAW coming out of previous cameras, I doubt you'll be missing much in terms of gradibility. 
Perhaps if you're doing quite extreme colour isolations for effect, or if you need to rescue a mistake, then you might miss RAW. But for most applications this sensor + codec combo is probably going to provide a better graded image than most previous RAW cameras (in the price range, obviously). 
Canon have made a doozy of a workhorse cinema camera in the C300 III. It really does look the business, and I wish I could afford one! 
Of course a lesser release is not going to share it's full feature set. What would be the sense in that for Canon? 
So you just have to ask - is this a reasonable compromise at the price point or not? 
Personally I think it's a very generous offer.  A truly top class image. Very decent codecs and frame rates. Bold new form factor. 
I don't think RAW is such an unreasonable omission. 

The codecs are just fine for the intended use. The sensor seems at least a generation and a half ahead of the C200 one. It has everything a small production company needs.
Most weddings are shoot with mirrorless these days, do not see many of those buy a C camera, only the "top" tier = which is low anyway..
This is the most exciting Canon release since the original C100 I believe, I am not sure where the catch is. They even offer an original speedbooster and I can use both my 18-135 nano and 70-200 white!
I mean, wtf Canon?! Are you seriously giving me everything I need????!!!!
I may go full in Canon this round, still waiting for the GH6, maybe it will be alright as a cheap solution together my Pocket and NX cameras and lenses, but Canon is on a roll..still can't decide on the R6 though..

That Micro-HDMI is one of the main reasons I didn't buy a XT-3

The morning after...
Well having slept on it, sadly, I’m in the same place as I was yesterday and that is it’s not the AF but the weird background pulsing that is killing it for me.
So I will be making arrangements for it to go back today.
So close Panasonic, so close...

The only reason I downvoted you is because I intensely dislike your post-truth, conspiratorial worldview: I think it stands in the way of productive discussion. You calling me (a yearlong, very inactive member who has basically only posted about Blackmagic and RED during his time here) a Canon shill, instead of applying even a modicum of Occam's Razor and just assuming I'm someone in disagreement with your tone and ideas, really goes to prove my point. Anyhow.

go ahead... tell me how stupid i look in this thumbnail. 
 

Even though I'm probably getting this cam (not the first batch though), the resolving power makes me sad 😞
At the end of the day the speed vs the resolution wins in $$$ terms since 90% of people don't care if it's sharp or not and you'll end up watching a video on a phone.
It's just easier to work with and you take a slight hit to IQ that only makes you cry but no one else. The NR is also next level sludge but it "works" so yay?
I'd probably take the Canon image despite it's trash shadow recovery, but dat cripple timer and 30 minute limit... for $4K. It's too hard to work with that camera on regular jobs, so A7SIII it is...
Anyone else getting clients asking for 100mb videos for their streaming software that can't handle anything else?...

Prores 444 Slog out of SDI A port at 3200 iso with a PIX-E7. Nikon 24-70 at 70mm with a Tiffen Supermist Black 1/8 filter. 
Lights in background heart were tungsten. But fill and spotlight on stage was gelled LED. 

Why, f4 lenses are sharp wide open, that was your criteria.
People often make the mistake of judging lenses wide open, but the problem is that not all lenses have the same largest aperture.
Sometimes the best way to get a lens that's sharp at a particular aperture is to get a lens with a wider aperture than your desired one.

Prores 444 Slog out of SDI A port at 3200 iso with a PIX-E7. Nikon 24-70 at 70mm with a Tiffen Supermist Black 1/8 filter. 
Lights in background heart were tungsten. But fill and spotlight on stage was gelled LED. 

Nobody even has this camera yet, and BMD have released a pretty amazing update for it.
Also updated RS readout times:
 

Beach food shoot. Both with Nikon 24-70

It's people realizing again image quality is more than specs.

Tinkering with the raw files, no LUT, just basic exposure adjustments and balancing the RGB parade on the first, the second has a little more saturation. I'm a novice with grading and working on my skills. I've been told by others here I can't see good color because I like what's coming out of the a7s3, so if its shit, it is what it is, but I'm still buying the camera. Plenty of detail on the guy's face despite not being oversampled like the a73. Looking forward to my copy shipping.
Cheers.
Chris
EDIT: colors pop more in my FCPx window than looking at this page on chrome. 

Not at all, the mount on the camera is very strong. Metal mount + steel Nikon G adapter from Optitek. If I was mounting a cinema lens on it yes I'd use a rail support, but photography lenses are relatively light in the grand scheme, if cheap DSLR can handle it this mount certainly can.
It's a larger PIX-E7 with the XLR adapter attached. Honestly the camera itself is bulky so not going to switch to a smaller recorder to get it a little lighter.
Working on the videos, but have other work I have to get done first. Including shooting a short on the F3 alongside the S1 on Saturday. So we'll see how they do! 
 

Not at all, the mount on the camera is very strong. Metal mount + steel Nikon G adapter from Optitek. If I was mounting a cinema lens on it yes I'd use a rail support, but photography lenses are relatively light in the grand scheme, if cheap DSLR can handle it this mount certainly can.
It's a larger PIX-E7 with the XLR adapter attached. Honestly the camera itself is bulky so not going to switch to a smaller recorder to get it a little lighter.
Working on the videos, but have other work I have to get done first. Including shooting a short on the F3 alongside the S1 on Saturday. So we'll see how they do! 
 

Just found an old project I shot. These are some stills from a piece I shot 3 and a half years ago. Shot with the 85mm Zeiss. It's too damn shallow but I think the softness works okay for a close up.

Just to be clear, the Video Assist only does ProRes HQ 422. The benefit of the 444 model when using the video assist is to get 60p through one single SDI cable. 
If I still owned it, I would get one of these low profile mounts to make it even cleaner. 
https://www.bhphotovideo.com/c/product/1570342-REG/smallrig_bse2346b_swivel_and_tilt_monitor.html

Don't think this will sell well, terrible video specs for the price, bad viewfinder, and not in any way better than the A7III for photographers. 

100%. No way a 12mgpxl sensor can cover my photographic needs, and I was shooting film (and S8) for years and years before even the Mavica (so I am not "digitally" spoiled).
I have decided that 24mgpxls are ok, and I am trying to decide if the R6 is enough..42mp are too much for my needs though, I am not specializing that much.
Maybe A7iv will be the answear to our prayers, 7Siii brings so many vital improvements to the A ecosystem, but still is not a true 50 - 50 hybrid, is a video orientated one that can take pictures, if 12 is your magic number, then some of you are going to be very happy very soon. I am not!