Django

RIP

FX30 has a number of improvements over FX3 (oversampled 4K, double LCD resolution, focus breathing comp) but also some cons mostly on the stills side (no mechanical shutter, no drive mode). So as a hybrid FX30 isn't interesting. The best thing is the price, half that of FX3 while in the same exact body.
FX3/FX30 vs A7S3: The FX line have TC, LUT support (allowing you to bake in a custom LUT), cine EI and of course the body with mount holes, tally lights, top handle with XLRs. And active cooling so less overheating. The only tradeoff is the EVF loss.
Another option is the XH2S. You get your EVF and full photo specs. And on the video side a stacked sensor giving you great DR, low RS as well as 6.2K open gate, DCI 4K, ProRes, Film simulations etc. 

maybe you need to put reading glasses on. he explained his work is mainly on FX6 & FX9 which are both FF cameras. he'd use FX30 as a b-cam so a speed booster makes sense to keep the same FoV and use the same FF lenses. 
plenty of FF cine lenses out now as well as large sensor cine cams from RED/ARRI. Sony's entire cine line from Venice down to FX3 is FF.
SMH. You must be new to lenses, my FF Leica M & Nikkor AIS glass are more compact than any modern APS-C lenses.
The extra glass from the speed booster can actually help reduce over sharpening from cameras like XH2S that have no OLPF. And the stop of light that you gain helps with S35 sensors poor lowlight performances.
He said he also plans to use S35 glass and so FX30 allows him to use both FF & S35 lenses, unlike the FX3.
I love shooting wide open at f1.4 or even f1.2. obviously for specific shots requiring isolation or a dreamy feel but you have entire films like Army of the Dead that were shot FF on a Red Monstro wide open at 0.95 on Canon Dream lens rehoused in Leica M mount:

Rules are meant to be broken. And just to prove this isn't just a one off Hollywood phenomenon, here is 6.2K open gate footage from XH2S using a speedbooster with some shots done at f0.95 (lowlight footage from scene 4):
I think the image looks fantastic personally, FF aesthetic/bokeh yet still very detailed but without the over sharpness usually associated with Fujis.

maybe you need to put reading glasses on. he explained his work is mainly on FX6 & FX9 which are both FF cameras. he'd use FX30 as a b-cam so a speed booster makes sense to keep the same FoV and use the same FF lenses. 
plenty of FF cine lenses out now as well as large sensor cine cams from RED/ARRI. Sony's entire cine line from Venice down to FX3 is FF.
SMH. You must be new to lenses, my FF Leica M & Nikkor AIS glass are more compact than any modern APS-C lenses.
The extra glass from the speed booster can actually help reduce over sharpening from cameras like XH2S that have no OLPF. And the stop of light that you gain helps with S35 sensors poor lowlight performances.
He said he also plans to use S35 glass and so FX30 allows him to use both FF & S35 lenses, unlike the FX3.
I love shooting wide open at f1.4 or even f1.2. obviously for specific shots requiring isolation or a dreamy feel but you have entire films like Army of the Dead that were shot FF on a Red Monstro wide open at 0.95 on Canon Dream lens rehoused in Leica M mount:

Rules are meant to be broken. And just to prove this isn't just a one off Hollywood phenomenon, here is 6.2K open gate footage from XH2S using a speedbooster with some shots done at f0.95 (lowlight footage from scene 4):
I think the image looks fantastic personally, FF aesthetic/bokeh yet still very detailed but without the over sharpness usually associated with Fujis.

The FX3 is overpriced imo. It has the exact same downfalls as the FX30: Still no DCI 4K or shutter angle or WFM/False color. No S35 crop mode. No EVF. No internal RAW. No oversampled 4K. Actually the FX30 has oversampled 4K so in one important IQ aspect it is actually superior to the FX3! And it can do both S35 & FF with speed booster.
I'm not really worked up, I just find the Sony cripple hammer very annoying and disappointing. Canon caught a whole lot of flack when it was up to those shenanigans but Sony gets a pass from you? double standards. 
See I do want a b-cam to my FS7 just like I'm sure FX6 & FX9 owners do too, but Sony doesn't give it to you. Not in FX3, not in FX30. At least Canon have C70 & R5C will full cine line features including internal RAW.. more expensive sure but no severe compromises like with Sony. 
All that said I will probably go with Fuji lol. 
 

Well its a dumb move imo because the FX3/FX30 would be perfect B/C cams to FX6/FX9 or even Venice. Think drones, gimbals, action shots. Also the FX30 web page talks about cinema and filmmaking all throughout:
Sony's acclaimed Cinema Line cameras sets the standard for filmmaking, with beautiful cinematic imagery, high performance and highly efficient workflow. Film industry experience allied with state-of-the-art imaging technology. The outstanding Cinema Line series of cinema cameras is built on decades of experience in the film industry and supported by Sony's sophisticated new technologies on the cutting edge of digital imaging.
And even if you're not aiming for cinema release 4K DCI is great simply for getting closer to full sensor readout instead of the UHD crop. Again every mirrorless brand offers this in their flagships / video oriented models.. except Sony. It's a deliberate cripple to continue and segment the now "affordable" FX line from the more expensive "real" cine line. Same for shutter angle, it's probably 2 lines of code to copy/paste but no dice. Its rather infuriating. I'll be at the Sony booth at a trade show next weekend and rest assured I will grill them about this.
Not true: Canon R5C has shutter angle, Panasonic GH series also. FX3/FX30 are half-ass attempts and not 100% worthy of the FX line imo. R5C remains the benchmark with full cinema line OS.
FX30 is really hyped because of its price point and sleak FX3 body but in reality you're not getting that much with NDs, DCI & shutter angle missing, no EVF, no mechanical shutter and a sensor that pales in comparison to what the XH2S offers you (14-bit readout, 6.2K Open gate, DCI4K, 9.7ms RS, 13.4 stops of DR, ProRes). 

I shoot on both Canon & Sony systems. It's a tough call and does come down to personal preference. 
I favour Canon for camera ergonomics, UI, AF (both in stills & video), colours (especially skin tones).
Lens wise, I find EF glass has more mojo (I just love my 35mm F1.4 L & 50mm F1.2 L). But I also love my Zeiss Batis primes that are more compact. RF has some amazing glass also, and even the affordable STM line is really good (I think I'll go for the 24mm & 85mm STM next). Lenses is really what ties you to a system so don't underestimate that aspect!
Now specifically when comparing A7S3 to R5, well R5 does have 45MP stills, 8K, oversampled 4K & internal RAW.
A7S3 has non oversampled 4K, only 12MP stills & a lot of NR at high ISO.. but better DR & less RS. 
The lowlight used to be where A7S series killed it but that's not the case with A7S3 since it is in fact a 48MP quad bayer sensor. Also the 1:1 4K doesn't allow super35 crop or focus breathing compensation. Bummer.
4K120p I dunno, it looks great on the R5 but haven't A/B it with A7S3. 
I think with 1.6 R5 wins on overall specs but if you really need that extra DR, super low RS & better 4K120p then it might tilt you over. Both I think are mirrorless workhorses.
Sony colours have become much much better than in previous generations but I still find myself spending way more time in Resolve adjusting footage than with Canon where I pretty much can just slap a custom LUT and it looks simply amazing. Especially skin tones. To me this is a MAJOR advantage for Canon.

The XH2/XH2S obliterate the FX30 when it comes to specs. Fuji don't have a cine line to protect and it shows.
As a hybrid the FX30 plain sucks: no EVF, no mechanical shutter, no drive mode, no stills/video switch.
The one aspect where FX30 out-beats Fuji will be AF. And custom LUT support.
I guess the FX30 form factor with mount holes, active cooling and the included top handle with XLRs can't be neglected either.
I'm really torn as the XH2S is so much more exciting to me but as an FS7 user already invested in Sony glass, the FX30 makes much more sense as a B-cam. But god is it boring, dare I say uninspiring. 

A7IV overheats in 4K60p though. Also has a whopping 26.8ms RS vs 15ms on FX30. 
FX3/FX30 are entry cine line cameras. Now with Cine EI & LUT import they do feel a little bit more worthy of FX range.
As an FS7 user, this would be the perfect B-cam for me.
That said, yeah strictly nothing exciting about it. Another utilitarian Sony camera.

A7IV overheats in 4K60p though. Also has a whopping 26.8ms RS vs 15ms on FX30. 
FX3/FX30 are entry cine line cameras. Now with Cine EI & LUT import they do feel a little bit more worthy of FX range.
As an FS7 user, this would be the perfect B-cam for me.
That said, yeah strictly nothing exciting about it. Another utilitarian Sony camera.

Canon has a rumoured R7C on the way:
The Canon EOS R7 C will record 7K60P in Cinema RAW Light and will reportedly have the same codec options as other Cinema EOS cameras, including the Canon EOS R5 C.
There was also talk of a C50 ages ago but that rumour didn't seem to pan out..yet.

It may just be my imagination Andrew, but when you post, there is more engagement.
You are the forum leader after all so as it should be.
However, when you go quiet, so does the forum.
As Kye suggests, more content from you is 100% the way to go. Providing you have the time of course!
Where’s the OM-1 ‘review’ for one thing?!
Maybe I am a bit olde schoole, but I am a fan of forums for info and a bit of chat over anything else that has come along since and sadly I have seen several die and in each case it was because the leader stopped leading.
Lead Andrew and they will follow…

Yeah that's definitely an added bonus but not the main appeal to me when deciding in between those two. 
For me it is a balance of convenience & reliability during the shooting experience, and the final image output and workflow in post.
The C70 with its DPAF, NDs, battery life & XLRs in combination with DGO sensor and RAW capabilities really ticks a lot of boxes and for run & gun, corporate work, docu etc it is really a slam dunk of a camera for such usage. Which is why I had it at the top of my next camera purchase list.
The Komodo again is a sensor in a box. You will need to rig it although the dual hot swap batteries, PDAF, touch screen, iOS RED app & RF mount (that will allow Canons vari-ND adapter) are all great things to have on the field and are often missing on most cine cams. The simple yet effective traffic light exposure system also seems awesome. These are all features that have pushed me into considering the Komodo even for run & gun applications. 
And then of course the IQ from the footage. The file sizes of the compressed RAW. The global shutter. 
The image does feel 'just right' as you say. The 6K doesn't feel over sharp. The motion is beautiful. The CS, the noise. The R3D raw settings. The image also holds even under extreme grades which allows to get more subtle and creative I find, there is great nuance. The LUTs that RED provide are also great. Overall the whole experience just seems to take you closer to that high-end polished "ARRI" cine look. 
But that's just my reasoning and playing with files, not actual hands-on field experience. A lot of operators here or on YT that have both C70 & Komodo seem to favour the C70 for solo jobs and fast turnarounds. That is a major chunk of my work, I have to think practical too. But then again a lot of higher end clients keep asking for more cinematic look. They want the IQ they see in advertising on TV, Netflix etc. I'm also planning on getting back to music videos and more artistic projects with higher production value. So right now, I am really leaning towards Komodo. I also think working with that footage will excite me and that's also always a good thing!

nah very good thermal ratings under normal conditions. non issue. if you're shooting in very hot environments though the fan exists..

In case you haven't been following rumour mill there is one more video oriented APS-C camera coming: FX30.
So far all we know is:
26MP
4k120p
Same FX3 body
Almost the same FX3 video specs
Announcement in late September
$2500
 
It basically sounds like an XH2S (Sony) sensor in FX3 body. But no way will Sony give us 6.2K Open Gate. 
Cine EI, LUT support, Sony AF and active cooling might still win me over as it would be the perfect B-cam to my FS7.
 

Not even close to being similar price points though.
R5C is twice as expensive, has 50% more rolling shutter, 2 stops less DR, no open gate, no ProRes and no IBIS compared to XH2S.
XH2/XH2S pack a lot of bang for your buck imo.

Not even close to being similar price points though.
R5C is twice as expensive, has 50% more rolling shutter, 2 stops less DR, no open gate, no ProRes and no IBIS compared to XH2S.
XH2/XH2S pack a lot of bang for your buck imo.

Wow that was some of the best footage I've seen yet from this camera. Props to the filmmaker.
6.2K Open gate + Speedbooster for FF + vintage glass at 24fps is really a look that I covet/desire!
It's getting harder and harder for me to resist going in on the system.
By the way the XH2 was announced couple days ago in relative silence. It comes in cheaper at $2100 has 45MP stills and has 8K + oversampled 4K with ProRes. The sensor isn't stacked which means XT4 type rolling shutter & AF. And no open-gate either. Still quite interesting for hybrid shooters and an entry price for 8K if that's your thing. For me XH2S remains the target.

Wow that was some of the best footage I've seen yet from this camera. Props to the filmmaker.
6.2K Open gate + Speedbooster for FF + vintage glass at 24fps is really a look that I covet/desire!
It's getting harder and harder for me to resist going in on the system.
By the way the XH2 was announced couple days ago in relative silence. It comes in cheaper at $2100 has 45MP stills and has 8K + oversampled 4K with ProRes. The sensor isn't stacked which means XT4 type rolling shutter & AF. And no open-gate either. Still quite interesting for hybrid shooters and an entry price for 8K if that's your thing. For me XH2S remains the target.

Please be real, please be real, please be real, please be real, please be real, please be real, please be real.
 
 Yes, and that price puts it on par for competing against the GH6 and X-T4. 
But if it can do everything the FX3 can, then the FX30 should be a worthy competitor. 
Especially if they put NDs into the FX30! (but sadly I highly doubt that, even though I personally believe anything called "CineAlta" ought to have NDs!!)
Exactly! Not just FS5/FS7, but also people who are still holding onto the older F5/F55/FS700/F3. Then the FX30 would be fully compatible with all of their lenses, and it would give them an awesome B Cam for gimbal shots / car rigs / etc that the bulkier F55 etc cameras struggle badly at. 
Even big time Sony VENICE users would like the FX30! Plenty of people are still shooting with top notch S35 cine lenses on the VENICE, and the FX30 is great C Cam to match with the VENICE.
No timecode. 
And I think there is a codec / picture profile that the a7S lacks vs FX3? (specifically, S-Cinetone, which is a very big deal for some)
I think the a7Smk3 is still very slightly prone to overheating sometimes? While the FX3 (and FX30) would be rock solid reliable? (relatively speaking... honestly, I worked on a feature film using the FX3, and that overheated!!)
 

Its a little sad to see you guys argue like that, I'd expect that on dpreview forums but not here.
There is no absolute when it comes to lenses imo. We all have different goals and preferences.
I personally hate zooms, my brain just works better with primes. I'm all about that fixed focal length.
That said, I'm not shooting sports/action like gt3rs, where I gather getting the shot is the only thing that counts.
And that ties into his perspective of optically better is superior. I get that and his observations are interesting.
Again personally, none of that matters. In fact the more CA, vignetting, even softness can equate to lens character. There are also other factors like micro-contrast and 3D pop that I find are often better on primes.
Not to the extreme or for every situation though, let's not get silly but case in point being the infamous EF 50mm F1.2.
I have to chuckle when gt3rs says its "useless for photo". A good friend of mine uses that lens exclusively for photography and has his work exposed in numerous exhibits.. I'm also a big fan of that lens both for photo & video (we nickname it the Hattori Hanzō).
I understand his perspective though, it's no secret the lens is soft wide open and has a bunch of CA. again, for sports/action its probably a terrible lens choice. But for artistic purposes, that dreamy look is key. Same goes I'm sure for Canon's FD "dream" lenses and all kinds of cult vintage lenses.
So there you have it really.. zoom vs primes, modern vs vintage lens designs. There is no right/wrong choice, just whatever suits you best. No need to insult one another over their personal preferences.
Getting back to the original discussion, thinking about it some more, Canon shutting down third lens manufacturers is going to hurt the system. I guess that means no more Sirui RF too, so no more native anamorphics etc. Bad move for us customers..

It will certainly come down to the sensor and specs. Hopefully it uses the 26MP XH2S stacked sensor.
By the way A7IV becomes APS-C in 4K60p, has terrible rolling shutter, no 4K120p and overheating issues.
In the end, it probably won't convert FF Sony shooters but rather aimed at S35 FS5/FS7 users like myself that are used to the crop factor and have according lenses like the Sigma 18-35 etc.

Its a little sad to see you guys argue like that, I'd expect that on dpreview forums but not here.
There is no absolute when it comes to lenses imo. We all have different goals and preferences.
I personally hate zooms, my brain just works better with primes. I'm all about that fixed focal length.
That said, I'm not shooting sports/action like gt3rs, where I gather getting the shot is the only thing that counts.
And that ties into his perspective of optically better is superior. I get that and his observations are interesting.
Again personally, none of that matters. In fact the more CA, vignetting, even softness can equate to lens character. There are also other factors like micro-contrast and 3D pop that I find are often better on primes.
Not to the extreme or for every situation though, let's not get silly but case in point being the infamous EF 50mm F1.2.
I have to chuckle when gt3rs says its "useless for photo". A good friend of mine uses that lens exclusively for photography and has his work exposed in numerous exhibits.. I'm also a big fan of that lens both for photo & video (we nickname it the Hattori Hanzō).
I understand his perspective though, it's no secret the lens is soft wide open and has a bunch of CA. again, for sports/action its probably a terrible lens choice. But for artistic purposes, that dreamy look is key. Same goes I'm sure for Canon's FD "dream" lenses and all kinds of cult vintage lenses.
So there you have it really.. zoom vs primes, modern vs vintage lens designs. There is no right/wrong choice, just whatever suits you best. No need to insult one another over their personal preferences.
Getting back to the original discussion, thinking about it some more, Canon shutting down third lens manufacturers is going to hurt the system. I guess that means no more Sirui RF too, so no more native anamorphics etc. Bad move for us customers..

It will certainly come down to the sensor and specs. Hopefully it uses the 26MP XH2S stacked sensor.
By the way A7IV becomes APS-C in 4K60p, has terrible rolling shutter, no 4K120p and overheating issues.
In the end, it probably won't convert FF Sony shooters but rather aimed at S35 FS5/FS7 users like myself that are used to the crop factor and have according lenses like the Sigma 18-35 etc.