Snowbro

O please, It was ridiculously expensive when launched if you wanted 4k video.
March 2012 1DX $6,799.00 (suggested retail body only)
May 2014 GH4  $1,699.99
 
sources:
https://en.wikipedia.org/wiki/Canon_EOS-1D_X
https://***URL removed***/articles/5485059243/panasonic-uk-announces-price-and-availability-for-lumix-dmc-gh4
 
 

He said directly before the quote you cherry picked that it was a con that Canon didn't have 4k/60p, hence why he had to shoot at 1080/60p and upscale.
There is plenty to bash, no need to make stuff up.

Who said it is 6 months. That's why wait 5 days. Costs nothing. Maybe they get a GH5 FF in 3 months and it's worth the wait. 
Color science lol... I don't care about that. I can produce great looking colors from A7 which is worst color science on earth according to internet. 

I'll be amazed if it has 10bit h265

The problem I am having with all of the negative nancy’s around here is that they live in such a bubble. As said ad nauseum, sure nobody WANTS the crop, but the camera has it. If it isn’t your cup of tea, COOL! But nobody has said the image looks bad. Because so far, everything I’ve seen from the camera looks great. A thick image with great AF and great colors. People live in such bubbles here. If any of you were forced to shoot with it and forced to deal with the crop, I’m sure you guys would get amazing results. 

God I hope this place doesn't become somewhere that treats every professional who gets a pre-production model of a camera as being a shill. Trump like.

Well I just created another tool, which does exactly that, it can combine/merge 3DLUTs: http://colorizer.net/index.php?op=lut_combiner
It's in beta testing state, please tell me if you find any errors.

FYI both lenses share an 11 element 9 group design. Canon's RF35mm is said to have "remarkably similar MTF characteristics to those of the excellent EF35mm f/1.4L lens" in a smaller, lighter package. It can focus closer than Nikons and also has IS, Macro & extra control ring. All that for $300 cheaper.

Am I the only one who thinks the examples shown in this thread look horrible?
Some of these look like shot on a phone in terms of aliasing, overprocessing, bad dynamic range, lack of texture etc...

I would rather get the Fuji X-T3 or BM Pocket 4K which look way more organic/filmic or even wait for the Panasonic full-frame offering.

Would be interested to hear what glass he was using on that trailer... Looks so much better than everything else from the XT3 (the other stuff looks good, but this is next level).
Edit - did some googling 
https://www.fdtimes.com/2018/09/06/fujifilm-x-t3/

Hey Everyone, 
Here’s a bunch of stuff I’ve shot, graded and edited for music videos between 2012-2018. 
The shots in the reel not done by me are the drone shots. 
 
For you camera nerds, I used......
Sony FS700, FS5, FS7, F55, A7SII, A6500.
Panasonic GH3, GH5. 
DJI X3, X5R. 
 

I bet there would be no less than tens of thousands of vloggers. 
Probably hundreds of thousands of vloggers. Potentially millions (especially if you count all the micro vlogging social media sites). 
Or course what proportion of them are keeping it up on a regular basis and would commit to buying an EOS R? Of course only a teeny percentage of those. 
 
Sadly these "pros" who are complete technical air heads are far more common than you think.
 

Nice info, thanks. Out of likes.

4:2:2 has double the chroma resolution compared to 4:2:0. How much that matters varies.
The best way to see the perceived quality difference is to start with some high quality 4:4:4 footage and then render it as 4:2:2 and as 4:2:0. Try a variety of scenes, try color grading both or doing green screen work. You can come to your own conclusions--always better than listening to what other people claim!

highlight roll off is poor on most sony cams imo and let's not even talk skin tones or overall color science.. it's what sony tried to fix on FS5 mk2.
as for broadcast standards let's not forget they are still 720p/1080i. so the 4k crop isn't even a concern for that. shoot externally on a C200/EOS R and you've got your ProRes 10-bit 4:2:2. internally only Canon & Panasonic (and soon Fuji) offer high bitrate ALL-I codecs inside their MILCs which is also nice, especially when shooting water etc. motion artifacts will get your footage rejected by broadcast QC.
Sony seem to be the only ones keeping their ALL-I (XAVC-I) codec for their FS7 and 10-bit options for FS5/FS7. If anything, i'd say Sony are the ones crippling their MILCs..
 

You always can try with the "color match" feature on premiere pro using your still as reference:
 

Use Colorizer. It was created by @Attila Bakos and this is exaclty what it was made for.
Nice image!

In Lumetri color with Premiere Pro you can place one LUT in the 'basic' panel and one LUT in the 'creative' panel.

Maybe I am missing something but why not simply export your LR settings as a LUT from LR and then use that with the Eterna LUT in Premiere Pro.

I understand YMMV, but I shoot 4K video regularly with both the A7III and A7RIII trackside, where it is often 120° ambient and I have yet to even received a heat warning. I think most reports of overheating are from folks that don’t know to enable high heat operation. 
I’ve had plenty overheating problems with previous models (NEX7, A7RII, A7SII, A99II all overheated horribly), but these current ones are so reliable I don’t even keep them out of the sun between shoots anymore. I let them bake and they don’t even flinch.
The attached video is me shooting for Subaru with the A7III mounted to a Ronin shooting 4K internal after the camera sat in direct sun for an hour (I was shooting with the R3 on sticks leading up to this) in 100°+ weather.   
In addition to shots like this, I also conducted several 20+ minute interviews in similar conditions without issue. 

DD0F6B36-C445-4648-831E-3F8C84D0DFB8.mp4

The problem for me is the lack of OIS lenses, otherwise, this looks awesome. 

I believe in yet another theory.. that Canon was indeed in a rush to put out an MILC system around Photokina this year but simply wasn't ready as far as tech is concerned to put out a new sensor, or develop a stable IBIS system. So they did their best with existing tech and this is what came out..
I actually think Canon have learned from Sony though, and haven't held back so much in features like they used to .. Nobody was expecting EOS R to have C-Log, 10-bit 4:2:2 out, 480mbps ALL-I codec, Face detect, peaking etc.. for $2300. They even added MF Focus guides from C200 and Cinema EOS original color matrix option to match footage with C100/C300. I believe Canon's objective is to make EOS R an add-on system to your existing C line cam & DSLR. That is how they've been presenting it during launch and that's quite a logical & smart business strategy imo. 
Of course they are not pushing the barrier very far like the competition is, and in many ways EOS R is super dated feature wise.  I do applaud them for the inital pro lens line-up and the Vari-ND adapter, that's kind of a game changer.
 

I'm here from the future to report that yes indeed Canon "pulled a 2016"

All of the RF L lenses are USM lenses, so they’re not technically focus by wire, it’s a combination of mechanical and focus by wire. The 35mm 1.8 is STM so that is completely focus by wire. 

This is a really good idea. The forum software doesn't have a Ghost feature but it should have it.
I had to ban him in the end. Too much BLAH BLAH.