newfoundmass

And they all said the same thing about the 6700 😉

You're the one being defensive, man. I chose not to respond to you because there wasn't any reasoning with you, and you wouldn't concede anything so what's the point? Maybe when multiple people notice something about you there's something to it even if you can't see it? I don't know.

I can't imagine identifying so much with a billion dollar corporation that I have to defend them no matter what. It really is a weird part of this hobby/profession (and honestly, many others.) It's little wonder why these companies think they can get away with things, they'll have an endless number of people defending anything and everything without being on their payroll!

To be fair its mostly a Sony thing in our community. A lot of video/hybrid shooters these days know nobody other than Sony (a side effect of superiority of one brand's marketing strategy over the rest of industry), so when you question Sony, you're in fact questioning their career. 

More nonsense. No camera manufacturer has opened up camera body code to allow others to tinker with it, so yes focus breathing is Sony lens only. Duh. You make it seem like Sony engineers wouldn't have to do massive amounts of extra coding to make focus breathing work with 3rd party lenses, it would take a ton of work, testing and so on. No camera company would do that.
This paranoia about Sony bricking 3rd party lenses is also complete nonsense. The backlash would be massive and they'd be hit with lawsuits from every manufacturer. You could hit them with a class action from every owner of 3rd party glass as well. It's pointless arguing this, the E-mount is open and has been since 2011 - that's a fact, your tinfoil hat theory is nothing but hyperbole.
Enjoy your camera. 
Chris

I never said it was widespread issue, I just said it sucked that those people who only have samyang or the sigma aps-c lens with a6700 are fucked unless they buy sony lens or that 18-50mm in the mean time.
And yeah it is a shocker that Sony rather send their camera to youtubers than 3rd party lens manufacturers, so there you go about Sony and 3rd party relationship, Sony doesnt give an arse about them.

I just dont know why people feel offended if their favourite brand is under attack, a fault is a fault. There are people with problems with some combination of lens and sony camera and that is a fact
It's more than just one user have problem with one lens, the more you trying to argue it just make you look the same as those sony shell on youtube lol. Like any fault you just brush it off as non issue, but unfortunately its is a problem for some people, but not me since I only use Sony lens on my Sony camera.
 

I went with a couple of Angelbird cards. We'll see how they go! Fingers crossed!

That is the point
Sigma apsc 1.4 and Samyang 1.8 is pretty popular too, who cares about other obscure lens.
Those lens just don't work for Sony A6700, so sucks to people who only have those lens to find out they can't use it, that is not a really good user experience if you need it for a trip or shoot only to find out they are not compatible til who knows when Sony or Sigma or Samyang will have new firmware.
But for people have have Sony lens they knew it will work regardless cause it is 100% supported .
That why I laugh at people who think 3rd party is one the main reason for Sony, not for me cause I knew 3rd party will have problems.

Your point highlight why regardless of 3rd party only Sony lens give you the best support 
When there is new body with Sony lens I don't have to worry about is it gonna have issues whatsoever.a
Hence I still only use Sony lens.
But now the new Sony lens is getting more expensive like Nikon and Canon.
 

I really wish they'd make these less tacky/cheap looking and relax on the branding, especially on something labeled "pro." It'd be nice if they were inconspicuous.

It worked out okay, but I think I would have done a better job with the Blackmagic cameras I have been using for years. The Sony did do well in low light, although I was mainly at around ISO 3200 in the darker areas, occasionally up to ISO 10,000. The lighting was very challenging; I used the Cine Meter II app on my phone to measure reflected colour temperature and dialed it in manually on the Sony to get me close. We'll see how the video turns out after I edit and do some minor color grading; i'm hoping I'll be pleasantly surprised. I shot it all at 4K except for the slow-motion clips, which can only be shot in 1080p, and I think I'll just do a 1080p timeline and put the 4K clips into it so I can zoom in and pan them if necessary.

That's what is making me wonder if it's time to switch. Never, ever had a problem with them but with the issues with their SSDs and now this card crapping in under a year, I'm a little weary. Well, weary enough to be looking at ProGrade and Angelbird cards anyway, as I've heard good things about both.
Yeah, I don't tend to buy from Amazon for that reason. Got these from B&H, so I assume they got them from SanDisk directly.
I didn't lose any work, thankfully, because I record on both cards, but still a bit concerning!

Prograde 256

I think that's why the C100 is so good in log despite being only 8-bit 1080p; the 4K downsampled to 1080p gives you more flexibility in grading than if the sensor was 1080p.
I helped a buddy film with three C100s a couple weeks back and the image still holds up. He upscales it and it looks really good. I wish the C70 had kept that form factor, because the C100 is possibly my favorite ever. It's such a pleasure to use. Heck, I wish more companies would copy it!

I think that's why the C100 is so good in log despite being only 8-bit 1080p; the 4K downsampled to 1080p gives you more flexibility in grading than if the sensor was 1080p.
I helped a buddy film with three C100s a couple weeks back and the image still holds up. He upscales it and it looks really good. I wish the C70 had kept that form factor, because the C100 is possibly my favorite ever. It's such a pleasure to use. Heck, I wish more companies would copy it!

I think we'll start seeing more of this happening with Sony, especially as they start releasing features that require more communication between the lens and the body like needed for breathing compensation, etc. 
It also wouldn't surprise me to see them start to try clamping down on third party lenses now that their lens selection has matured. When they were just trying to get people into the system those third party lenses helped a lot, but now that they've fleshed out their own offerings I imagine they're wanting people to purchase those instead. They aren't making any money when someone buys a Viltrox lens, but they do when someone buys a Sony or Tamron lens. 

I settled on using the A7iii for video and will leave my Blackmagic cams at home. I did a lot of tests with the Sony, including one at a concert Tuesday night, all of which came out better than I expected.
Now my only quandary is lenses. Ideally I'd shoot all the video on one lens for consistency/continuity, but I only have one zoom, the Tokina ATX Pro 28-70 f2.6-2.8 (the Angénieux design) and while I love it in daylight I've been less than thrilled with the images I get from it at concerts. I have that lens in Nikon mount, and the other Nikon mount lens I have is the Zeiss ZF.2 Distagon 35mm/1.4, which is an amazing lens but won't match well with the Tokina. On the rangefinder prime side I have three Sonnar lenses (50mm, 73mm, and 105mm) but nothing wider than 35mm.
The first dance is tonight, but the headline acts are tomorrow night so I'll be able to try out a few different lens strategies tonight to see what works best in this location and under this lighting.

8 to 10 bit definitely is a more notable upgrade. For a lot of people 8 bit was/is enough, especially for personal use.
 

8 to 10 bit definitely is a more notable upgrade. For a lot of people 8 bit was/is enough, especially for personal use.
 

Hello,
check out this little music video we shot on the Sony A74, 24-105 f4 and partially Tiffen black promist 1/8.
As usual feedback would be great for me, liking and commenting on YT great for the artist!
 

Not at all. I'm sorry that you took it that way. I am simply saying that none of this matters if you don't just pick up a camera and film. Six months ago it was "is there really that much difference between 8-bit and 10-bit" and now it's "is there really that much difference between 10-bit 4:2:2 and 10-bit 4:2:0?" Being inquisitive is good! But from my perspective it really does look like you're worrying about things that, in the big picture, won't really impact what you'll be using the camera for, especially if you're just an enthusiast or hobbyist.
 
Regardless, none of us can really answer some of your questions because it boils down to preference and what is acceptable to you. If you can't notice the difference between the two then does it really matter? Does it matter that I can? I don't think so.

There are a lot of variables. 4:2:0 is good enough for a lot of stuff but it's certainly nice to have that extra information when you need it.

Shot this recently on the S5IIx in BRAW using the Sigma 28-70 F2.8 (and some DJI Mini 3 Pro drone shots).
 
Quite happy with the external output, 13 stops of measured DR without any noise reduction, no gamut clipping, no banding, no slow motion noise (no temporal filtering). 

Yeah, I really can't think of a lot of reasons to film with the A7s over the A7iii. You might do a little better in low light, but it'll be lacking in pretty much every other way. Better rolling shutter, battery life, auto focus, IBIS (vs. None at all), color, less prone to overheating, etc. 
You used to have to really rig the A7s (and the A7sii) up to get the most out of them,  especially when it came to battery life. One of the reason the production company I was working with at the time ended up selling theirs and going with the GH4 was because that, the rolling shutter, and overheating. That low light though, it blew our minds at the time. Low light across the board has improved so much, but 10 years ago it was voodoo magic!