mercer

Yeah, the 5D Mark III. Haha.
I haven't checked the used prices, but I assume you can find one in great condition for around 1000 USD... maybe more, maybe less. I bought mine new, 5-6 years ago for around $2000.
Now if you're referring to a new camera you can buy today that will look similar...
I don't know. The Sigma FP has a nice image downscaled to 1080p and its full frame, but not 14bit. The R5 and R5C both have nice images, but I've never used them.
I guess it depends on your needs.

The workflow is so simple now. MLV App is straightforward for correction and "CST" and you can export to ProRes so you can edit in any program you want. Or you can use MLVFs and open up the files right in Resolve as if they were any other video file from any other camera.
Btw, I loved your B&W short film. I watched it on Christmas morning and it brought a smile to my face. I've been meaning to comment on it, but now I'm so far removed, I'd like to watch it again. The mouse was a whacko, cool idea that was done so well and made me think of the old Bass and Rankin Christmas cartoons.

so for the ml to be useful in any capacity you have to pixel bin anyway lol?

Going on 9 years as a ML Raw user and have never had an issue. Started with the 5D MK II and now I have two 5D MKIIIs. 

No that was 5D Mark III with 1080p ML Raw. 

How do you shoot at 3.5K in 14 bit color ? 3520x1740 at 14bit gives me just few seconds, 3520x1740 at 12bit is from 15 sec to 1-2 minutes. Have to drop to 10bit in order to get closer to continuous. And this is with global draw off. With global draw on it is even worst.
Canon 5D Mark III raw video in crop mode for me is PRACTICALLY UNUSABLE:
    - there is no live view framing, you can't see on a monitor of even the tiny screen what you shoot
    - rolling shutter is more than 33 ms
    - camera is unreliable, had many freezes and you don't know if your recording is going to stop and especially when it is going to stop.
    - as your ISO increases your dynamic range and color palette decrease
    - software hack is always in development and movement, you don't know what bug your are going to hit and when
Tried many times to use it in crop mode and always ended in frustration. 1080p is the best, can have external monitor and proper framing, reliable, simple, 35mm lens has the same angle of view as on full frame. Use super scale in Resolve or Video Enhance AI to upscale to 4K and it is good enough. There you can shoot in 14 bits no problem.
Why we don't see 14bit video in hybrid cameras ? Simple answer is:
    - no demand - just look how many good video in RAW shot with Canon 5D Mark III hack are on youtube. For more than 12 years. Interest and usage are slim.
    - still some challenges to shoot and process such a massive amount of data. I know for a fact that in my (relatively small) country TV series are shot on Arri Alexa not in RAW but on Prores 4:2:2. Without compression very few people or companies are willing to deal with RAW video.  BRAW or ProRes RAW, Red RAW - yes no problem. Cinema DNG files even with lossless compression - few are willing to deal with data volume and workflow that comes with it.
I honestly doubt that anybody can see the difference between 14 and 12 bit color, especially on the monitors and screens we are using. I tested it on Canon 5D Mark III some time ago and couldn't. 14bit vs 12 bit, color science when related to RAW video and even in 10bit 4:2:2 - all this is purely subjective. All those claims of superiority falls apart when doing a blind test. Can give as example several published on internet tests.
I tried recently iPhone 14 for video after seeing several people on youtube recommending it. Shot on same location and lighting condition where some time ago shot a small personal project / clip with Canon 5d Mark III in RAW video crop mode. Yes you can't switch off sharpening, noise reduction and tone mapping for better dynamic range on iPhone but Oh boy how easy it was to get great picture quality, how good image stabilization was. Apply some grain and film emulation using dehancer and it is good enough. Efforts vs results comparable to Canon 5D Mark III are 100% on iPhone side.
I am thinking seriously to get one of those new Android smartphones with 1'' sensor like Vivo X90 Pro Plus and shoot raw video on a smartphone for personal projects. It can do 4K 60p RAW and I believe this is only in 10bit DNG. Apply some grain, film emulation  in dehancer and image look gorgeous to me. It is a lot easier than Canon 5D Mark III and it the end results will be equally impressive if not better. And this camera is with you all the time 🙂
Whole history of photography is a move toward ease of use and convenience once certain acceptable image quality has been achieved. Image quality by the way matters mostly to us, people who shoot not to the people and wide audience who will watch it. That's also a proven fact we should never forget.

Hehe, couldnt resist and had to get one. A 250.000 shutter though, but still working. For 300EU. Got a 5D2 for much cheaper two months ago. In great shape, 30.000 shutter, for 150. Seller contacted me to give me a nifty fifty 1.8 and a nice backpack for free. Anyway, now I gotta use these beauties. Any quick and tasty infos on the differences? Some prefer the look from the 5D2? 5D3 much more hasslefree to use in Magic Lantern RAW due to dual card slots? cheers

Not only can I notice the lower bit depth, I'm fairly certain there is some type of noise reduction occurring behind the scenes with the FP. The extra resolution from the FP is nice but I feel like it resembles a lot of other camera's images from compressed codecs with just more leeway in post to make some changes.
The 5D3, on the other hand, has a higher end look in my opinion and the image is more malleable especially in the highlights, but the shadow detail is much cleaner with the FP.
They also share a similar post workflow for me... bring the footage into Resolve, correct/grade, export as ProRes and import into FCPX for the final edit/grade.
At first glance, the bump in resolution may make you feel like the FP has a superior image, but once you get into the files... let's just say that if I had to choose one, I'd sell the FP and keep the 5D3.
With that said, I think people underestimate the benefits of 14bit color. In some ways, it gives a perceived bump in DR because it is capturing the minute differences in hues. I notice it in skies and in tree bark.
I'm also a fan of shooting with DSLRs... especially chunky, full frame ones. If I could afford a 1DX iii, I'm sure I would love it.

There is just... something about it...
https://www.eoshd.com/news/a-look-at-the-pentax-k-1-why-im-not-over-dslrs-for-photography/

I get it. Never getting rid of my 5D iii

"a much more satisfying and crunchy shutter mechanism"
@Andrew Reid the most fun shutter I've experienced is the superb whack of the film EOS 1 series. It's a proper belter!

I think I get where you are coming from. I never made the switch to mirrorless for photos. I tried taking photos with my EOS-R, G85, and even my GH1 and I'm just not into it. I find that my trusty old 5Diii is still more satisfying to use. I even picked up an Olympus e500 and Sony A350 because they are so inexpensive right now. They are also a lot of fun and offer great character. I have particularly been enjoying the A350 at ISO 1600:

I for one would be more interested in learning more about your adventures in still photography. With the exception of one regular client, I've managed to keep photography as strictly a hobby. Compared to a medium like video, still photography levels the playing field for capturing something interesting.

An attempt at a more "filmic" grade with the Z6 NLOG image.  It’s actually pretty darn simple. In Davinci Resolve I converted the image to rec709 with basic exposure/contrast adjustments. Then I transformed the color space from rec709 to cineon (designed for this specific LUT). I applied one of the film LUTS built into Davinci resolve.  Then I add a glow effect to bloom the highlights. I increased saturation and adjusted the  color temp to warm it up.  That's pretty much it!

Other than a quick test of an early eos-m ml build, the 50D was my first real foray into Magic Lantern Raw and the image was amazing. It was the first time I was getting an image I was pleased with after putzing around with cameras for a couple years.
That said, the 50D has a ton of limitations which include overheating, the LiveView freezing at will. Usually the fix was as simple as shutting down the camera and ejecting the battery, but it became a major pain. Also the lack of audio made the camera kinda unusable for any real production because you kinda need a scratch track, at least, to synch audio from an external recorder.
So, if you just want to mess around with ML Raw, then yes for the price, it's a great camera and an amazing feat since Canon's original firmware didn't even offer video.
But if you want to shoot with ML Raw and have zero issues, the 5D3 is king. The 5D2 is also nice with a slightly different color science than the Mark III and also not too expensive.
Beware though, if you're anything like me, and you get a 50D, you'll be selling everything else and saving up for a 5D3 very soon. 

Other than a quick test of an early eos-m ml build, the 50D was my first real foray into Magic Lantern Raw and the image was amazing. It was the first time I was getting an image I was pleased with after putzing around with cameras for a couple years.
That said, the 50D has a ton of limitations which include overheating, the LiveView freezing at will. Usually the fix was as simple as shutting down the camera and ejecting the battery, but it became a major pain. Also the lack of audio made the camera kinda unusable for any real production because you kinda need a scratch track, at least, to synch audio from an external recorder.
So, if you just want to mess around with ML Raw, then yes for the price, it's a great camera and an amazing feat since Canon's original firmware didn't even offer video.
But if you want to shoot with ML Raw and have zero issues, the 5D3 is king. The 5D2 is also nice with a slightly different color science than the Mark III and also not too expensive.
Beware though, if you're anything like me, and you get a 50D, you'll be selling everything else and saving up for a 5D3 very soon. 

If I had no money I would be shooting with a Canon 50D. People keep saying the EOS M is the budget king (valid) but this camera literally costs $109.98 with shipping! That is freaking cheap for 14-bit RAW video!

Ok just thought I'd share that after long consideration of all the new cameras released these past few months (XH2/XH2S, R6II, S5II etc) I have decided to go with the lesser hyped FX30! It's kind of a weird decision because on paper the camera doesn't have any of the wow specs you expect today: full-frame, high resolution, open-gate etc. 
So why this choice? Well first off, I own an FS7 with some nice E-mount glass and an EF speedbooster. The FX30 is pretty much a baby FS7 so it will be the perfect B-cam or even A-cam for handheld shoots.
Then there is the form factor, ergonomics and build specs. For this price its the only camera with this type of cine oriented cageless design. With the top handle, XLR unit and active cooling this camera is ready for the most rugged run & gun. Dedicated video buttons (magnification, peaking, zebras, shutter). Zoom rocker. I also like the fact the industrial pro matte grey look, it doesn't scream consumer camera like all the alternative (non cine) options. This may seem trivial but looking the part matters when it comes to certain clients.
Finally of course the actual specs: 6K oversampled 4K up to 60p no crop in very chunky ALL-I 10-bit codecs. 4K120p. Cine EI. LUT support. Latest Sony AF. RAW output. Dual base ISO etc. Nothing crazy but overall solid video specs.
I like the idea that its a native S35 sensor. I like to shoot wide open and this gives more workable DoF. Also opens up plenty of affordable cine lenses, especially anamorphic. And I wanna go FF with my EF glass, just pop the speed booster.
The only real downside for me with this cam is the absence of an EVF and mechanical shutter. This is going to make stills shooting less pleasant, then again my phone has no EVF or mechanical shutter and I use that daily no problem so maybe the transition will be less difficult than I imagine. In any case this is a way more video oriented hybrid than lets say a Fuji XT/XH series.

Where ze heck izz zat kamera???? 😂 Octopus hiding in a heat pipe.😂

Here is the 4k upload 🙂

500Mbit in HEVC is like having 1000Mbit in H.264, so that A6500 (which I still have btw) was 100Mbit and still stood up well, so the a1 truly has some thick files going on.
X-H2 ProRes would be an interesting comparison.
I love the idea of RAW but it never seems to compel me to use it that much.
Sigma Fp-L 12bit needs a test though...as does the 5D3 Magic Lantern as that truly was proper RAW!

@Andrew Reid Interesting test. A few moons ago, I briefly owned the a6500 shortly after I sold my first BMMCC, and I was surprised at how juicy the sLog3 files were. I felt they were the closest to raw video that I had seen. And when shot with the monochrome setting, in sLog3, the banding that plagued those 8bit sLog cameras seemed to disappear. So I'm not too surprised how well the A1 holds up against the competition.
I recently bit the bullet and bought an FP. I've been having some fun shooting with it, but I also find it to be a miserable camera in some ways. Due to its size, I want the camera to stay small and stealthy, but I think that was the design flaw with the camera. If Sigma had just made the camera a bit bigger and allowed for internal 12bit, 4K raw, I never would have missed the smaller size and the overall experience would have been better. Like your disdain for external monitors, I despise external SSDs just as much, especially when only a select few have proven to work with the FP. That said, it's a really nice image and I am enjoying using my Minolta lenses with it.
But at the end of the day, I don't know if it's much better than my 5D3. Sure it has higher resolution and doesn't need specific lenses to get a really sharp detailed look, but I believe the overall IQ from my 5D3 beats the FP and the cameras are a bit too similar in a lot of ways to keep both.
With all of that said, I've noticed you mention the XH2 recently and am very intrigued. I'd be curious to see how the ProRes holds up in this test if you have the time or inclination.
I've only recently gotten my FP rigged up to where I feel comfortable using it, so I want to test it a bit more... maybe with a short film or something, but unless something really clicks, I may have to look elsewhere for an upgrade. The XH2 is interesting, but so are some of the Canon offerings... R5, R5C and of course the R3 which I doubt I'll ever be able to afford.
Thanks again for the test and I hope all is well with you and your family!!!

I reunited with the model from my Demonic Housewife shoot to do this retro pinup style shoot. Shot on Kodak Portra 400 in 120 format.

Another recent shoot on Kodak Potra 400 in 120 format:






Focusing on the ground glass of my Yaschica Rookie can be difficult so I missed focus a few times. Oh well...

Testing my Canon AE-1 + Canon FD 28mm f2. Fujifilm Superia X-Tra 400, 35mm: