Jimmy

Interesting article.
I think the size is the big factor, plus the dominance of Alexa when it came out.
Most DPs I know wouldn't care if the camera looked like susan boyle's head, as long as it gave a good image and was usable. Kit out any of these cameras for a big production and you can barely see the camera anyway.

Hey guys, I just posted my new vid called GO Cuba. It was shot with an A7s in Cine4, Pro colour mode. Hope you like it.
 
PS. How do you embed videos again?
EOSHD replies: Just paste the URL in. If it doesn't work first time, edit the post, remove the hyperlink from the Vimeo URL and paste the URL back in again, then press enter to go onto a new line and the video should show up.

Have you thought about shooting 4K prores, but using very occasional 4K raw when you absolutely need every drop of DR?
If you have time to edit raw though... I would shoot 2K/raw. I know all the hype is about 4K, but DR and color are still more important, imo and the 2K on FS700/O7Q is a joy, though you do hit some moire/aliasing at 120/240fps

​Yea, seems like the FS700/OQ7 combo gets overlooked by alot of indie filmakers, but it really is the very, very best image out there for a sub $10k price and crazy versatile.
I've had ours for just under a year and the image is sublime. Sharp 4K (to 60fps, 120fps burst), 2K (to 240p), raw, prores, 4K to HD, 13 stops, built in NDs, built in XLRs, great screen, amazing exposure tools, good low light

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It's incredible how many people ignore the importance of lighting when making "filmic" images, or any images for that matter. Lighting is more important than the camera, it can make the image of a "sub-standard" camera look much better than "the best camera ever" that was used without additional lighting.  Obviously. 
Sony A7S is the best choice IMO (for your needs). Regardless of its's high sensitivity, don't ignore a set of lights either  

If you can't make something look good with 12 stops, nice highlight rolloff and some lights, you are need to work on your skills. That's the point you really can no longer blame your tools (and the reason I think the 5DRaw will keep me happy for a long, long time).

The important thing is the way it renders when reaching the extremes of the DR and that's where most cheaper cameras have a lot of trouble.

If you can't make something look good with 12 stops, nice highlight rolloff and some lights, you are need to work on your skills. That's the point you really can no longer blame your tools (and the reason I think the 5DRaw will keep me happy for a long, long time).

You can pick up an F65 kit for about $25k now... Pretty crazy. Very, very beautiful image, but cumbersome size and workflow for anyone not shooting with a huge crew