PannySVHS

I really enjoy this series at the french blockbusters

I still think if the uncompressed true raw look is what you're after... get the Sigma Fp-L with an SSD and set it to 2x crop mode.
Digital Bolex / Magic Lantern without the hassle!

The whole shilling irony is that the main product they are shilling is themselves, it's not even about the brand... it's all about attention, and if shilling for Sony or some other big giant gains them that notoriety then it's all fair game. Whether or not this debases and devalues the entire medium, doesn't enter the conversation on either the side of the creator or the side of the following flock.
So we have a situation now where the journalists are silenced and the shill has taken over, and the medium has turned into cable TV, with a few good quality late night niche channels, but the mainstream ones are just a big sell.
Chris and Jordan started off in my view as quite objective, and all about the cameras, but have become more and more about themselves and spinning their cult of personality to a wider and wider audience.
This is a problem the traditional journalist doesn't have, because he sits behind his pen and paper, the story is the notorious thing, and the writer gets to stay in the background.
This prevents the kind of conflicts we see now between the clamour for attention and personal appeal, at the expense of the quality and honesty of the content.

These guys already have it on small form factor:
https://www.youtube.com/@BACKBONEca/videos
 
Pity no option for the best of them (Insta360 Ace Pro) too so far...

The Xiaomi 11 Ultra, yes. Superb video quality.
Superb sensor.
It would be a very good candidate, but the ergonomics are never going to be great with a hefty (by smartphone standards) piece of glass on the front.

Simply hilarious...
So actual... : ) This usual (un)suspect is actually more often brilliant than not ;- )

Anything pales in the light of tragedy and some things give us comfort in harsh times, sometimes opportunity. For me it was the GX85 which helped me to get through and to cope. I used to carry it with me every day, not around my neck but in my backpack. I mean, Roger Deakins wouldn't carry his camera around the neck after all!:) My kindest thoughts to you and your aunt, dear Emanuel. I am sorry about your dad. I hope you can find more and more comfort day by day in your friends and your art and the positive things around you. Please forgive my harsh tone and words. best, Marty

Listen Marty, I will be very straightforward and friendly as always with you.
1 - Yes, I am not upset.
2 - Life is well beyond art, filmmaking, whatever.
3 - I admit people can be lot of times committed with creating beauty and all that stuff.
4 - But admit you too : ) when you have "gazillions" (as you call it : ) of concerns (let alone private/personal/family life... I brought a 94-year old aunt, like a mother to me, from hospital today where she was with a multilobar pneumonia all week long in the same year I've lost my father just in less than a minute) on keeping your business running up where you need many people to help you in your team... you probably are less focused or even don't give a damn for deep discussions on this or that aspect of aesthetics or technique or even some other angle.
5 - Do I praise a smartphone look? Have I ever purchased an iPhone yet? (a rhetorical interrrogation to respond some other)
6 - They have delivered ProRes from an external device recording, Log and now 4K 120fps.
7 - It's not where 4K 50p/60p distinguishes from 120fps because they actually do (for some reason there's a "p" versus "fps" there ; )
8 - I wonder then on their new thermal management which claims to be 2 to 2.5x superior now.
9 - That's where I am focused. I won't change the world, unfortunately. Apple or pure marketing other than electing the wrong one to the White House which is actually prone to bring some effective difference to our world instead wherever we belong to... phew, that is, everything else doesn't bother me at all.
10 - That said, I think of 4K 120fps on mobile side without overheating as an extra layer of income. When your team stands as your primary way of thought. So, not because of a high life standard or alike. But operating in a complex industry like this one digital has brought nowadays, any open gate for increasing our chances of a survival suit is an oxygen breath.
 
And remember:
I) The best camera is not that cinematic one but the one you're able to bring with you when you'll need to ; )
II) Digital has fiercely this meaning too.
 
Probably why me and @eatstoomuchjam, who is the same of those other threads cine-like related but also praises miniaturization after all, both share here the same pages of this thread.
 
- EAG :- )

If you start with the desired aesthetic and then ask yourself what the equipment and settings are that creates that aesthetic, then you quickly realise that anything above 24/25/30p is a specialist tool.  
For me, 60p conformed to 24/25/30p creates an aesthetic that is surreal.  If the subject motion is significant then it can pass for reality but through a highly intense emotional lens.  I've seen shots that were 60p but didn't look unnatural in situations of extreme grief, shock, and euphoria due to love, drugs, or adrenaline.  
The aesthetic of 120p conformed to 24/25/30p is absolutely into the territory of a special effect.  I filmed dozens of hours of footage from my kids sports games in 120p and am very familiar with the look, and it screams at the viewer that they're watching special effects footage.  This is appropriate for heavily stylised content such as fight scenes or extreme action shots that take place outside reality, for example movies that are set in someone's mind or in virtual reality etc.  120p doesn't align with our senses observing our reality, except perhaps if there was an incredible amount of drugs involved.
The other potential uses for 120p or slower is to see things that aren't noticeable to the naked eye.  Documentaries showing animals doing thing very quickly like frogs shooting their tongues at bugs, birds diving into water to catch fish etc.  This is a special effect but a useful one to extend our perception in time.  The Slowmo Guys on YT make great use of this.
The upgrade of a smartphone from 1080p120 to 4k120 is of almost zero practical use in film-making.  Discussion of it at length outside of a very narrow niche can only be academic or fetishistic.

An interesting mod, looks irreversible - but still worth it.
The Xiaomi 12s ultra would be a good candidate for this too.
 

From my experience, ease of use in reaching that best potential image quality goes to the Bmpcc and Bmmcc, among DSLMs and sub 5000 USD class of cameras. @ita149
The og S1, S5 and the S1H  provide fantastic potential in post with a modern flawless image, up there with a FX6, dethrowning a r5 in regards of dynamic range and latitude f.i.
S1 would be my steal of the current moment, regarding bang for the buck for a cinema dslm.
The og Bmpcc and Bmmcc are my image magic recording devices though.:)
 

They did it again, no internal NDs.😂

I am always fond of what people are able to achieve with older 8bit pro and consumer tech. I am especially fond of seeing what the original Dslr/m artists are able to achieve. I don't want to get into fanboyism, but your Berlin piece with the GH4 is one of my all time favorite vignettes, pacing, color, light, framing...
Btw, great writeup, Andrew!😊

First post is checked by me, and if I don't like it... banned forever 🙂

So I went with the A7R III of course 🙂
The reasoning goes like this... It was 1160 euros, and the A7 IV would have been 1750. Quite a big difference.
The A7R III is a 2018 camera, and in those first EOSHD reviews it remember feeling it was a big step up from the already very good A7R II, because Sony had introduced new ergonomics, new battery, new colour science... And now they have done so again 6 years later, and the a7 IV of course has completely new Creative Styles and menus... plus 10bit and S-Cinetone, which you'd think I would consider a must-have. Thing is I don't. The new menus aren't a selling point, they're a bit of a mess. The new colour profiles are pretty decent, but I am more used to maximising what you can get out of the old ones with EOSHD Pro Color. And the A7r III when set up right has some serious mojo... Maybe a bit of a harsher highlight roll off than the A7 iv, and it doesn't grade as well in S-LOG3, but there is a part of me that doesn't care and just wants to shoot.
I tested both side by side for about an hour in the shop, sat down around a table... The a7r III autofocus was as good as I remember it... Can't really see any major improvement on the a7 IV. I tried the Clear Image zoom for Super 16mm c-mount lenses and the Super 35mm mode on the a7r III and again there was no shortcoming, and no clear advantage for the a7 IV. That's quite an important feature for me as I like the look of my c-mount stuff.
When it comes to 10bit and more dynamic range I have the GFX 100 and S1H. When I need really good AF in video mode and stills - the a7r III does the job admirably. My a7r III will be mainly for personal stuff, stills and video - with emphasis actually more on stills whereas the S1H takes up some video duties.
The video mode on the a7r III really is no slouch... I find the image really very nice in 4K full frame and S35. It also has 1080/120fps which is a nice bonus for such an aging model.
The a7r III also has a small edge over the a7 IV in low light, in both video and stills, even thought it has a higher megapixel count (42 vs 33) and is 6 years older... quite surprising.
Ergonomics wise, the a7r III is smaller, slimmer, and has an equally good EVF - you don't notice the higher res panel in the A7 IV very much as the resolution of the live-view feed doesn't quite make use of it.
So I feel good about saving the 500-600, and will one day get back into the modern Sony cameras... but for now the a7r iii does the job perfectly fine. I'd like to get an a1 again one day... When it comes down under 2.5k then I will strike. It's hard to see how they will ever better it, without a complete change in concept and technology.
By the way, I really do prefer the tilt screen on the a7r III over the social media friendly twizzle screens of late. The a7 IV just didn't feel as good to shoot with somehow, when the screen is opened up at the side off axis.
There's also no advantage in RAW quality for stills.
I appreciate the image in video mode is that bit better... A bit more dynamic range in the creative styles, a better codec, and S-Cinetone is nice to have as well.
So a pure videographer's needs may differ and that extra 600 might be worth spending.
Let's see if I regret the decision by this time next week 🙂

@zlfan you use an impressive range of cameras! It would be useful and interesting to see, as requested by @Benjamin Hilton, some images from them to put your comments in context. 

Unfortunately, as someone who has exactly zero market segments catering even remotely to what I want to do, I have to go to the mountain rather than waiting for it to come to me.
Pairing it with a VA seems a sensible move for a Resolve native like me.  Obviously lots of details are still unknown and you'd want to look over the details before the rig was really optimised, but such a thing would make sense.
I guess we'll have to wait to really get any solid info in order to evaluate it.  Having the GH7 sensor in such a form-factor would make a lot of sense, and with some interface changes these two might be the BS1H and BG1H - the chassis look identical.
I know a guy here in AU who does corporate stuff that just picked up a second BS1H to go multi-cam and he got it new for AUD1900 / USD1282.  He'd been watching them like a hawk and kept seeing more and more deals and he held out pretty long and pounced at that price.  I think that might have been from Amazon AU but can't be sure.
My comment about the size comparison wasn't necessarily a criticism.  If Panny built a camera that could handle the heat and data rates from a FF sensor and the physical stress of a professional standard FF lens mount and then just changed the sensor board over for the MFT one it's likely to mean that there's more engineering headroom than a purpose-built MFT camera might have.
Anyway, this is all armchair daydreaming.  My likely path is that I won't know what I want or have a clear idea of my priorities for a long time and when combined with my personal rule to not buy anything unless I have clarity, I won't be buying anything for a long time.  Plus, the BMMCC is hardly a slouch, so the motivation to upgrade would be pretty low intensity anyway.

I agree.
(For the OP) The best quality video mode is 'C4K' (DCI 4096 x 2160) at 24fps - the other 4k frame rates only support UHD which is noticeably softer.
The E-M1 iii is not much more expensive second hand now and has better video C-AF and IBIS. Video quality is the same as the E-M1 ii.
You need to use 10-bit mode on the OM-1 to get the most detailed video - then it at least matches the E-M1 ii/iii C4K level of detail but offers 25 & 30 fps as well as 24 fps (and the UHD is pretty much as good). Downside is that 10-bit is HEVC only and either OM-Log or HLG - no 'normal' picture profiles or adjustments.
8-bit UHD & C4K is about as detailed (i.e. a bit soft) as UHD on the E-M1 ii/iii.

I would go for a second hand E-M1 II over either of those. They are very cheap now and in some ways even better than the OM-1. The sensor readout is more detailed in 4K.
The E-M10 III shoots 4K whereas E-M5 II shoots absolute mud. It was dodgy in video mode even for 2014 standards!
If you absolutely can't justify an E-M1 II for 100 bucks more, the E-M10 III is the one to get.
Canon Rp is a disaster, stay away from that for video. It feels awful to use and crops like hell.

Video quality on the E-M10 III is much better than E-M5 II.

Seen as though my retro tech hobby is now completely out of control I decided to get a 2007 MacBook Pro for FireWire duties today, cost 80 euro.
Came with some nice music and the SSD upgrade (500GB) which was popular back in the day, and seller chucked a 4S in with the deal.
there’s a number of aspects to it that suggest modern Apple have not necessarily gone in a forward direction!!

With that logic Ericsson should use Snapdragon for its 5g infrastructure products, because its cheaper! 
 
Not yet. Sensor output is 10 bit. ADC is 10 bit. They put 10 bit data in a 12 bit file. 
 
5W is 5W, whether you're able to cool it down or not doesn't change the fact that its not insignificant. Another issue is movement of the data. 6k60 raw is about 14Gb/s. No matter how state of the art is your CPU, 14Gb/s is 14Gb/s. Its too much to not generate heat. 

In my eyes this and the skating video show the most convincing image quality of any DSLM. These and some Z8 and Z9 stuff. And that by far. Kinda looks like a 6K/4K version of the image coming from a BMMCC or og BMPCC. I'm impressed!