Django

https://www.youtube.com/watch?v=RM8ejsR_-MQ
 
Pretty good footage with better narrative... 
First watch on my tablet I didn't notice anything but later on my desktop monitor I found weird noise in the shadows. What do you think guys ?

Film doesn't underexpose well so you get crushed blacks rather quickly hence the contrasty look but it obliterates digital in highlight DR latitude. Kodak Vision has been championing their motion film stock and I remember reading it gives DR readings anywhere from 12 to 20 stops depending on scan techniques and recovery methods. You can check some of the charts yourself:
https://www.kodak.com/content/products-brochures/Film/VISION-200T-Sellsheet_US_4PG-EN.pdf
The wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital "dodging and burning," a very powerful tool in the colorists' toolkit, is now even more powerful—up to two stops more image information can be extracted from scene highlights in VISION3 Films.
If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured on these film could be lost. Kodak has recommendations for extracting the full density range stored on high dynamic range films in a technical document titled Scanning Recommendations for Extended Dynamic Range Camera Films
Also recommend some of the great accompanying videos :
 
notice at 1:40 how the DP states he overexposed the highlights by 6-7 stops and again at 2:00 the field is 4 stops over and the sky 7 stops over before recovering the highlights. have fun achieving that kind of highlight latitude in digital!
..again at 7:37 overexposing the grassy area by 3-4 stops and perfect recovery.
Just some extra food for thought when comparing film to digital.

Anton Bauer Titon base is the way to go imo for proper batt life.. dummy battery p-tap mode:

works handheld too, here in USB-C mode..

most annoying part of the Pocket 6Ks is the unreliable battery life metering.. another reason to go external with indicator.

I went to a mini airshow F/A 18 and F5 and to a horse show jumping in these 3 days, something that I used a lot the R5 for and unfortunately even with the max speed setting the AF of the R5c is basically unusable for action, where the R5 would mostly keep the subject covered in the AF area in focus, the R5c would mostly stick to the BG 😞. I used the large area that is very similar to the square area of the R5 that I normally used but unfortunately is a no go.
On the jet I had to switch to the whole area to get something if focus but with the horse show jumping you can't as it will focus on the obstacles and not the athlete. 
Not really sure what to try but I would say the AF of the R5c is not ready for action. I really want the R5 AF on the R5c or just enable the video in the photo mode!!!!!!!!!!!

Also another annoying thing that when you turn off and back on the camera it put the AF square back to the center, not sure there is a setting for this but it should stay where I left it.
On the playback page you cannot applying any lut and you cannot magnify so really hard to tell if it is in focus. 
Now I need to think if to buy one as B cam where the AF is not so key as I mostly prefocus and for long recording or just stick with 2 R5.
Conclusion so far R5c is not a better R5 is a different R5 with some better and some worst part. A missed opportunity imo. 
 

 
The R5 would never do this to stay on the BG and I have done 50+ Show Jumping video with the R5 and the exact same lens.

Yeah its pretty much supply & demand but also its a camera that cost $16K when released and some owners are probably more reluctant to "dump" it for peanuts. The C300mk2 is still imo a great older cam as is the FS7. Its actually a camera on my current (Canon system) upgrade list. The C300mk2 has that one elusive codec that would be my perfect default go-to: 12-bit 4:4:4 2K Clog2 internal. That codec alone places the C300mk2 the closest to ARRI's ProRes 4444 XQ. 
The FX6 is also FF (no speed booster needed) and has that game changing E-ND.
That said the FS7 is still above class (FX9 is its replacement) and is the only cam I know that has the native ENG shoulder mount with extended arm config. Not for everyone nor for every situation but I love the ease of use and comfort of that setup and the output it gives.. here is an old pic I found on google of Andrew at photokina during release !

Yeah its pretty much supply & demand but also its a camera that cost $16K when released and some owners are probably more reluctant to "dump" it for peanuts. The C300mk2 is still imo a great older cam as is the FS7. Its actually a camera on my current (Canon system) upgrade list. The C300mk2 has that one elusive codec that would be my perfect default go-to: 12-bit 4:4:4 2K Clog2 internal. That codec alone places the C300mk2 the closest to ARRI's ProRes 4444 XQ. 
The FX6 is also FF (no speed booster needed) and has that game changing E-ND.
That said the FS7 is still above class (FX9 is its replacement) and is the only cam I know that has the native ENG shoulder mount with extended arm config. Not for everyone nor for every situation but I love the ease of use and comfort of that setup and the output it gives.. here is an old pic I found on google of Andrew at photokina during release !

Right, now I remember! That was the build and settings that worked best. I just might pickup a 5D3 again at some point for nostalgic reasons and to experiment with ML RAW again. Good to know the workflow in post is simplified a bit too..
Absolutely. I actually also simulate the film workflow with my Leica M9 as the playback is totally useless on the super low res display, no live view and it only takes small size SD cards that I fill to the max with only 24/36 pics available. Changes everything. I did a pro portrait shoot recently with this M9 setup and the R6, end result was well 36 shots on the Leica vs +400 on the Canon. There were great shots on both cameras but the clients favourite was by far the Leica ones (and I did not tell them which came from which camera). There was just more work/effort put into the composition, direction etc.. was an interesting experiment!

Film doesn't underexpose well so you get crushed blacks rather quickly hence the contrasty look but it obliterates digital in highlight DR latitude. Kodak Vision has been championing their motion film stock and I remember reading it gives DR readings anywhere from 12 to 20 stops depending on scan techniques and recovery methods. You can check some of the charts yourself:
https://www.kodak.com/content/products-brochures/Film/VISION-200T-Sellsheet_US_4PG-EN.pdf
The wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital "dodging and burning," a very powerful tool in the colorists' toolkit, is now even more powerful—up to two stops more image information can be extracted from scene highlights in VISION3 Films.
If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured on these film could be lost. Kodak has recommendations for extracting the full density range stored on high dynamic range films in a technical document titled Scanning Recommendations for Extended Dynamic Range Camera Films
Also recommend some of the great accompanying videos :
 
notice at 1:40 how the DP states he overexposed the highlights by 6-7 stops and again at 2:00 the field is 4 stops over and the sky 7 stops over before recovering the highlights. have fun achieving that kind of highlight latitude in digital!
..again at 7:37 overexposing the grassy area by 3-4 stops and perfect recovery.
Just some extra food for thought when comparing film to digital.

They should just retire the non Pro 6K at this point imo. Confusing lineup with so little differentiating the 6K G2 & 6K Pro.
 

Nah, the stable Nightly Build is 1080p Full Frame 14bit 16:9 Raw. It shoots continuous with proper live view. Playback was wonky when I tried it back in '17 so I never tried it again. It has exposure meters including a Raw Histogram with an Over Exposure Warning including which channels are clipping. It has peaking and "Magic Zoom" ... punch in while recording. Everything is stable and I've never had any hiccups.
Only the Experimental Builds have a crop and a wonky Live View.

I can deal with no playback, but no Live View + No playback? Is that how it really was (I forget its been so long)?
So what you're basically shooting from the optical viewfinder or guesstimating focus? metering exposure etc?
If so that's actually good for skills (its why I still love shooting film for stills) but damn thank goodness for "modern comfort" as well!

Yes I was very vocal in my criticism when the EOS R came out as well as when the overheating controversy with the R5 was just getting started...so vocal in fact that I was banned from the Canon Rumors site where apparently only blindly loyal fanboyism is allowed.
As far as the R7 goes, Gordon Lang did a great review of it in the video below. Based on the video I did pick out a few things that I really like and dislike:
Dislike - It still requires a USB-PD source to power it. This is important to me because my current V-Mount battery setup that I was able to power the C200, C70, and S5 with won't work for this camera. The R5 has the same problem. 
Likes
Batteries - It uses the same batteries as the R5 and 5DIV, so I would start off on day one with tons of useable batteries already.
Lens Compatibility - This camera could possibly be the most compatible camera Canon has ever created. It supports RF-S lenses, RF lenses, EF lenses, AND EF-S lenses, so owners will have a massive array of economical options to shoot with. Of course an adapter is needed for EF and EF-S but I don't think EF-S lenses can be used with the R5 even with the adapter but I could be wrong.
Another cool tidbit from the video is that RF-S lenses will be compatible with both crop sensor and FF RF mount cameras. 
Overheating - Gordon did not mention ambient room temps during his quick overheating test but it was still nice to see 2hrs and 20min recording at its highest 4K mode without overheating. It also has a nifty overheating tracking gauge which showed it wasn't even close. That would be nice to have in the R5.
In the video it looked like the 4K HQ mode is a massive improvement over the other modes, not sure if it was just a change in other settings in the camera that Gordon made, but to me its rare to see that big of an increase in quality when switching between different video modes in a camera body. I'm looking forward to seeing more video focused tests and especially low light tests. If this camera had dual native ISO it truly would have been great. Without it, I would be happy if it was useable up to 3200ISO.
The seamless integration between this camera and my other Canon cameras (batteries, lenses, adapters, etc.) makes this body very interesting to me.  I stick by my original statement that Canon might have accidentally created the hybrid camera we've been waiting for.
 
 

The 8-bit codec was plain weak. And the RAW had massive files. The 4K was also very soft and not in that good soft but detailed cine way. EF so almost no adapting or focal reducer. The body itself was very nice but I just ended up still using the FS7 9.5 times out of 10.
Got almost no use of it, bought it right before the price drop and lost so much selling it virtually new. Worst investment ever for me basically. 
Crazy to think my R6 absolutely destroys it IQ wise. 
The FS7 still holds its own. I've bought it twice now. Such a workhorse. 
This of course kinda makes me doubt going C70 (even though I'm leaning towards it) over FX6.

The 8-bit codec was plain weak. And the RAW had massive files. The 4K was also very soft and not in that good soft but detailed cine way. EF so almost no adapting or focal reducer. The body itself was very nice but I just ended up still using the FS7 9.5 times out of 10.
Got almost no use of it, bought it right before the price drop and lost so much selling it virtually new. Worst investment ever for me basically. 
Crazy to think my R6 absolutely destroys it IQ wise. 
The FS7 still holds its own. I've bought it twice now. Such a workhorse. 
This of course kinda makes me doubt going C70 (even though I'm leaning towards it) over FX6.

OP already has a fast lens: Zeiss 50mm F1.4. Paired with a A7S / A7S2 it would do wonders in low light, I know, I had that exact combo. For AF lens, the Sony 50mm F1.8 would only add an extra $200.. another reason why I'd go FF Sony rather then Fuji on such a tight budget.

@webrunner5 I have an iPhone 13 lol.. night mode just uses slow exposure trickery, nothing revolutionary.. but hey let me lift that 1DC paper weight artefact off your shoulders, I will give it a good home I promise !

I'm not sure why you're quoting me, as I haven't used ML RAW since so many years ago. 
@mercer is the right person to ask.
Also I have to agree with the others, it is a hack and hence rather convoluted to use.
You have to find the right settings to not brick it and then you only have a couple seconds of shooting time really.
I guess at some point I got the whole thing down and could shoot somewhat reliably with it but that was many many builds ago. No clue what the current situation is. 
The 14-bit output is phenomenal of course but you need to know how to unpack the footage etc.
No way would I recommend going that route for "amateur use - family & travel".
Not sure I'd recommend the XT3 either. For a 3-year old you're going to want robust AF & IBIS can't hurt.
Plus he wants to adapt his Contax Zeiss 50mm. So FF is the better option.
A7III seems like indeed the right choice for those particular requirements.

You don't need tripods unless shooting on long lenses. Most wedding photographers are still using DSLR's with no IBIS and no tripods.

OP didn't say he was shooting birds on 300mm lenses. I don't think he is gonna be shooting his child 3 blocks down the street.

Fuji is my go to choice for family stuff. Small and nice looking images/video. Not great for narrative as there is no 12 bit option but for family stuff it's great.

R7 is a smaller APS-C sensor and R3 is a 2.5x bigger body so both have better thermal management. 
But ok I was not aware of the theory of IBIS being removed for heat protection. If so that's kinda lame but R5C is after all just a tweaked R5 not an entire redesign.
R3 & R7 do overheat in certain modes by the way, just nowhere as bad as R5/R6.
I understand your point of view however you shouldn't assume all of us are doing social media content that ends up viewed on smartphones. I do a lot of high-end corporate work that ends up proofed by clients on 5K iMacs and often viewed on big screens & projectors in conferences, trade shows and what not. The clients have really high standards and my competition here in Paris delivers super high quality. I also do a lot of chroma keying, 3D integration, heavy grading & the occasional TV broadcast all of which benefit if not require 10-bit 4:2:2. +4K high resolution is also more & more useful for cropping, my editors always embrace it.
The good news is that most mirrorless cameras now deliver high-resolution, pro codecs, RAW etc. Its now possible to get cine cam results out of prosumer cameras. So while all this may be marketing and overkill for some, it isn't for everyone.
That being said, I'm not slaved to upgrade path. My 2014 FS7 still serves me good and the R6 is a mid-level camera.
I do have access to a BMD 6K Pro for anything more high-end and rent/hire cine cam/DPs if/when the budget allows.
Of course there is so much more than just the camera body itself to ensure a successful project and that should also be reminded.
Yeah its like anything. My former career was in music and performing in front of crowds was quite a hurdle at first but after some time became second nature. I actually believe that having some apprehension isn't necessarily a bad thing, it keeps you a bit on your toes. Once that's gone, you can become lazy/bored/jaded and not perform at your best. that's when for me its time to switch gears.
I still have my 5D mk1 and love the output. D750 is a workhorse, it's the camera that got me to switch back to Nikon for a few years. Most pleasure I get these days is from my 2009 Leica M9. So yeah imo, stills cameras peaked a long time ago and the switch to mirrorless is not necessarily an upgrade hence why a lot of pros I know still stick to DSLRs. Optical viewfinder, the ruggedness, battery life, even the off-sensor AF confidence of crosspoints is superior. The only real benefit of mirrorless is weight.

R7 is a smaller APS-C sensor and R3 is a 2.5x bigger body so both have better thermal management. 
But ok I was not aware of the theory of IBIS being removed for heat protection. If so that's kinda lame but R5C is after all just a tweaked R5 not an entire redesign.
R3 & R7 do overheat in certain modes by the way, just nowhere as bad as R5/R6.
I understand your point of view however you shouldn't assume all of us are doing social media content that ends up viewed on smartphones. I do a lot of high-end corporate work that ends up proofed by clients on 5K iMacs and often viewed on big screens & projectors in conferences, trade shows and what not. The clients have really high standards and my competition here in Paris delivers super high quality. I also do a lot of chroma keying, 3D integration, heavy grading & the occasional TV broadcast all of which benefit if not require 10-bit 4:2:2. +4K high resolution is also more & more useful for cropping, my editors always embrace it.
The good news is that most mirrorless cameras now deliver high-resolution, pro codecs, RAW etc. Its now possible to get cine cam results out of prosumer cameras. So while all this may be marketing and overkill for some, it isn't for everyone.
That being said, I'm not slaved to upgrade path. My 2014 FS7 still serves me good and the R6 is a mid-level camera.
I do have access to a BMD 6K Pro for anything more high-end and rent/hire cine cam/DPs if/when the budget allows.
Of course there is so much more than just the camera body itself to ensure a successful project and that should also be reminded.
Yeah its like anything. My former career was in music and performing in front of crowds was quite a hurdle at first but after some time became second nature. I actually believe that having some apprehension isn't necessarily a bad thing, it keeps you a bit on your toes. Once that's gone, you can become lazy/bored/jaded and not perform at your best. that's when for me its time to switch gears.
I still have my 5D mk1 and love the output. D750 is a workhorse, it's the camera that got me to switch back to Nikon for a few years. Most pleasure I get these days is from my 2009 Leica M9. So yeah imo, stills cameras peaked a long time ago and the switch to mirrorless is not necessarily an upgrade hence why a lot of pros I know still stick to DSLRs. Optical viewfinder, the ruggedness, battery life, even the off-sensor AF confidence of crosspoints is superior. The only real benefit of mirrorless is weight.

R7 is a smaller APS-C sensor and R3 is a 2.5x bigger body so both have better thermal management. 
But ok I was not aware of the theory of IBIS being removed for heat protection. If so that's kinda lame but R5C is after all just a tweaked R5 not an entire redesign.
R3 & R7 do overheat in certain modes by the way, just nowhere as bad as R5/R6.
I understand your point of view however you shouldn't assume all of us are doing social media content that ends up viewed on smartphones. I do a lot of high-end corporate work that ends up proofed by clients on 5K iMacs and often viewed on big screens & projectors in conferences, trade shows and what not. The clients have really high standards and my competition here in Paris delivers super high quality. I also do a lot of chroma keying, 3D integration, heavy grading & the occasional TV broadcast all of which benefit if not require 10-bit 4:2:2. +4K high resolution is also more & more useful for cropping, my editors always embrace it.
The good news is that most mirrorless cameras now deliver high-resolution, pro codecs, RAW etc. Its now possible to get cine cam results out of prosumer cameras. So while all this may be marketing and overkill for some, it isn't for everyone.
That being said, I'm not slaved to upgrade path. My 2014 FS7 still serves me good and the R6 is a mid-level camera.
I do have access to a BMD 6K Pro for anything more high-end and rent/hire cine cam/DPs if/when the budget allows.
Of course there is so much more than just the camera body itself to ensure a successful project and that should also be reminded.
Yeah its like anything. My former career was in music and performing in front of crowds was quite a hurdle at first but after some time became second nature. I actually believe that having some apprehension isn't necessarily a bad thing, it keeps you a bit on your toes. Once that's gone, you can become lazy/bored/jaded and not perform at your best. that's when for me its time to switch gears.
I still have my 5D mk1 and love the output. D750 is a workhorse, it's the camera that got me to switch back to Nikon for a few years. Most pleasure I get these days is from my 2009 Leica M9. So yeah imo, stills cameras peaked a long time ago and the switch to mirrorless is not necessarily an upgrade hence why a lot of pros I know still stick to DSLRs. Optical viewfinder, the ruggedness, battery life, even the off-sensor AF confidence of crosspoints is superior. The only real benefit of mirrorless is weight.

@Attila Bakos Dunno, here is the page dedicated to the new sensor: https://fujifilm-x.com/fr-fr/products/x-trans-cmos/
What I wonder is if they have finally found a way to fix those false color issues plaguing Xtrans that we talked about couple months ago? does this point give promise:
Arrangement of G pixel on all diagonal lines
G pixels are placed in all diagonal lines. It improves the accuracy of diagonal high-frequency image detection and color interpolation

Well we all have different requirements & deal breakers but calling the R5C mediocre is pretty extreme. No IBIS for photography has never been a problem for me personally. If I'm shooting lowlight I'll use fast glass, crank up the ISO or use a flash. There's always sticks for long exposure.  For video work its a nice convenience for locked handheld shots but the EIS + OIS isn't a bad compromise either. For anything more serious: mono/tripod, gimbal. I just don't see lack of IBIS as that big of a downer. YMMV.
Battery wise you can always get the battery grip or use a bottom plate screw-on power base with dummy battery which is a much more elegant solution than your basic external power banks:

I guess my point is when there's a will there's a way. I find the R5C a very interesting product that merges C-line & EOS line  perfectly. Only thing missing to me would be ND's but no hybrid seems to have done it yet.
R3 is a dope camera but the price is ridiculous if you're not a sports/action photog. We're talking Komodo money.
You shoot a lot in 60p no? Beware as in XF-AVC Clog from 60p to 120p the dual gain output is not activated.
Cine just did an updated lab test with the new RAW update:
About 13 stops can be identified above the noise floor, as well as a 14th and a faint 15th.  IMATEST shows 12.3 stops at a signal to noise ratio of 2 (SNR), and 14 stops at SNR = 1. Also, in the middle graph above the blue “14” line about 3 additional stops are exhibited. Wow!
Now, as we have reached already 8 stops of exposure latitude – the maximum we have seen so far with all cameras in the lab with one exception, the Arri ALEXA Mini LF (having 10 stops of exposure latitude).

Well we all have different requirements & deal breakers but calling the R5C mediocre is pretty extreme. No IBIS for photography has never been a problem for me personally. If I'm shooting lowlight I'll use fast glass, crank up the ISO or use a flash. There's always sticks for long exposure.  For video work its a nice convenience for locked handheld shots but the EIS + OIS isn't a bad compromise either. For anything more serious: mono/tripod, gimbal. I just don't see lack of IBIS as that big of a downer. YMMV.
Battery wise you can always get the battery grip or use a bottom plate screw-on power base with dummy battery which is a much more elegant solution than your basic external power banks:

I guess my point is when there's a will there's a way. I find the R5C a very interesting product that merges C-line & EOS line  perfectly. Only thing missing to me would be ND's but no hybrid seems to have done it yet.
R3 is a dope camera but the price is ridiculous if you're not a sports/action photog. We're talking Komodo money.
You shoot a lot in 60p no? Beware as in XF-AVC Clog from 60p to 120p the dual gain output is not activated.
Cine just did an updated lab test with the new RAW update:
About 13 stops can be identified above the noise floor, as well as a 14th and a faint 15th.  IMATEST shows 12.3 stops at a signal to noise ratio of 2 (SNR), and 14 stops at SNR = 1. Also, in the middle graph above the blue “14” line about 3 additional stops are exhibited. Wow!
Now, as we have reached already 8 stops of exposure latitude – the maximum we have seen so far with all cameras in the lab with one exception, the Arri ALEXA Mini LF (having 10 stops of exposure latitude).

I use gimbals, mono/tripods even with IBIS cameras. IBIS is useful but it isn't magic.
I'll take the camera that doesn't overheat over the others if given the choice. Plus all the C-line video features like LUT import, WFM, shutter angle, S35/S16 crop modes, anamorphic desqueeze etc..
That said, I'm leaning towards C70 (+ R6). The NDs, battery life, audio & DGO sensor being more useful to me than 8K.