Matt James Smith ?

Poll: Which manufacturer generally delivers the most pleasing images - focusing on sensor 'mojo', colour science, etc ... disregarding lens mount, usability, etc.
Choose as many as you want.
If I haven't listed a manufacturer you'd like to see, mention it in the comments.
Might do a poll on specific models if this one is popular. Suggestions of favourite models welcomed (in the comments).

This is pretty much the camera I said I wanted a few years back. An XC-10 style S35 Cinema EOS up to 4k120. 
But I wouldn’t get your hopes up as this lives in the world of the C200, 300 and 500. So the cripple hammer will exist. 
It will do something weird like shoot at 4k120 but only in RAW at 5000mbps, and 4k60 at 8 bit only with DPAF disabled intermittently. 
Jokes aside, if you’re buying RF glass then this becomes C300 III and even C500 II price range. Don’t get too excited, we all did by the R5 and that managed to win the Crown of Cripple Prize 2020. 
 
 
 
 

Unfortunately yes, regarding the price of the C line.
The C300iii goes for $11,000; this C70 reportedly sports the same DGO sensor, is 10 bit 4:2:2, and shares a number of other C300 features (besides RAW). They won't drop it below $6,299.

How is this a response to what I said? You're trying to talk yourself out of a nonsense position. I don't see any value in continuing this conversation for either of us.

You literally have no idea what you're talking about! I've already answered all your questions but you keep flogging a dead horse. You must have very little experience of shooting interviews.
I have used all sorts of cameras for all sorts of different jobs - from tiny client work to feature films to short docs for VICE - from crappy DSLR's to cinema cameras. Whatever the job calls for. That's why I know what is needed for interviews.
If you are focussing on "what camera I use" and think that's what makes a filmmaker, that confirms your naivety. It's a problem with a lot of talk on this forum - confusing technical camera knowledge for filmmaking. 

I think perhaps we’re missing the point. Just like their previous “hybrids” it’s a stills camera first and foremost. The difference now is that instead of video being an afterthought thrown on in case photographers *must* shoot a few clips, it is now “video for photographers.”
What I mean by that is the 8K video mode is basically a 30fps burst mode to pull stills from. It’s the first stills camera in what is probably going to be the near future of photography - no distinction between stills and video. 8K RAW is the first video mode that can really claim the image quality of a frame is equal to high-end photography (especially in combination with Canon’s AF making every frame perfect). I’m surprised they’re not offering an open gate mode to be honest. 

You don't half talk some bollocks

I don't think it is anywhere the same thing.
That is an APS-C sensor, no IBIS, no 10-bit, no 4k60p, no 4k120p and it overheats quicker than what they are quoting for the R5

I would like to see the exact same feature set to compare against (and not just evaluated as a video camera, but also as a stills camera)

R6 will overheat in 4K60p after 30-40mn & in 4K30p after 40-50mn (depending on FF/S35 modes).
Shouldn't be any overheating issues in 4K24p/25p.
Let's just remember we're talking FF no crop oversampled 4K60p with DPAF in 10-bit 4:2:2 internal.
In comparison, the only hybrid camera on the market that can get close to that is the almost twice more expensive S1H which can only do 4K60p with a S35 crop in 10-bit 4:2:0 longGOP and poor contrast AF... and that camera has active cooling on board!

Active cooling removes weather sealing. It’s a photo camera first and weather sealing is top priority for pros. Canon also make cinema cameras if a fan is what’s needed. S1H is a video camera first - hence fans. No perfect hybrid exists.

Untrue; active cooling and weather sealing are not mutually exclusive.

I think perhaps we’re missing the point. Just like their previous “hybrids” it’s a stills camera first and foremost. The difference now is that instead of video being an afterthought thrown on in case photographers *must* shoot a few clips, it is now “video for photographers.”
What I mean by that is the 8K video mode is basically a 30fps burst mode to pull stills from. It’s the first stills camera in what is probably going to be the near future of photography - no distinction between stills and video. 8K RAW is the first video mode that can really claim the image quality of a frame is equal to high-end photography (especially in combination with Canon’s AF making every frame perfect). I’m surprised they’re not offering an open gate mode to be honest. 

I always shoot interviews with 2 cameras. The exact issue remains. If you stop with one camera then you're reduced to one angle, which is no good. If you stop and start recording it makes it even more difficult, because when you're synching Multicam clips you have broken files to match up.  
Yes there are workarounds for hobbyists, but when you're turning over interviews day in, day out, these "little" workflow things are the difference between professionalism, happy clients, comfortable interviewees and stressful edits. I'd rather shoot a 1080p interview on a proper video camera than have to ditch a 4K camera after 30 min.
What if the interviewee finally gets comfortable at around 25min (not uncommon in my experience), drops their guard and starts revealing some really compelling emotional story? Do you say "oh can you wait 10 min while my camera recovers"? Or do you accept that you'll just use the second angle - guaranteed to be the one that doesn't let the viewer see the emotion in their eyes, or the tension in their gestures?
It's not about it not being right for me, it's about it being unsuitable for 4K capture of interviews. 

I think perhaps we’re missing the point. Just like their previous “hybrids” it’s a stills camera first and foremost. The difference now is that instead of video being an afterthought thrown on in case photographers *must* shoot a few clips, it is now “video for photographers.”
What I mean by that is the 8K video mode is basically a 30fps burst mode to pull stills from. It’s the first stills camera in what is probably going to be the near future of photography - no distinction between stills and video. 8K RAW is the first video mode that can really claim the image quality of a frame is equal to high-end photography (especially in combination with Canon’s AF making every frame perfect). I’m surprised they’re not offering an open gate mode to be honest. 

Not only that. He's systematically bullshitting this forum in all his postings, doesn't know what he's talking about and obviously has none of the practical experience he claims to have.
It's becoming toxic because people google this forum for answers, and he's contaminating it with misinformation.
The biggest fraud who has been on this forum since Ebrahim Saadawi - unless he's the same person.

LOL, its a joke or what. How many have you done. These thing must be rolling continuously for 2 or even 3 camera setup. You never know about how your subject is going to react to the camera.

You literally have no idea what you're talking about! I've already answered all your questions but you keep flogging a dead horse. You must have very little experience of shooting interviews.
I have used all sorts of cameras for all sorts of different jobs - from tiny client work to feature films to short docs for VICE - from crappy DSLR's to cinema cameras. Whatever the job calls for. That's why I know what is needed for interviews.
If you are focussing on "what camera I use" and think that's what makes a filmmaker, that confirms your naivety. It's a problem with a lot of talk on this forum - confusing technical camera knowledge for filmmaking. 

Oh, there's really no reason for childish fan generalization sort of like/dislike - most of us don't complain at all, nor anything here deserves any such emotion (at least from me). It is quit possible at the same time to enjoy in coming of advanced technology and to note some common sense problem in real world usage... what exactly motivated this thread, as far as I understand.
After all arguments, critics and applause for effort or step further in technology, the question, I believe, for most of us interested in matter will be simple: to spend sum of 4-5000 euro here or somewhere else? Judging from my humble criteria of projected opportunities (and zero interest in photography) - at the moment I'd spend this sum just for one really video/indiemovie workhorse, which R5 apparently is not if overheating danger/distraction exists even at base 4k raw shooting level. Someone else (probably with more free money at disposal) will greatly enjoy in different aspects of R5 offer, and it's apparently also well founded choice.

I mean the fact is no other mirrorless camera gives you full frame 8k, 4k 120p, 60p, or 8k oversampled 30p. The mere fact that you can use these settings is a great accomplishment, cause you can't use them with any other mirrorless. I'd rather have then as an option than not have them at all. I can shoot all day in standard 4k 30p mode and mix it in with some hfr modes if I want. 
To all those saying, ye but it's not worth the price...well the market will decide what it is worth. Again you don't get any of these options in any other mirrorless. 8 stops, dual pixel, uncropped 4k, flippy screen, 10 bit internal, etc etc.  
The constant moaning and complaining is unnecessary. Just compare this to the way the xt4 was treated. Apparently that camera is perfect despite having crap ibis where you can't pan and unreliable autofocus (people had to turn to YouTube and Philip bloom for that info). 
So it overheats in certain modes. Don't worry, you will be fine, it's not the end of the world. 

I’m currently very much enjoying using an Instax Wide 300. It’s not great for interviews but probably on par with an R5.

I think perhaps we’re missing the point. Just like their previous “hybrids” it’s a stills camera first and foremost. The difference now is that instead of video being an afterthought thrown on in case photographers *must* shoot a few clips, it is now “video for photographers.”
What I mean by that is the 8K video mode is basically a 30fps burst mode to pull stills from. It’s the first stills camera in what is probably going to be the near future of photography - no distinction between stills and video. 8K RAW is the first video mode that can really claim the image quality of a frame is equal to high-end photography (especially in combination with Canon’s AF making every frame perfect). I’m surprised they’re not offering an open gate mode to be honest. 

How is this a response to what I said? You're trying to talk yourself out of a nonsense position. I don't see any value in continuing this conversation for either of us.

You literally have no idea what you're talking about! I've already answered all your questions but you keep flogging a dead horse. You must have very little experience of shooting interviews.
I have used all sorts of cameras for all sorts of different jobs - from tiny client work to feature films to short docs for VICE - from crappy DSLR's to cinema cameras. Whatever the job calls for. That's why I know what is needed for interviews.
If you are focussing on "what camera I use" and think that's what makes a filmmaker, that confirms your naivety. It's a problem with a lot of talk on this forum - confusing technical camera knowledge for filmmaking. 

The the act of just inserting a cable will eventually break that stupid port. So be careful.

I tend to shoot with 3 cameras, one of each person talking and a wide on both, for 2 person interviews  For logistics reasons, I'd prefer all 3 are continously recording.  I don't want one to stop partway and be pandered to.   
Besides if the R5 shut down and needed 10 mins rest, then I stand to lose 10 mins of footage.  Its not like the old 30 min clip limit, though those were annoying as well. 
It would depend on how quickly or frequently the problem manifested itself.  Something we don't yet really know.