Mark Romero 2

Thanks Mark!  I am curious on a few comments you wrote:
 
It does make sense I should learn to do some CC - and I will be using FCP - any good videos/free tutors online you suggest? I'm thinking a Sigma or used Canon EF 70-200 f/2.8 as well as a 24 f/1.8 used any big issue going 3rd party to save a few bucks?  The commnet on the Panny bodies - are you saying their AF is trash as I understand it?  The S1/S5 color does seem to rival Canon and I could see myself going there but the Canon AF makes it a must have for photo/video especially for a smuck amateur like myself lol Oh! I've been asking folks but having gotten much response - any places you suggest getting used bodies/lenses?  BH? MBP? KEH? all are reputable?

While I still think you are making way too much of an issue over the sony colors, I guess that the R6 would be a a great fit for your needs.
Don't get me wrong: I do agree that canon colors are (subjectively) better than Sony cameras for most of the situations you are going to use it in.
I just don't think it will take you "a few months" to learn to color correct videos. 
And even with an R6 you ARE going to have to learn how to color correct videos. What will you do when an athlete is standing on a green field that is kicking up a ton of green tinted light on to their face? Or when they are standing on a red track and a bunch of red is kicked up on to their face? Canon's great color science won't save you then.
So if the AF on the R6 works as well with EF lenses as the Fro video you linked to suggests, then I wouldn't hesitate to get an R6 and use it for both stills and video. I think that is going to be your best option, and I think you wont lose any sleep over doing that.
As it is now, it is pretty hard to buy a BAD camera (unless you decide you want to buy Panasonic for that wonderful DFD autofocus... and this is coming from someone who owns two Panny bodies, an S1 and an S5).

Since you're shooting sports I'd lean with either R6 or A7IV. They're imo the top hybrids at their respective price point.
Both units are great choices. I went with R6 as I'm more invested in Canon (EF) glass and all my DSLR flash accessories work with it. 
That said I'm also a Sony (FS7) owner and the A7IV will be purchased as a sidekick. I like having a hybrid and dedicated cine cam that match and share the same mount. 
One thing that sucks on the R6 is no custom video modes. That one is a real bitch for me as I'm often changing frame rates and such. The A7IV with it's independent stills/video/S&Q settings via the sub-dial is the way forward. Also the new flash system, the focus breathing elimination etc.. it all adds up to a great hybrid experience. And with the 33MP, honestly I4d say the A7IV is the new hybrid king. 

Have you checked to make sure that an R6 with adapted EF lenses is going to give you the AF performance you want?
It doesn't sound like you have any Sony lenses, but otherwise I would suggest just get an a7 IV when it comes out (or get a used a7 III, although I guess the MK IV has some additional AF tracking abilities in video.
Yeah, I know, Sony colors, but the new a7 IV has the s.cinetoine profile everyone seems to love (not for me, but others love it) and the picture profiles on Sony cameras are EXTREMELY flexible (as Andrew can testify with his various EOSHD color profiles).
On the other hand, if the R6 with adapted lenses will give you the AF performance you need, then just get that (unless it has a time limit that you can't deal with... I don't know if it does or doesn't).

I am creating:
 
Videos for athletes  instructional - on a field, a track, and weight room performances - on a track (indoor/outdoor)  Videos for HS students how to read complex texts, writing strategies, organization, etc.  Videos for Family family parties, baby showers, birthday parties, holidays, trips  Videos for Travel my trips and experiences (mostly cinematic w/ music)  
Photos for athletes training and performance (indoor track/outdoor track)  Photos for Family family parties, baby showers, birthday parties, holidays, trips  Photos for Travel   my trips and experiences Photos for Friends their babies, portraits, family photos, etc. I've had a Fuji XT3 - LOVED the color but the ISO performance and autofocus made it not a good fit.  I'd be standing next to another person who had a Canon/Sony and they'd have the ISO/autofocus and get shots I missed (we even swapped bodies to try and they couldn't get a good shot or they would and the grain would look ugly at higher ISO or shutter speeds) so I decided to follow the next body.
Then I went to Sony A7III - LOVED that autofocus, liked the ISO performance compared to Fuji BUT it took too much work to get the color I wanted (love the fuji/canon colors bar none).  I am not a pro/paid hybrid shooter and may at some point learn to color grade but the reality is even then it will consume time that I really don't have so SOOC and/or minor tweeks like a drop-in LUT with a few curve moves for the whole video and done - not grading and matching 100s of clips.
Now ...
Canon R6 with adapter for EF lenses - this is my top move currently ... I can't think of a single body that will give me the ability to get the colors, ISO, and AF qualities I seek.  20mp is perfect for what I need and low enough to give me great to excellent ISO performance/low light performance.  I do like the colors from Panasonics S1H/S5 but the AF seems like a dealbreaker?  I could go with a Panasonic S1H/S5 for video on my documentary/narrative and get a significantly cheaper body for photos, but which body would be relatively cheap and have great ISO/AF?  Would they be able to share lenses?  If the Panasonics had AF equal to Sony/Canon then it may make it a closer choice with the R6 so that is my dilemma - go with the R6 or find 2 bodies ...

Moving from Fuji XT3, there was and is a definite ‘upgrade’ from APSC to FF, but it’s not especially big and no viewer would notice.
The 24mp FF sensor is maybe 10-15% better IMO in low light and back lit situations compared with Fuji’s 26mp crop sensor, but I’d say Fuji’s colour is better by a small margin, so swings and roundabouts as they say.
But the jump from 24 to 47mp is much more noticeable.
Again, it’s not anything that anyone would really notice on-line or on social media etc, but it’s very noticeable to yourself and if you care about such things as I do…
The colour is also better from the 47mp sensor. I have not seen anyone mention that one but IMO, it’s not just the improved resolution, but there’s something in this 47mp sensor wherever it’s coming from…and that seems to be a bit of a mystery except it’s probably the same as the Leica SL2 and Q2 but with some slightly thinner piece of glass/a layer with the Leica version?
And it’s not the Goliath unit some folks make it out to be…
Maybe with the 50mm f1.4 I am leaning towards, but we’ll see next year.
@IronFilm I’m sticking with my original Go for now as the combo with the lav mics & Sony recorders has been working mostly OK this year and it’s more a case of having backups due to others muppetry!

BMMCC @kye
I have not found footage from the Sigma yet that i can i say i liked. I coupled my Lumix S1 with a 10mm Tevidon in Hd pixel mode. That could be my Bmpcc. Just need the right adapter without wiggling. Got a Bmmcc coming its way, proving gas is dumb and never ending.:)
Back to topic.:) A fully rigged Amira is a heavy beast already despite the fact that they call it a perfectly balanced shoulder camera. Alexa is not bargain on your shoulder for sure.

Sony's in a delicate position. Aside from 4K120p, low-light and RS it's going to be hard to charge that much more for an A7S3 so the cripple hammer may happen on A7IV with 4K60p. On the other hand this camera's direct competitor is going to be R6 that already does non-crop 10-bit 4K60p. But if they manage zero overheat 4K60p, the crop may get overlooked.

It is still possible to do 4K60 at full frame mode in bining mode or lineskipping, as it have with a7R series when doing FF 4K30p.  I guess we will find out on the day!

We should know on the 21st... I think?!?!?!
I am both disappointed and relieved. If it was 60fps 4K full frame 10-bit 4:2:2, I would be tempted to sell my Panasonic S1 / S5 cameras. 
As it is now, not really enough to tempt me.

We should know on the 21st... I think?!?!?!
I am both disappointed and relieved. If it was 60fps 4K full frame 10-bit 4:2:2, I would be tempted to sell my Panasonic S1 / S5 cameras. 
As it is now, not really enough to tempt me.

I have considered all of the 1.8’s and have the 85, but went with the f2 Sigmas instead.
If I do switch to the 50 it would be the f1.4 for that extra stop of low light capability ie, f2 to f1.8 is not worth it. To me.
Plus it’s supposed to have a bit of magic in the quality/rendering department and that is the most important factor to me.
The Sigma 65mm f2 is just stellar though…
Possibly a tad tight in some indoor scenarios…but I have the 35 version for that so not a problem and then it does have that little bit more reach than a 50, but without having to go as tight as 85.
I like ‘willfully different’ and shooting primarily 65 is just that.
I have all Winter and early Spring to decide though so not in any rush or doing anything until after that time so we will see.
I’ve read so many times in so many places about how 24mp is enough for social photography but you know what, when you’ve tasted 47, 24 is never going to cut it again. There is a real and significant difference.
I hummed and hawed for so long over whether to go S1R or Leica SL2 or just stick with 24mp, but eyes opened and at 1500 euros, insane value.

The 60FPS is from the crop... so not FF.

The Sigma FP with its Full Frame 8bit RAW to SD card/12bit RAW to tiny SSD/External BRAW and ProRes Raw to HDMI/Removable and tiltable EVF/fully scalable lens options from tiny M mount to FF cine primes and all manual and electronic points in between has just jumped out of my jacket pocket and is screaming "are you not entertained ?"

I've now done 5-6 weddings (as well as quite a few corporate videos) with the S5 and I have hired a S1 as a B-cam/emergency cam for a few jobs. 
S5:
I like the camera but if I'm going to nit pick I find that the button on the front of the camera is very easy to touch without meaning to (in my case set to IBIS). The IBIS is not as good as the S1 (probably due to weight). I wasn't bothered about the EVF until I tried the EVF of the S1. Wow! What a difference (I use the EVF 80% of the time).The light weight is a pro and a con. A con for IBIS but half way through a long wedding changing from the S1 to the S5 is a notable difference in weight which can be a pro. It doesn't get in the way of the mic and headphones and is central. IBIS, really good and better than the S5. 2 SDs is a great feature.
S1.
EVF. Wow. Just brilliant. I have now realised I prefer the S1's tilt screen as well. IBIS is excellent. Best I've used (coming from GH5). Weight is pro and con like the S5. Prefer the S1 until I get tired then a stint with the S5 is a relief! 2 different card types is a bummer.
So, at first I wondered if I had made a mistake buying the S5 after trying the S1 but I realise that's not the case. I alway have 2 cams and there's no way I'm lugging about 2 S1s! So I think having an S1 (or S1H) and a S5 makes total sense as a A Cam/B Cam kit. Both are capable of being A or B cam depending on you needs. Now I need to find an S1 on offer like those I missed our on over the summer!
Lenses:
20-60 : Nice walk about lens for photo or as a wide 20 F3.5 for video (I dislike variable iris for video).
24-105 f4 - great all round lens with really good macro.
50 f1.8 - Really light in both senses. Weighs nothing and can see in the dark. Very happy with this lens.
Next:
Look out for a Lumix 24-70 f2.8 and a S1 or S1H to buy second hand!

Yeah, I've made that point a number of times, except relating to camera size, and it's frustrating as hell.
As soon as you want something smaller, it instantly comes with less.  Less bitrate, less bit-depth, less DR, less IQ, just... less.
It's like the logic seems to go:
Me: I'd like to have high image quality in a small and simple rig The world: Then use a large camera Me: You didn't hear me - I want a small simple rig The world: Then use a 35Mbps 8-bit 8-stop point-and-shoot Me: You didn't hear me - I want high image quality AND a small simple rig The world: Here's an FS5, cine prime, 7" monitor, matte box filter set on an easy-rig Me: No, I need something that is almost pocketable The world: Why do you need something so small? Me: In order to be able to take it where I want to film, which is places where "professional" filming isn't allowed The world: If size matters then why do you need high image quality Me: I shoot in uncontrolled conditions with no lighting or control and need lots of latitude in post The world: Well, if you want both then..  um..  err.. well..  you shouldn't.  You should want what is available. Me: Why don't you make something with high image quality in a small and simple rig? The world: No-one wants it! Me: *facepalm*

The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. 
Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. 
My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking. 

Yes, definitely true. The image out of my Panasonic S1 is noticeably better than out of my m43 Olympus E-M! MK II. But I love using the Oly and I loathe using the S1. 

There's a concept that no-one talks about, and that I think is one of the most important things that exists with equipment, which is how using it makes you feel.
We all know the trope about content being more important than image quality, but no-one here talks about the factors that make the content good, and I think that a key factor in that is how we feel while we are filming.  
If we are fighting with the tech then we will be frustrated, less efficient, and generally in a bad mood.  Like when anyone is in a bad mood, this will radiate out to the people you are working with, the people who are around you, and perhaps the people in the frame.  
The opposite picture is also true.  If we are using equipment we love, then we will be upbeat, calm, and will have a positive impact on those around us.  Film-making is art, and art is about creative expression, which comes from a place of emotion.
Obviously, if a camera is fiddly to use and the ergonomics are crap then that's a challenge, but I find that the biggest barrier to feeling good while filming, at least for me, is knowing what kind of images I am creating, and this is all about colour for me, and it sounds like it might be the same for you as well.
Going back to Sony vs Canon, considering that you're using FCP and don't want to learn colour grading, I'd suggest going with the camera with the best colour science that you can justify (ie, it has to work practically with those "other factors" you mentioned).  
Definitely wait for the A74, as Sony colour science is getting significantly better with each generation, but make sure you're looking at footage that is SOOC rather than had a colourist put lots of work into it.
Best of luck, and don't forget that the equipment are just tools to get the outcome you want, and a great experience captured with a lower quality camera will make a much nicer video than a lacklustre experience taken with the best camera in the world, and while filming you're influencing the situation.

100% It's a patient and logical idea - thanks!
 
Yea - i'll see how the color space looks on the a7IV when videos come out in the next few weeks.  The comment on the R5 makes me hopeful.  I really, also, like the idea of being able to use cheaper EF mount lenses with no degradation in quality of image or autofocus.
 
Funny you say that! I don't us a PP and learned that from Kraig Adams and his videos on YouTube (epic travel/hiking videos - 100% must watch!). But when I look at a video from Canon there is just a magical quality that draws me in and those I watch with.  I really want to have that on Sony due to the other factors that make Sony excellent.
 
NLE - FCP
That's probably true and makes sense, but as I noted - I'm a full-time educator and due this for hobby/work stuff and don't have the time to put a lot of effort - so SOOC is most likely what i'll be able to do with light curve adjustments and then process/edit move-on.  

The BBC using Rode Wireless Go's for an interview with Prince Charles.
What on earth were they thinking having them mounted in that way??!!
Saying that, the sound is not too bad but why oh why would you not hide some lavs?
 

I'm as obsessed with the Alexa look as just about anyone. I had a major shoot on Friday, I was toying with renting the Amira, as it is very affordable in my area. I don't have a lot of experience actually using it though, so ultimately, despite having plenty of budget available to rent a big boy camera, I decided to just shoot it on my tried-and-true S1. I didn't even use pro res raw, just regular 5.9k internal hevc. I monitor using the GHAlex LUT on my ninja v, so I can nail the look "in-camera" before I grade. I think it's pretty dang close. This screengrab has zero adjustments or color alterations besides just dropping on the lut. 

If I can get 95% of the way there, and have higher resolution to boot, at the cost of maybe a stop or so of extreme highlight retention in certain situations, I think it really starts to be hard to justify, beyond just impressing clients and feeling super cool and hollywood. 

BRAW is definitely a good alternative though. I am not a big fan of shooting 6k, though you can always opt for S35 4k. 

The shipping said it was in customs then afterwards it said "returned to sender" now it says "ready for pickup" at the same city it originated from. I assume that means it was rejected by customs and sent back. There has been no update to the shipping or contact from the seller since Sept 23rd so I am just trying to get a refund at this point. I am somewhat bummed though the Alexa Classic realistically gives me everything I'd want in a slightly smaller package. 
 
I was using ProRes RAW which is virtually lossless. It's not as hard to match cameras it normal conditions but becomes trickier with mixed lighting or more difficult situations. That is where high end tends to shine more. 

Prores noise seems to look a little better too. Not exactly sure how to describe it. The fixed noise pattern doesn't go away unless shooting in RAW though.