Django

ProRes is now available via Filmic Pro:
footage: https://app.frame.io/presentations/a5771a8b-482d-47c1-be73-44f4e29f8163

FWIW, I was shooting 8-bit for years on Sony's and Canons and when finally upgraded to a FS7 and R6, the difference for both S-log3 and Clog/Clog3 was night & day. The latitude, the colours.. it all gets enhanced and doesn't break anymore. This has allowed me to up my grading skills in Davinci by being able not just to push things harder but go deeper using qualifiers and more advanced techniques.
To be honest, I don't even lust for RAW anymore and the associated storage headaches that go along with it. Chunky bitrate 10-bit can go a long way. And with the M1 Macs it's now a breeze to edit. I really hope Sony gives us a 10-bit option in A7 IV and other upcoming Alpha models. 8-bit is a thing of the past as far as I'm concerned and I've let go of all my 8-bit cameras..

FWIW, I was shooting 8-bit for years on Sony's and Canons and when finally upgraded to a FS7 and R6, the difference for both S-log3 and Clog/Clog3 was night & day. The latitude, the colours.. it all gets enhanced and doesn't break anymore. This has allowed me to up my grading skills in Davinci by being able not just to push things harder but go deeper using qualifiers and more advanced techniques.
To be honest, I don't even lust for RAW anymore and the associated storage headaches that go along with it. Chunky bitrate 10-bit can go a long way. And with the M1 Macs it's now a breeze to edit. I really hope Sony gives us a 10-bit option in A7 IV and other upcoming Alpha models. 8-bit is a thing of the past as far as I'm concerned and I've let go of all my 8-bit cameras..

FWIW, I was shooting 8-bit for years on Sony's and Canons and when finally upgraded to a FS7 and R6, the difference for both S-log3 and Clog/Clog3 was night & day. The latitude, the colours.. it all gets enhanced and doesn't break anymore. This has allowed me to up my grading skills in Davinci by being able not just to push things harder but go deeper using qualifiers and more advanced techniques.
To be honest, I don't even lust for RAW anymore and the associated storage headaches that go along with it. Chunky bitrate 10-bit can go a long way. And with the M1 Macs it's now a breeze to edit. I really hope Sony gives us a 10-bit option in A7 IV and other upcoming Alpha models. 8-bit is a thing of the past as far as I'm concerned and I've let go of all my 8-bit cameras..

Wasn't a thread started already about this camera?
SAR states:
launch in October (if chip supply permits this)
Newly developed 33MP sensor
5.5 stops of IBIS (+ AS)
I'm thinking Sony will have to implement 4K60p @ 10-bit. That would place it in direct competition with the R6.
Any video specs below that and it's DOA. Anything above and it would cannibalise A7S3 sales.

Wasn't a thread started already about this camera?
SAR states:
launch in October (if chip supply permits this)
Newly developed 33MP sensor
5.5 stops of IBIS (+ AS)
I'm thinking Sony will have to implement 4K60p @ 10-bit. That would place it in direct competition with the R6.
Any video specs below that and it's DOA. Anything above and it would cannibalise A7S3 sales.

Picked one up last week and finally got to to test it out. It does indeed extend record times and keeps the camera cooler. With the fan set to high in a 75 degree interior I was able to record to a 512 GB CF Express card 3 times with a overheat shutdown but for stopping the test.  That's about 78 mins of 8k raw recording. The Temp icon came on about half way through the 2nd card recording and stays on but the camera doesn't shut down. 
 

 

 

 

 

I've been shooting a lot with the R6 this summer including a run&gun event last week. The IQ I'm getting from the CLog3 10-bit 4:2:2 files is quite possibly the best 4K IQ I've gotten on any camera. The image is so clean, so detailed, with those great Canon skin tones.  To avoid the poor RS I often shoot in 4K60p crop mode. I don't notice any line skipping either, really sharp detailed IQ on my 5K iMac Pro monitor.
I must agree that for the price, the R6 outclasses all the competition in terms of IQ.
 

As a long time Panasonic m43 user I actually just upgraded to the Canon R6 and absolutely love it. For me it came down to 100% EF lens support.
The 20 MP completely makes sense t one for the same reason why 12 MP makes sense for the Sony A7S.  It helps sensitivity. The R6 has about a 1 stop advantage over the R5 and even photographers are very happy with the 20 MP stills. The sensitivity gain matters more then the tiny bit of extra detail.  Detail that is debatable how many lenses really take advantage of.
Yes The R6 has some head scratching limitations but I think the amount of hatred is a bit overly dramatic. Its a solid stills and video camera with really good IBIS and really good DPAF. I also have a P4k and while its nice that I'm not limited in what tools and options I have on the P4k the addition of super clean low light, super reelable DPAF and very good IBIS make it a more enjoyable camera to use in many situations.
Every camera out there has flaws. The latest Sony A7S finally has 10bit but its stills suck.  If we are going to complain about 20 MP on the R6 its funny the Sony fans are willing to look the other way for 12 MP stills on the A7S. Most of the other Sony cameras still don't have 10bit.  Talk about outdated thinking.
I didn't realize 4k 60p line skips.  Is that 100% confirmed?   If you look at this review and look at the studio tool the 4k 60p seems to have the same detail as the UHD in the drop down. https://www.dpreview.com/reviews/canon-eos-r6-review/8 Are you sure you didn't do something wrong? I rarely use 4k 60p even on the P4k.  I'm not as obsessed with slow motion as others are I guess.  I also don't really have an issue with the rolling shutter on the R6. Maybe its not as good as other options out there but I rarely run into a rolling shutter issue because I don't whip my camera around. 4k 60p APS-C crop eliminates a lot of those concerns.  Yes it sucks to have a crop but my other camera choice was the Panasonic S5 which can only shoot 4k 60p with a APS-C crop. So technically the R6 having a FF 4k 60p mode is a bonus over the S5 even if it is compromised. I really see no decent affordable option out there for FF 4k 60p 10bit that doesn't have some kind of compromise or much higher cost.
I also find it odd to criticize the RF lens options when I think many EF users will happily use their trusted EF lenses on the camera. EF glass works great on the R6 and there are a ton of EF owners out there.
I am not even close to a Canon fan boy. I have used Panasonic since before the GH1. I owned a Canon XL1 many years ago but that was my last Canon camera.  I used to laugh at what passed for quality from their DSLRs. The HD made me want to vomit I hated it that much. The R6 is the first Canon camera I feel finally gets 4k video right.  Now that it has c.log3 its pretty solid and has a bit better DR. Every camera out there has disadvantages so its silly to only trash one camera. The S5 is an amazing camera but the L mount lenses are insanely over priced and Panasonic only focused on the high end market for glass. Nothing can really be adapted to the L mount either with any hope of video AF. Even adapted stills AF is hit or miss. Thats even assuming one finds value in the contrast detect AF of the S5. Much better than it used to be but still not perfect enough to trust it. Plus I'm just not sure of the future of the L mount and Panasonic. Feels like risky investment at this point and I just cannot afford the L mount lenses I really want.
Sony does make nice cameras but the lack of 10bit is a deal breaker for me and I will not compromise on that. No matter what other features Sony does better its not enough to make up for that. I don't want to have to buy a $4,000 camera body just to get a Sony with 10bit. Thats essentially R5 price territory which arguably does a lot of things better than the Sony A7S. Those with hybrid needs that shoot professional stills and video will never consider a A7S so basically 10bit is a dead end with Sony for those users.
I was about 30 seconds away from getting a Panasonic S5 instead. In the end it was the AF and bleak lens options that killed it for me. I just didn't have $8,000 to invest in a new set of f2.8 zooms and a new body. With the R6 I get 100% perfect performance from my $1,000 Tamron 70-200 f2.8 lens.

I personnally bought a Pocket 6K Pro since a few weeks and I'm very happy with it. 
I alredy have a Sony a7sIII, and wanted another camera but not another hybrid or mirrorless camera, I wanted a dedicated cinema camera. I was torn between the fx6 (cause it's the perfect match with the Sony a7sIII), and the Canon c70 (cause I liked the small form factor and everything it offers). But when making my plans and comparisons, besides AF and battery life (though it's very manageable), the pocket 6k Pro ticked all the boxes for me, my style of shooting and the projetcs I usually work on (music videos and corporate). 
So as the price is lower than the two others I gave it a try (knowing that I previously owned a Pocket 4K for 5 months but I was doing mostly photo gigs at that time so I sold it but now I only shoot video). 
I can't regret at all. IQ is amazing, it has that depth that lacks in my Sony a7sIII footage (thought it's really good too). 
I can match the 2 cameras very easily without too much hassle, and they're very complimentary. One for more crafted visuals, more controlled shots, the other for run and gun situations, gimbal and shootings where AF is a must. 
For the price, this camera is such an incredible tool to make beautiful images. 
The Sony Fs7 is a workhorse, and has been since its release for a majority of filmmakers. But I think the Pocket 6K pro is more future proof, more versatile due to its small form factor and the price makes it a no brainer to me. 
BUT.... It all comes down to what you shoot on a daily basis and what do you expect from the camera you plan to buy. 

I had a go at the FX3 and yes finally a Sony mirrorless body I felt comfortable with! The build quality is also a step up and the added air vent is reassuring. I could see myself switching back to Sony from Canon with this body. Paired with a FX/FS cine cam it would be a very strong combo for my line of work.

I had a go at the FX3 and yes finally a Sony mirrorless body I felt comfortable with! The build quality is also a step up and the added air vent is reassuring. I could see myself switching back to Sony from Canon with this body. Paired with a FX/FS cine cam it would be a very strong combo for my line of work.

I had a go at the FX3 and yes finally a Sony mirrorless body I felt comfortable with! The build quality is also a step up and the added air vent is reassuring. I could see myself switching back to Sony from Canon with this body. Paired with a FX/FS cine cam it would be a very strong combo for my line of work.

I have the 6kPro and think it's a great camera, easy to use and a great image, but realistically for the work I do, which is mainly corporate, it's overkill. I am not sure the file sizes are worth it when I know the client is happy whatever camera I shoot with. The battery situation is still not perfect either so I tend to power it via  V mount which means rigging the camera. 
I also have a Panasonic S1 which I use on a gimbal and find it is more than enough as far as image quality is concerned. It does lack built in NDs though and the batteries only last an hour each. 
I am getting to the point where ease of use trumps ultimate image quality, so I am think about selling the 6k Pro and replacing it with a C200 or C70. 
I know this doesn't directly apply to you but I thought my experiences with the 6K Pro might be relevant to the conversation. 

@Django
FS7 def has the advantage if you want to shoot almost full frame for cheap. Basically the only reason I'm still shooting on FS5s... S35 out of the box, or pop on a metabones for 1.07x crop.

There's (2?) FS7M2 on ebay for 4k. Nothing included but the locking e-mount is awesome. Such a pain in the ass to rig a lens to not move when using a focus motor or follow focus. eND is nice to have too.
FS5/FS7 is still the only goldilocks body available IMHO: FF/S35, SDI, RAW, 4K120.

They did give it a rather nice follow-up:

But I'm pretty sure that cam was also a flop at the $5K pricing with no internal 10-bit.
That said, I find the DVX200 sexy as hell in a throwback MINIDV/3CCD cam way.. and I'm sure in the right hands this was/is a very capable and surely fun to shoot with cam..
 

They did give it a rather nice follow-up:

But I'm pretty sure that cam was also a flop at the $5K pricing with no internal 10-bit.
That said, I find the DVX200 sexy as hell in a throwback MINIDV/3CCD cam way.. and I'm sure in the right hands this was/is a very capable and surely fun to shoot with cam..
 

They did give it a rather nice follow-up:

But I'm pretty sure that cam was also a flop at the $5K pricing with no internal 10-bit.
That said, I find the DVX200 sexy as hell in a throwback MINIDV/3CCD cam way.. and I'm sure in the right hands this was/is a very capable and surely fun to shoot with cam..
 

I actually love the FS7 ergos - VF loupe aside which I never use. Again its one of the rare modern budget cine cams you can shoulder mount ENG style. 
IQ wise, the BM has higher resolution and shoots Raw but on the highest DCI 4K XAVC-I Cine EI setting the FS7 is still capable of spitting out a really nice detailed filmic IQ imo with tons of headroom for grading. Also yeah the 3200 dual ISO setting on the BM is a bit meh, you definitely need to stick to 400 to get the highest IQ/DR.
For the price new, the BM is definitely a no brainer but again the FS7 is still a workhorse in 2021 and E-mount is just so much more versatile than EF at this point imo.

Then again FS7 maybe not so obsolete when you consider this chart:

 
surprisingly not a black magic cam in sight! here is the full article:
https://ymcinema.com/2021/07/12/cannes-film-festival-2021s-cameras-diversity-is-the-key/
 
not just docus either.. this feature was shot on FS7 with Zeiss Super Speed primes:
Gotta love how that camera balances for shoulder mounted shots..

You're spending a lot of money on such a decision, and will have to live with it, so I suggest getting a bit organised and taking some time to think about it systematically.
My advice is this:
Make a list of all the differences between the cameras (ie where they differ significantly), including your own personal feelings and impressions as well as specs Find the top 5 (or top 10) items that are most important to you, considering things that impact the final image as well as things that impact how easy and pleasant it is to use as well as speed and efficiency (which effect your income) Weigh these factors up and see what comes out of that analysis, it may be relatively equal with pros and cons on both sides, or may be more clear cut Check how you feel about that result.  It's often that we don't know how we truly feel until a decision is made, and then we are either relieved about it, or have a negative reaction as we were wanting it to go the other way. I find personally that I can think about things over time, reading more info and gathering opinions as food for thought, and that eventually I develop an understanding about what I value and what might be the right direction to go in.  But if I do something like the above using pen and paper then it reduces that thought process from weeks to days because it forces you to see clearly.
I'd also suggest that you consider business and personal experience aspects more than tech specs.  A camera that has makes beautiful images might be nice, but if you hate your life as you slowly go broke, well, the image would have to keep you warm at night for it to be worth that price...

Totally! I've had some lovely images from the FS7! If you prefer to operate from the shoulder then id get the FS7. I prefer handheld with a strap on the BM, it can be quite stable. I suppose it depends on preferences, most cameras nowadays get the job done too with basically negligible differences in the end product. Ergo and workflow preferences are more important than ever imo

If you don't care for RAW that much it sounds like the FS7 suits you more. A full fame FOV is definitely nice to have. 

The whole future proofing thing is kind of BS in my opinion. 95% of content is throwaway. As long as your cameras shoots 4k 60p you are good to go for the current market and I'd think you'd be set for quite a long time as least in terms of resolution. 

The pocket 4k/6k was used for 3 narratives at Sundance, the URSA for 1. While RED wasn't used for any. 

Docs was a different story. Blackmagic cameras are going to be seen more and more often no doubt. I would still say Sony is probably a better brand in terms of being a recognizable camera package, maybe. 

I actually love the FS7 ergos - VF loupe aside which I never use. Again its one of the rare modern budget cine cams you can shoulder mount ENG style. 
IQ wise, the BM has higher resolution and shoots Raw but on the highest DCI 4K XAVC-I Cine EI setting the FS7 is still capable of spitting out a really nice detailed filmic IQ imo with tons of headroom for grading. Also yeah the 3200 dual ISO setting on the BM is a bit meh, you definitely need to stick to 400 to get the highest IQ/DR.
For the price new, the BM is definitely a no brainer but again the FS7 is still a workhorse in 2021 and E-mount is just so much more versatile than EF at this point imo.

I sold my C200/FS7 during down time of the pandemic. Work is picking up again now and I need a pro A-Cam for client work.
I was sold on getting a BMPCC6K Pro after shooting with it for couple gigs but I'm actually hesitating to go back to the good old FS7.
6K & RAW is very nice but EF mount limits the lens possibilities so much. I still have my metabones EF speed booster which gives the FS7 pseudo FF.
I also love the fat 250mbps XAVC-I codec in Cine EI mode and the FS7's AF is actually pretty smooth on native lenses.
Price wise the FS7s are really cheap at the moment (maybe 800 more than a P6K Pro) but it feels kinda strange buying a used 2015 cine cam in 2021.
The 5" touch screen and double ISO 6K sensor on the 6K Pro probably makes much better sense for future-proofing.
Thoughts?