mkabi

Yep. It's a well known trick. 
https://www.bhphotovideo.com/c/product/90629-REG/Rosco_102302104825_E_Colour_210_6_Neutral.html
 
There's no old days about it. It's called real filmmaking. ?

Watched them all. Mesmerized. ? subb'd. 
I also figured out where mojo comes from. From your all's Moms. ?

Haha... I will take that bet...
Wait... wait... whats the burst rate again? Oh yeah.... okay... I will raise you 4K 10fps... haha.

Not looking good:
The videos you can find about X-H1 AF in video show the same results. Either everyone is doing it wrong or something is wrong with the AF of this body.

Don't buy a C300ii... It's too expensive... And the demand for it will lessen faster, because it's been on the market for a while now. You have a safer bet with the C200.
I see a real potential in Kinfinity cams, especially 6K... It's also an exotic import that people will try in the rental realm.
Even the blackmagic 4.6K is potentially something people would rent.
How about this... You go talk to one of the rental houses near you. Ask them advice about which camera you should invest in.. and see if you can strike a deal with them too.
I had the C500, and I sold that too. But that guy was telling me to sell it and invest in an $8K follow focus cause that would be rented out more often than my Raven.
In any case, I walked out of this with amazing connections. Most of my jobs are through this Rental house, and from time to time I rent my equipment on a discount.

Agreed! And there is a reason for the high shutter speeds, because you usually double the shutter (180 degree) to match whatever current fps you are shooting at... so 24 is 48, 30 is 60, 60 is 120 & 120 is 240 and so on.... but the trick with Twixtor is that you're doing a hypothetical 240fps, 500fps or 1000fps or more.... but you are only really shooting say 4K @ 60fps so you set the shutter speed to say 1000, 2000 so it works with Twixtor to get that 500fps or 1000fps. Sometimes its better to even set shutter speed at 4000, but think about how much light you are losing.
Also, thanks for the heads up on the new plugin to treat motion blur...
I also agree on this as well... 
Just to be clear, I wasn't promoting Twixtor or other slo-mo softwares, was just responding to @Geoff CB when he said that the creator of the 'Dark Side of the Lens' - "Completely ignores the shutter speed rule, contrasty as hell, warp stabilizer everywhere".
And, as @Matthew Hartman pointed out, that you need to plan for it to be really effective for its intended purposes. I think that the creator of 'Dark Side of the Lens' was intending to use Twixtor to some effect, but its hard to really plan it out on a run and gun - nature type video. So he set it @ 720/60p - recorded as much as possible and as fast as possible with high shutter speeds (or not) and did the rest in post.
Also, "it seems shooting super-slomo at super shallow DOF + a LUT gets instant mojo approval" - I don't know so much to say that... what I can say from the video that I posted with the BMX bikes - yes... there is this cool/awesome factor, but notice that there in lies the problem with Twixtor too. The image quality becomes some blurry soft mess, hence you thought this super shallow DOF, when in fact those rain drops are SFX/CGI add-on courtesy of After Effects and Red Giant's Trapcode Suite, placed there to mask the problem or to get the viewers to set their sights away from the problem  
For those interested in Twixtor, Phillip Bloom has some really good advice on it:
http://philipbloom.net/blog/twixtor/

Actually, well exposed you can do wonderful things with 8 bit, if you choose the right software.
But if you shoot log/HLG or plan to do a lot of grading/keying/vfx insert, and don't want any banding or artefact, 10bit is nessecary for perfect results.
That being said, "perfect" depends a lot of your sensitivity, your eyes, and of course, the broadcast media.
Since I have a GH5 with its 10 bit, my videos are not fundamentally better, but I'm more satisfied about what I can do in postprod

Don't buy a C300ii... It's too expensive... And the demand for it will lessen faster, because it's been on the market for a while now. You have a safer bet with the C200.
I see a real potential in Kinfinity cams, especially 6K... It's also an exotic import that people will try in the rental realm.
Even the blackmagic 4.6K is potentially something people would rent.
How about this... You go talk to one of the rental houses near you. Ask them advice about which camera you should invest in.. and see if you can strike a deal with them too.
I had the C500, and I sold that too. But that guy was telling me to sell it and invest in an $8K follow focus cause that would be rented out more often than my Raven.
In any case, I walked out of this with amazing connections. Most of my jobs are through this Rental house, and from time to time I rent my equipment on a discount.

I rent out my aputure kit and quasar science kit often. It's all about knowing what's popular. Leave the cameras to rental houses as people want Arris and Reds to rent. Glass too. Who the **** can justify spending 40k on a lens or body?

The follow focus would also keep a much much much longer lifespan as a relevant piece of gear, unlike the Raven which will get outdated fast. 
 

This!
lol.... I was thinking it, but you said it and articulated so perfectly.
Thanks.

This is the statement everyone of us should print out and paste on our bedroom ceiling to go to sleep to and wake up to every day. 
If you're run-and-gun listen to the following tentatively, or not at all. 
The best looking films curate the living joy out of every scene. Nothing is left to chance or served up the "we'll fix it in post" line. That's lazy.
Great, critically acclaimed images take considerable work, even with a full crew. The mentality of getting the shot as quickly as possible, as in checking off a shot list only serves business objectives, not creativity. 
If you care about your storytelling, care about and get passionate and intelligent with the tools you use to tell it. Get your hands dirty. Don't rely on your camera or editor. Scrutinize what every element in your scene is speaking to your audience. It all matters. 
You get out what you put in. 

I wonder myself, never owned a Panny so someone can probably answer this with more confidence.... I feel Continuous AF may be the culprit as opposed to pure MF. People want amazing IQ but don't want to work for it.... Tsk... Tsk... Tsk.

My friend, I'm not going to lie, what the hell did you just say? ?

A bad operator will make any camera look like crap, that's why we see so much crappy smartphone content. Good technical specs do nothing alone. But in the hands of someone with a little skill and a lot of vision, (and some ingenuity) this is where good technical specs shine. 
Give a concert violinist a crappy violin and a world class violin and she's going to make them both sound amazing. But the better violin will still sound better and bring out more annotation, resonance, dynamics and expression. 
Anyone with a basic knowledge of photography and maybe a couple hours of training can operate a cinema/video camera and probably surmise a decent exposure. But you can't teach vision. Because vision a personal process and journey. This is where most of the "mojo" exists. An operator is going to point his camera towards the talent at eye level. A visionary is going to find ways to do anything but that. 

As a creator I never see the need to analyze or quantify what I like and dont like.
Imo Mojo isn't just some fluff word. Its a feature. I know when I see it and I definitely know when I dont. But just like everything within art its subjective. There is no point in trying to transfer it to someone elses eyes. They have to figure it out for them selves. Some like high resolution others hate it. Nothing wrong or right about it.
I often get the feeling that it scares certain people. Some people are afraid to stick their neck out and say, "I like this and thats ok". They rather have a group behind them validating their opinion (thats how the fanboy wars begin). Or they take comfort in numbers (enter the spec warriors).
I could show examples and go into detail why I think one image has more mojo than another. But I rather not. Because a great artists once said, "The problem with people that don't understand art is that they are trying to understand it". 
I try  to live by that rule.
(Ps. Im not talking about anyone particular. Just in general.)

As I've said before.... What I like, you might not like... etc... etc...
I think that instead of over analyzing the word "mojo" and what that word refers to.... You are better off trying to replicate a scene from a movie that you specifically like.... So, pop in that DVD find that scene that you like, pause it.... Take a screenshot and try to copy that....
Now... If you feel that you are not able to copy that after your first attempt.... Don't give up... Try different settings..... Come as close as you can in-camera before moving on to post.... Adjust in post, but don't over do it. If after a hundred attempts, you are not able to copy it exactly.... See if someone with more experience and better grading capabilities can use that camera to replicate that scene and learn from that...if after all that... It's not to your expectations..... May be then you can blame it on the camera and may be try a different camera... 

First, you have to ask yourself: is the mojo present in a single frame? Could you compare still images to find mojo? Or does the mojo kick in when it played as a video.

@kye do you like your camera? Does it feel good in your hands? Do you enjoy shooting with it? I had the XC10 and I can say without a shadow of a doubt, I loved that camera, it has great ergonomics and I loved every minute I shot with it. And luckily for you... the image has some mojo. The C-Log in 4K or 1080p is gorgeous. I’ve never used a camera that had better 4K video than the XC10. 
I think all you can do as an operator is work on the basics. Lighting, composition, exposure... etc...
With that statement, I was addressing another member because he seemed to be looking for a formula to get the mojo. And sadly, if there was a formula... other than time, practice and craft, everybody would be amazing filmmakers.
However, I do believe that certain cameras have more mojo... it could be the way it’s coded, or the amount of MPs mixed with the color science, or the bitrate, mixed with the curve... the possibilities are endless  
Thw good news is that almost every camera on the market in the past 5-10 years is capable of great images.
@TheRenaissanceMan gave me some great advice when I was starting out. Take a notebook with you and jot down all of your exposure settings, where your light is coming from, time of day, etc... and go back and watch the footage. Rinse and repeat a couple dozen times and you’ll figure out what’s what.
Either way, great topic and good luck. 

I don't know man... you seem to be settling-in.... you know.... in that comfortable - convenient zone.
From full frame to mft.... from leica primes to 1 standard zoom.... pretty soon a point and shoot would be good enough... dare I say it? An Iphone will be good enough?
Add the 1dc in there too for good measure and we are golden.

Well I think it’s probably a symbiotic relationship. Some filmmakers just seem to have a beautiful relationship with certain cameras... Andrew Reid with his hacked GH1/GH2 films. Kendy Ty with his t2i videos, that Ruslan guy with his Leica D-Lux 6 videos, Ed David with his NX1 video, Mattias with any camera he picks up, etc, etc, etc... so I think some combination of craft and mechanics can give almost any camera or more importantly film that “mojo.” But it does seem that certain cameras have it in spades. Think about it... on a technical level... 8K Red should obliterate Alexa footage, but it doesn’t...

This.
The thing to look for isn't so much Mojo but Mego as in it makes you want to go out and use it.
That's what concerns me about the A7iii as its a great spec but the only thing I ever feel like shooting after picking up one of their cameras is myself, with a large calibre pistol.
 

If it was so definable and attributable to particular cameras then every single "Guess The Camera" thread would have a majority of right answers surely?
And they really don't.
At all.

What no love for the 2.5K BMCC?

I plan to get out with it over the weekend, but I honestly feel like I'm going to really like this camera.
My opinion at this point:
The grip is nice, the camera feels real comfortable in my hands. Button placement great. The IBIS, just from the few meaningless clips I shot, it's AMAZING!  I think I'm going to love this Eterna profile.