Mmmbeats

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

The C70 is an interesting intermediate option during this critical turning point in lens mount. RF lenses, and the RF mount, are clearly the future; Canon is not making any more EF lenses. Also, technically the RF L lenses are superior, which matters. I've tested the EF 50 1.2 v RF 50 1.2, and the resolving power of the RF is significantly superior. For static shots, you will immediately notice the difference (shot in 8K raw, viewed on 5K monitor).
Also, for some lenses, there's not a huge price difference between EF and RF (24-105 F4 retails for the same, RF 15-35mm v EF 16-35mm is $200 retail difference). 
That being said, with the EF focal reducer adapter, you get the full frame look. It's not cheap at $600, but it's still way cheaper than the $11,000 c300iii that's still stuck w/ crop sensor.
Then again, you could also just use the $100 EF/RF adapter and use the lovely Sigma 18-35mm and the Canon nano-usm zooms that are dirt cheap and silent for video. You can walk away with a $5600 ready to shoot package.
It's a very flexible camera.
 
 
 

More flexibility. You can still push the color grade much more w/ 12-bit raw. And with some post work, de-noising, you can probably get it to look closer to the shootouts.
But the c70/c300iii 10-bit 422 XFAVC looks great straight out of the camera if you don't screw up too badly with exposure, white balance, etc. Faster turnaround, you don't have to spend as much time in post.

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

except an evf...
That z-cam looks good but is still a big lump - suddenly you've got hdmi lead, power to think of (and another lead). This little camera is going to become very unwieldly quickly. 

at first sight looks great, just an issue, HDMI: Input Video resolution up to UHD 30fps. Are we going to loose part of the image when recording 4K DCI?

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

We're talking two unreleased cameras, but the internal NDs, mini XLRs, higher framerate 4K, and superior autofocus would make the Canon a clear winner over the S5 for docs.
Unless you literally have to have two cameras for $4000, in which case there's no point comparing them.

A big *want* from me.  Will start saving fairly soon.  Sadly will be a long process as I also need to move house soon.
But this seems so close to perfect for my needs.  I'd prefer it to look a bit more 'cinema camera' just for client perception, but that is literally the only major flaw (from my own POV).   The price is lower than I was expecting. 
Unless the FX6 is in some way extraordinary, or another camera emerges prior to me being able to gather the finance (EVA-2?) I'm feeling inspired to purchase at this point.  Obviously, I need to see more footage, and wait to see how some of the tech holds up.   I hope the new thin NDs are robust enough for example.
External RAW would be nice.  They might just be holding off on that so as not to upset C300 III sales and recent purchasers.  But honestly, on first look - I'm thoroughly impressed.

I don't think you are wrong at all, and rather that it is indeed very important how you make the client feels, and this factor shouldn't be ignored. 

Disagree though that the EVA1 "looks like a 90's camcorder".
Wish it has a MFT option, a true AF100 successor... finally! 

But with the launch of L Mount, it seems that ship has finally sailed for good, and now will never ever happen. 
This is why it is a tough sell to be convinced to buy anything other than a FS7 (or maaaaybe a C300mk2), because the FS7 is by far the most requested camera in the low/mid range of work. 
 

Okay - I know this post is going to be unpopular to a certain extent, but here goes - 
I'd love to invest in a cinema camera.  At the moment I make my living using mirrorless cameras.  The possibilities for improving my creative options and technical quality really excite me.  Add to that the convenience of having integrated features like internal ND and XLR sockets, and I would be a very happy customer.
However, there is another important factor motivating me to fork out, what for me would be a major amount of money - it's that sinking feeling I see from new clients when they've hired a filmmaker and I pull out a camera similar to the one they take with them on holiday.
Impressions count, and if I do spend thousands on a piece of equipment, I'd really like it to look like an impressive bit of kit. 
The original EVA1 (which I've rented plenty of times, and really enjoy using) has serious styling problems.  It resembles a 90's camcorder, and not in a cool, retro way.  It might sound superficial, but that, and the build-quality problems at launch (wonky handle), really put me off buying one.
I have some other minor feature requests, but that is the number one thing that stands in the way of me actually purchasing a similar release.

That is not a minor quibble when it comes to our clients' confidence in us. We don't need any more hurdles (big or small) to doing our job and "selling" a client (who only knows enough to ask for a Red) on a different camera package gets old fast. If the EVA2 looked more like a baby Varicam, I would be very happy.

I’m sure they will have one headline feature all the news outlets can slap in the title.
I’m glad they are saying things like (paraphrasing): “we are looking at making the most out of the advantages of MFT”. That is exactly what they should be doing.
That has traditionally been:
Telephoto video (balance of size weight, and image quality for out in the field work; wether stealthy street or nature). Can’t walk around with a FF 400mm without getting attention.  Fast sensor readout Smaller sensor with theoretically less thermal overhead and more robust IBIS. The new “best in class video features for mirrorless” today would be things like 6K60p (fast sensor readout), internal ND, unlimited recording (thermal overhead), IBIS (smaller sensor easier to stabilize in body).
But yes, I would like a mini S1H with HFR 6K recording, 4K120p (a must), an internal ND solution, unlimited recording in full vlog with varicam lineage color science, and DR in the 12-13 stop range. That really would be a really exciting and solid camera.
I am kinda grateful the R5 and A7SIII are as good as they are. The bar is raised. It’s time for Panasonic to leap over it like they traditionally have with GH cameras, even if it’s the last MFT camera they make because of the shifting market.

No, Lensbaby’s are not naff. The problem is too many people don’t understand their purpose. 
They are all about isolating the subject in different ways. They have a steep learning curve, but for the right use cases, the results can be spectacular. And no, you can’t replicate what they do in post. 
My favourite ones are the Sweet 35 and Sweet 50, plus the Sol45. I also love the Omni Filter Kit, which again, so many people dismiss as an Instagram gimmick, but when you actually use it, you realise it’s not. It’s very clever actually. 
These are not the type of lenses you keep on your body and do an entire shoot with. I use them for specific shots where the aesthetic will contribute to the story. 
I would try before you but too, they aren’t for everyone. 
For actual character lenses, check out Iron Glass Adapters or search for modified Helios 44-2 on eBay. The Mir 1B 37mm. Trioplan 100m. Vivitar 28mm. Helios 85mm. 
There’s also lenses from Lomography and new ones from Dulens. 

Looking forward to comparing this to the (rumoured) Canon C70.  Really not sure which way I'll lean, but excited about both cameras.

Looking forward to comparing this to the (rumoured) Canon C70.  Really not sure which way I'll lean, but excited about both cameras.

Simplest thing to do here is have a safe workflow when setting and taking down your camera rig.  In the example where you have a camera and a recorder/monitor both receiving power from the same power source, yet have a high frequency connection between the camera and recorder/monitor like SDI 6G/12G or HDMI 2.0/2.1 and unshielded cabling is used.  Simply following:
- When connecting: FIRST connect power cables, THEN HDMI / BNC.
- When disconnecting: FIRST disconnect the HDMI / BNC, THEN the power.
Also helpful is using shielded power cables and avoiding D-tap connectors (since they can possibly be plugged in backwards).  To safeguard your D-tap connector you could add the Lentequip Safetap which protects against reverse polarity, over/under voltage, and short circuits, as well as preventing battery deep discharge.  
But just following the connect/disconnect process above should protect you most of the time.

This all day long.
I feel like we're at where we were many years ago with photography, when stores were selling cameras based solely on 'megapixels' - the more the better!  It took a while for the buying public to re-educate themselves about this.
The jump from SD to HD was amazing.  I was a big enthusiast and early adaptor.  I was boring people silly about it!

The jump from HD to 4K was pretty cool, but that's about all.  From a filmmaking perspective it added some nice options for delivering in 1080.  HDR made more of an impact on me overall.
For me the whole 8K / 12K thing is being driven by the sales floor.  People like a bigger number.
One thing though - 400Mbps can be improved on I think.  It's very similar in quality to the 150Mbps LongGop.
 

It’s user controllable as well.
A fast, high mega pixel sensor will give you just that. I don’t care about 1080p anymore. It’s a resolution I use when I have to for higher frame rates. It’s 4K capture and delivery for me always.
So a sensor that can deliver 16:9 6K up to 60p (not using the entire sensor) would allow for oversampled 4K up to 60p. The higher frame rates historically used pixel-binning to achieve it. Again a higher MP count would be helpful.
Hell 6K all the way for me. I think it’s the sweet spot for a video mirrorless camera because it’s flexible. Ability to go up to 8K when processed smartly with a upscaler for use on larger productions or for stock footage. Ability to go down for better 4K...and 1080p.
But not to sound like I’m disagreeing. As my original post about it was exactly that...there as some many other things they could add to improve the shooting experience and workflow that are more valuable than resolution or even DPAF. 

We already have 5K in the GH5.  There's only one mode that uses it, but it's there and is used for downscaling in most of the other modes of course.
I'm much more interested in a camera that does 4K and 1080p better.  I'd take Dual-ISO or eND over any increase in resolution any day of the week.  We already have 400Mbps 4K 422 10-bit ALL-I, there aren't many people who can claim much benefit for a "better" output file than that, especially considering that the 4K killer mode is also already downsampled.
EOSHD seems to be one of the most technically savvy and demanding community of GH5 users and have a look at how we're delivering.  Resolution is not the answer.