Saskamodie Jones

OliKMIA you pretty much described my gear journey to a "T". I started with the Canon HV20 and then later the Canon 7D because that's what my employer provided. When it came time to buy my own camera I got the Panny GH1. At the time mirrorless micro-four thirds cameras weren't taken very seriously. I'd show up to gigs with my adapted Voigtlander, Pentax, and Sigma glass and get mocked because I didn't have a 5DMKII + Canon EF 70‑200mm f/2.8L. Apparently I couldn't be a "real" filmmaker or photographer unless I had red lining on my lenses and a hefty battery grip. I contemplated going with Canon if only to secure steady work as the bias for them runs deep in our industry. Then, the Driftwood hack happened and in the words of the Canadian studio poet Drake "Nothing was the same." As the years went by it became more and more clear that DSLR video wasn't a top priority for Canon. Their increasing price points coupled with lackluster features kept me from jumping on the brand-wagon. I've seen less and less postings on gig boards specifically requesting Canon gear and more being open to overall camera capabilities. Now years later I'm ready to buy my first true pro-cine camera. The Panny EVA , Sony FS7, and BM Ursa Mini Pro make up my shortlist. It's not that Canon C series cameras don't provide adequate results but rather that my trust in Canon as a brand is a bit tarnished. Partly because of how Canon die-hards treated me early on, and partly because of how little I've seen them innovate versus their competitors. 

OliKMIA you pretty much described my gear journey to a "T". I started with the Canon HV20 and then later the Canon 7D because that's what my employer provided. When it came time to buy my own camera I got the Panny GH1. At the time mirrorless micro-four thirds cameras weren't taken very seriously. I'd show up to gigs with my adapted Voigtlander, Pentax, and Sigma glass and get mocked because I didn't have a 5DMKII + Canon EF 70‑200mm f/2.8L. Apparently I couldn't be a "real" filmmaker or photographer unless I had red lining on my lenses and a hefty battery grip. I contemplated going with Canon if only to secure steady work as the bias for them runs deep in our industry. Then, the Driftwood hack happened and in the words of the Canadian studio poet Drake "Nothing was the same." As the years went by it became more and more clear that DSLR video wasn't a top priority for Canon. Their increasing price points coupled with lackluster features kept me from jumping on the brand-wagon. I've seen less and less postings on gig boards specifically requesting Canon gear and more being open to overall camera capabilities. Now years later I'm ready to buy my first true pro-cine camera. The Panny EVA , Sony FS7, and BM Ursa Mini Pro make up my shortlist. It's not that Canon C series cameras don't provide adequate results but rather that my trust in Canon as a brand is a bit tarnished. Partly because of how Canon die-hards treated me early on, and partly because of how little I've seen them innovate versus their competitors. 

Canon raw lite is not Cinema DNG though.
At the moment you have no choice but to turn it into some form of LOG before grading the compressed files instead of the RAW.
So it is not really RAW, just a fiddly way of getting 10bit ProRes out of the camera.

Nobody complains when we compare the FS5 to an A7R II. People need to know what extra they are getting for their money.
Sure the market is a bit different and form factor different but there's overlap... You can't tell me not a single pro is using an A7R II or GH5, can you?
By that same token, not every pro videography or wedding guy is using the SDI on their C200, whose biggest selling point to many people is the lack of need to rig extras onto it like external recorders and monitors via SDI. Not every pro is using timecode to sync footage between 5 other cameras on a shoot and not every C200 user will even be using the XLRs, some will strip it down to the bare bones and put it on a gimbal, with sound done like it has always been done in the film days - a separate job for another man.
So shut up.

You're going to spend more money on CFast 2.0 cards than the actual camera.