Django

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. 

Correct, the crop only applies to the 1:1 readout 4K60p mode.
Of course it isn't end of the world. You should know by now people here just love to sh!t on Canon and focus on every little shortcoming.
This isn't a bad offering for their first gen APS-C RF models.
R7 destroys any Sony A6xxx cam both in specs and ergonomics.
The specs are actually very close to XT4 but with a 7K oversampled mode (and it beats it on stills side & AF).
 

I'm not a fan of digital sharpening. Makes the image look cheap video. If a lens/sensor is soft just let it be.
All I'm saying is the slight oversample of the R6 just outputs that extra resolve detail from my L glass which is really nice. Its not like its a radically sharp 6K/8K image either.
You can also counteract softness of the C70's 4K with indeed sharper lenses than the EF 24-105 which brings me to the next point..
Using the SB with EF glass is great, especially for that FF look and extra stop.. but the SB adds weight imbalance but also adds glass which softens the image and can result in ugly flares in direct or backlit scenarios.
This is where an RF lens like the 35mm F1.8 comes clutch. Its super compact, has superior IS than EF as it uses extra gyro info so excellent for handheld, is optically superior to EF adding that missing sharpness & is pretty fast at F1.8 so good for lowlight. Also being a native lens, the AF is gonna be bit more responsive. Give it a try sometime. Again its super popular with C70 users for a reason.. oh and best part is its like under $500.
 
..that said it is not a mojo lens.. great for run & gun but for a more high-end commercial or cine look I'd probably go anamorphic with the new sirui RF lenses if/when I get a C70.
or go vintage for straight up anamorphic dream mode..
 

So, I have now used the C70 for approximately 4 months for fashion shows, car shows, weddings, modeling promo videos....a decent mixture of the type of content I typically get hired to create.  I can say that the C70 is hands down the perfect fit for my type of work and I feel like a follow up was in order after using it quite a bit.
     The funny thing is, a lot of my initial observations I feel are still valid after using it for those projects, so the things that have stayed the same for me are:
 
CONTINUED DISLIKES
No electronic level - very annoying I find myself having to straighten the horizon in post quite a bit, with everything else going on especially outdoors it can be difficult keeping the horizon level Digital IS - It is still jittery at times, but surprisingly when digital IS is jittery, Davinci Resolve's stabilization can usually remove it, unlike the warping effect that happens with wide angle lenses and IBIS SURPRISES
Stabilization - I know I made a big deal about no IBIS, and yes, I do still think with IBIS it would be easier to work with...but...Davinci Resolve is so good at stabilizing the footage in post that I feel like the C70 was the right decision. gaining useable AF for me was worth losing IBIS. Also, the new DJI Ronin RS2 is so much better than the previous model that I find myself using it as a gimbal more than I used to. Audio Settings - I always struggle with audio, at events things can get loud quickly or at an impromptu interview the person may suddenly talk too low or too loud so in run and gun scenarios audio is always tough for me. One of my surprise favorite features is the ability to record 3 separate audio tracks from a single XLR input. I set track one to where I think it should be, track 2 to 6dB below that, and track 3 is set to auto. Out of the 3 tracks I usually end up with something perfect. I use the Azden SGM-250MX shotgun mic with the built in Mini-XLR cable to plug directly into the C70 and the setup is perfect for what I need. Favorite Lens - My favorite lens of all time for video work is the Sigma 50mm EF mount F1.4 Art lens but it does not have lens IS and I shoot mostly handheld so another surprise for me was that the Canon EF 24-105mm F4 L lens has become my favorite video lens with the C70. Thanks to the speedbooster it drops down to F2.8 which is still no lowlight monster, but with a Falcon Eyes F7 mounted to the top handle it gets the job done as long as the subject is close enough. DISAPPOINTMENTS
Sensor - Yes, believe it or not, I think the DGO sensor is a little overhyped. IMO the S5's sensor was on par or slightly better than the C70's DGO sensor. The S5 with its clean ISO4000 was more useful in more situations than the C70's DGO sensor. I would actually take the S5's FF sensor in the C70 body and with the C70's AF over the C70's sensor. Autofocus - This was another surprise to me. Canon's DPAF is pretty legendary, and I know the C70 got the cinema version of that which is not as good as say the R5's AF, but the C70's AF is downright unusable in strongly backlit scenarios and low light scenarios. By lowlight I mean late dusk, not completely dark at all. I had to switch to MF a few times during low light scenarios just to record something useable. NEW DISLIKES
AF Racking Speed - I don't know why, but with all of the EF lenses I have tested so far, it is not possible to change the AF speed when racking from far to near or vice versa. The speed setting is there but it is greyed out. Not sure if it is the lenses, or maybe it doesn't work through the speedbooster, or maybe it needs RF lenses to work, but it is annoying sometimes to not be able to control that. NEW LIKES
Storage - I can say with confidence that SanDisk 1TB Extreme PRO SD cards combined with the C70 is an awesome combination. I never even think about running out of space no matter how much I shoot in a day. I mainly shoot XF-AVC 4K 60FPS and for this, these cards can shoot all day without any buffer problems.  I can even shoot Cinema Raw LT at 4K 30FPS with no problems. 120FPS, ALL-I, and Raw 60FPS are all not possible with these cards, but I don't shoot those formats anyway. OVERALL
  At the end of the day I am happy with the C70, it checks enough boxes for me and improves my workflow and shooting style enough that it was definitely worth it. Gaining a 95% solution for AF, integrated ND filters, and integrated XLR inputs while still being able to use all of my EF glass is exactly what I wanted. I hope to get at least 5yrs out of it.
  Here is a video I shot 100% handheld for a series on an upcoming runway show. All ground video work was done with the C70, handheld, and with a single lens; the Canon 24-105mm F4. I didn't have time to change lenses, and I didn't trust no lens IS with the 50mm so I stuck with the Canon 24-105mm EF mount F4 lens. I need to do more testing handheld with the 50mm before I will trust no lens IS for a project.
 
 

@androidlad wasn't it revealed A7S3 actually uses a 48MP quad bayer sensor binned down to 12MP? That would explain the increased read noise and performance similar to A1.
https://www.sonyalpharumors.com/surprise-the-sony-a7siii-actually-has-a-48-megapixel-quad-bayer-sensor/
 
Yup, I've done many photography events including two weddings with R6 no problem. It uses the same sensor than 1DX3.

@androidlad wasn't it revealed A7S3 actually uses a 48MP quad bayer sensor binned down to 12MP? That would explain the increased read noise and performance similar to A1.
https://www.sonyalpharumors.com/surprise-the-sony-a7siii-actually-has-a-48-megapixel-quad-bayer-sensor/
 
Yup, I've done many photography events including two weddings with R6 no problem. It uses the same sensor than 1DX3.

Like I told you in my PM last night:
 
You seem a little all over the place with what camera system to chose. 
R5C/R6/C70/A7S3/FX3/FUJI.. There is no magic "cinematic" camera out there. 
Thing is all latest gen camera bodies will do a good job, but it's really the operator and color grading that will be the decisive factor for making things look filmic.. or not.
My advice to you is, again, to learn how to properly shoot/expose in LOG and learn how to grade with the help of some LUTs you enjoy. Nothing will look truly cinematic SOOC.
Also more important than camera body is probably lens choice. This can really go long ways to improving IQ. Consider that also when you're planning camera system switching or you might just end up chasing your tail.
Too many people focus on camera body and not enough on lens, lighting, filters and color grading / pp skills. 

I've posted the trailer & BTS here earlier, here is the official page: Short film "AION" Trailer by Giulio Meliani
Shot in ProRes HQ F-Log2 with the MK 18-55mm & Fujinon 19-90mm Cabrio Cinema Zoom.
 
A7S3/FX3 are solid all-rounders but the shooting experience still lacks. 
R5C has it all except IBIS with internal RAW, 8K and full video assist tools, shutter angle, LUT import etc.
XH2S is interesting as for $2500 you get 6K/4K120p, ProRes, Open Gate. Great DR & minimal RS.
I do wish the video mode would have proper exposure tools, shutter angle, LUT support.
That's still what a lot of these hybrids are missing. Only Panasonic & R5C seem to get it.

6.2K/4K120p, ProRes & Open-gate mode. Looks like we have a new APS-C hybrid king.
Still seems like quite a few quirks but impressive specs on paper.
It's almost like a BM 6K with IBIS & AF. And a more flexible mount.

I thought so too at first (its not that we're mean spirited OP, but there have been similar trolls before) but a quick check in post history and it seems consistent:
That said, it also showcases a pattern.. from Sony to Fuji.. To Canon.. and now back to Sony..and Fuji? All in the span of about a year?!
I mean these things do happen but have to ask don't you get tired of switching systems so often? seems like endless tail chasing and money drain. I don't wanna beat a dead horse but perhaps its time indeed to actually learn a bit about shooting & colorgrading! I really don't think the problem is with your cameras. You still haven't told us what your lens situation is either by the way ?

I thought so too at first (its not that we're mean spirited OP, but there have been similar trolls before) but a quick check in post history and it seems consistent:
That said, it also showcases a pattern.. from Sony to Fuji.. To Canon.. and now back to Sony..and Fuji? All in the span of about a year?!
I mean these things do happen but have to ask don't you get tired of switching systems so often? seems like endless tail chasing and money drain. I don't wanna beat a dead horse but perhaps its time indeed to actually learn a bit about shooting & colorgrading! I really don't think the problem is with your cameras. You still haven't told us what your lens situation is either by the way ?

I thought so too at first (its not that we're mean spirited OP, but there have been similar trolls before) but a quick check in post history and it seems consistent:
That said, it also showcases a pattern.. from Sony to Fuji.. To Canon.. and now back to Sony..and Fuji? All in the span of about a year?!
I mean these things do happen but have to ask don't you get tired of switching systems so often? seems like endless tail chasing and money drain. I don't wanna beat a dead horse but perhaps its time indeed to actually learn a bit about shooting & colorgrading! I really don't think the problem is with your cameras. You still haven't told us what your lens situation is either by the way ?

@SRV1981 
You keep bringing up the X100V.. it's a neat camera but really not as small as most may think, A7S3 is actually less large (and FX3 would be as tall without the EVF):

Stick a pancake lens and an FX3 would be rather similar dimensions with the benefit of IBIS & FF.
Of course you'll be missing the faux-Leica look and manual controls which are part of the charm.
Just saying.
 

I've posted the trailer & BTS here earlier, here is the official page: Short film "AION" Trailer by Giulio Meliani
Shot in ProRes HQ F-Log2 with the MK 18-55mm & Fujinon 19-90mm Cabrio Cinema Zoom.
 
A7S3/FX3 are solid all-rounders but the shooting experience still lacks. 
R5C has it all except IBIS with internal RAW, 8K and full video assist tools, shutter angle, LUT import etc.
XH2S is interesting as for $2500 you get 6K/4K120p, ProRes, Open Gate. Great DR & minimal RS.
I do wish the video mode would have proper exposure tools, shutter angle, LUT support.
That's still what a lot of these hybrids are missing. Only Panasonic & R5C seem to get it.

Yup, shooting exclusively in golden hour can make almost any camera and in the hands of almost any idiot look good! 
  
Wise words of advice that I should listen too as well! ha
(my own emphasis added)
 
Being able to create a video that looks/feels "effortless" is extra impressive! 
Funnily enough, creating a staged/artificial look that is impressively beautiful is often "easy" to do than to create an unassuming "normal" looking image that is also nice looking. 
I remember years ago, one of the first times I got blown away by seeing a DoP's talent at work was during this 48Hour Film Festival. 
It was getting to be late on Saturday, we were losing light, this couldn't be shot tomorrow! As by the time it was daylight again tomorrow we'd be late into the final hours of editing before the deadline that same day. 
We'd got the scenes in the car driving up in driveway. Got the scenes around the car when they'd stopped. Got wide shots and the scenes walking up to the door, just! As dusk was setting. 
Phew! Disaster adverted??
Wait... hang on, we still need the big confrontation outside at the doorway between those who answer the door and those who are at the house. 
Uh oh! But all the light is gone???

Nope, our DoP lit and framed it (with all the right camera movements) so well it was as if it was still daylight. 
Of course we still had all the interior scenes too, often with quite big windows too. 
No problem, we kept on shooting late into the night, getting all the shots done. 
When we saw it in the theatre (we were a finalist!) it all looked beautifully "natural". 
That's when it really really impressed me, when I saw the final result, and I realized likely EVERYONE (except me, and the rest of the crew/cast) in that movie theatre thought we'd shot the entire film during the day time. And these were just nice pretty "natural" pictures. When in reality it was all FAKED! Everything was totally artificial. That's when I realized how much talent there is in making a quietly unassuming "nonimage". 
Which is exactly what the story called for. The DoP did what was right for the director. He shouldn't be bringing attention to himself and his flashy lighting techniques. (although he certainly had very elaborate lighting setups!)

Agreed, I have an R6 and it can spit just as good IQ as any latest-gen Canon/Sony in 10-bit Clog3. 
At least give it a try before giving up and switching systems.
If you haven't even shot with it in Log yet and have no grading experience, then you really haven't given the camera a proper chance to prove it self yet.
What lenses do you have? Also having ND filters or even something as basic as choosing the right time of the day in relation to forecast/sunlight and avoiding harsh backlit shots etc can make or break footage looking video/filmic.
Let's analyse the (FX3) wine commercial you referenced:
notice how all shots are done before/after/during sunset (aka golden/magic hour) and on a cloudy overcast day.
good location, composition, shot diversity, camera movement, tight editing, synced music, adequate grading that fits the LA beach scenery, faux 8/16mm cuts etc. Plus you know good looking smiling stylised actors living it up with their favourite beverage. 
that's quite bit of work/experience to get there. every shot is prepared, calculated and staged, not just point & shoot random people at random time/location with an expensive camera.
pro video is hard work, having the right tools is just 101 prerequisite.

Agreed, I have an R6 and it can spit just as good IQ as any latest-gen Canon/Sony in 10-bit Clog3. 
At least give it a try before giving up and switching systems.
If you haven't even shot with it in Log yet and have no grading experience, then you really haven't given the camera a proper chance to prove it self yet.
What lenses do you have? Also having ND filters or even something as basic as choosing the right time of the day in relation to forecast/sunlight and avoiding harsh backlit shots etc can make or break footage looking video/filmic.
Let's analyse the (FX3) wine commercial you referenced:
notice how all shots are done before/after/during sunset (aka golden/magic hour) and on a cloudy overcast day.
good location, composition, shot diversity, camera movement, tight editing, synced music, adequate grading that fits the LA beach scenery, faux 8/16mm cuts etc. Plus you know good looking smiling stylised actors living it up with their favourite beverage. 
that's quite bit of work/experience to get there. every shot is prepared, calculated and staged, not just point & shoot random people at random time/location with an expensive camera.
pro video is hard work, having the right tools is just 101 prerequisite.

Like I told you in my PM last night:
 
You seem a little all over the place with what camera system to chose. 
R5C/R6/C70/A7S3/FX3/FUJI.. There is no magic "cinematic" camera out there. 
Thing is all latest gen camera bodies will do a good job, but it's really the operator and color grading that will be the decisive factor for making things look filmic.. or not.
My advice to you is, again, to learn how to properly shoot/expose in LOG and learn how to grade with the help of some LUTs you enjoy. Nothing will look truly cinematic SOOC.
Also more important than camera body is probably lens choice. This can really go long ways to improving IQ. Consider that also when you're planning camera system switching or you might just end up chasing your tail.
Too many people focus on camera body and not enough on lens, lighting, filters and color grading / pp skills. 

I've put it through the superb Deepl.com AI translator and its come up with this:

Here is a pretty nice deep dive from an actual pro Fuji shooter. 6K Open gate + Sirui anamorphic test included:
 

Here is a pretty nice deep dive from an actual pro Fuji shooter. 6K Open gate + Sirui anamorphic test included:
 

Kinda late to this but its a subject I can definitely relate to and comment on. Clients are more and more educated/savyy about gear. Not only do they know most mirrorless models, they even know about lenses, audio, rigs, gimbals etc. Especially the younger ones, i.e. juniors, interns, assistants in their 20s/30s. I think it's mostly thanks to Youtube. Not always a bad thing, especially if you've got nice gear. Nice glass often gets the most respect, justifiably so. So I won't front, we do tend to overdo it a bit, especially with new clients: cine cams, big lenses, cages, rigs, gimbals, lights, tripods in fancy pelican cases. It's part of the show, even if sometimes less than half actually gets used. It can sometimes backfire though, because more equipment means more setup time etc. And clients aren't stupid, if all that gear isn't backed up with adequate footage, or you're inconsistent with what you're bringing, they'll see right through you and you're just an overpaid clown eating up their time. I've never actually experienced that but it's always on my mind.
There are so many more elements to get right on a paid shoot. More gear also means more things to manage and higher risks/mistakes. I've done some dumb shit by overdoing it. Sometimes less is more.  I won't hesitate to go monopod, handheld over tripod or gimbal, or even whip out an action cam if timing, shot or location constraints demand it. 
Same thing with bringing a ton of people on set of a bigger budget crew type project. Rookie mistake. More people, more problems. Keep it down to the essential.
In the end only, only respecting the time frame + footage results really matters. Show some creativity and confidence with your shots, composition, direction, decision-making, time management and human skills and even the toughest client will respect you no matter the gear..

Here is a pretty nice deep dive from an actual pro Fuji shooter. 6K Open gate + Sirui anamorphic test included:
 

Here is a pretty nice deep dive from an actual pro Fuji shooter. 6K Open gate + Sirui anamorphic test included:
 

Probably means Panasonic is going to start making Rangefinder cameras and give up on the rest of it, they seem incapable of making a camera with AF. Joking, but it seems logical.