Zeng

One thing that struck me from the tests was how neutral the over and under exposures are.  That's absolutely not the case on most other cameras, and I speak from experience here because I have routinely exposed things poorly in the past and then suffered in post when things didn't behave how I anticipated/hoped they would!
Once again, the cameras that most remind me of this trait is the original BMPCC and BMMCC, which use very little highlight rolloff, so the way you use them is to ETTR and pull things down in post, and they look very similar (I did tests), at least when overexposing things anyway, if things are underexposed then the results aren't so good.
It might even be that the usability of the DR of the Alexa is more useful than the sheer amount of it.

Its like saying poor people in developed countries shouldn't call themselves poor, because some kids somewhere in India are dying because there is no enough food.
Slavery is about a situation where a person or a group of people, commonly known as master, decides how you should live. Some people have legitimately concluded that they're in that situation right now. The mathematical measurements of misery is not the subject. 

I thought we were talking about closing down businesses and lock downs and mandating stay at home policies - which I do consider a form of slavery.
Who said anything about masks?

That's 4 I count! (screen as well) Clearly sets it apart from all other cameras.
 

You are right, and you are a gentleman, because you didn't mention, that for ultimate precision your LUT is still the way to go. A matrix can get you close when you're lucky, but to transform all the color tweaks of a manufacturer, a 3D LUT is still the way to go.

What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.

Ugh, the X-T3 and 4 have a nasty artificial and plastic looking image with strong temporal filtering on top of the excessive sharpening which gets thrown on the footage even when it's set to -4. Even the A7s3 performs better in that regard.
Really no comparison to the S1H with NR set to -1.

Not talking about color, which can be altered anyway or just by using better Rec709 conversions than the ones provided by Panasonic which quite frankly aren't great.
The processing is the culprit. Even with noise reduction and sharpening both set to -4 (lowest) and interframe NR OFF the X-T4 showed more sharpening artifacts than my GH5 even with lots of ghosting and smearing on top. Also color separation and tonality on Fuji cameras using F-Log both internally and externally is quite awful. Maybe the HLG workflow @Llaasseerr mentioned helps with both issues but didn't try that myself.

Moved to ‘sitting on the fence’.
I’m less interested in a pure ciné camera and more interested in a video centric hybrid.
The final spec vs cost vs Panasonic S5 will decide for me.
And yes I know the humble S5 is not it’s competitor but it’s the camera that currently ticks more of my boxes than anything else.
Second place is joint Fuji XT4 and Sony A7Siii with Fuji losing points due to lack of lenses that suit my needs and Sony on being ‘only’ 12mp and price.
We are still at least one single component away from my ideal spec, my S5 in two areas: video tracking AF and no internal ND or at least drop in filter.
The FX3 is certainly shaping up to be less of a contender than it was a week ago when it was heading for near dead cert territory.
The lack of any form of ND, internal or drop in is the biggest disappointment. If the speculation/rumors are true... 

I'm excited, but I would've been much more excited if it had been an A7SIII with eND instead of IBIS. *shrug* Still very interesting depending on the details. I think there's room for an FX4 in the lineup now. Take the guts of the A1 and add e-ND instead of IBIS, add SDI and in-camera raw, and call it a day.

A buddy of mine who shoots Sony emailed about this camera talking about how I'm going to be into it for a cine camera and how far ahead Sony is going to be than everybody else. NOPE!
This form factor for a "cinema" camera is a big nope for me. At least the C70 is big enough to include a lot of function buttons and (mini)xlr inputs right on the body. And it has built-in NDs. 
Putting a pre-amp several inches above the body and out over the lens? Yeah, that's going to help stabilize my footage. I'm not a big fan of mounting recorders like the MixPre 3 or pre-amps under a camera, but it sure is better than this. 
I'm assuming this one is going to have Sony's e-ND system. It better, that's the only place Sony IS actually out ahead of everybody. And this box is definitely going to need real IBIS. Problem is, to this point Sony's IBIS is what, third rate. From everything I've read here, it's miles behind Panny's excellent IBIS and not even as good as Fuji's, which can be pretty good if you learn how to use it correctly.
I'll pass.

More like the love child of a S1H and the FX6 I think.
I wish they'd release a pro APS-C camera, or at least an APS-C camera which didn't suffer from HORRIBLE amounts of rolling shutter. 

I do not mind rolling shutter though, so long as it isn't horrific.
Could, I couldn't cope if it was even more expensive than the a7Smk3! (plus who'd then buy it over an FX6 for only marginally more?!)
 
 
Guesses:
1) crippled stills mode
2) no IBIS
 

I will take an internal variable ND over IBIS every single time.
Stab options include Catalyst Wotsit or mono/tripod.
This thing looks VERY interesting, - the love child of the FX6 and the Sigma FP.
 

I’ll take 2 please.
Seems to me like Sony are now getting more things right then anyone else.

If you want to match your camera to an Alexa it’s the best tool for that job. I personally love it on my Panasonic S1. Makes saturation and highlight roll off really pleasing.

Going early into mirrorless gave Sony an advantage initially, but it also means they made the mistake of APS-C as the basis for their mount. Which they're trying to shoehorn a FF sensor into, which results in limitations in terms of the lenses they can design and what they can do with their sensors. 

With time, this will become more and more apparent to even the average consumer.  Nikon has better camera body IBIS and "better" (in the sense of one of: size/price/performance/value/speed/etc) lenses than Sony.

Canon meanwhile has made the deathly mistake of splitting up their mirrorless across EOS M & RF Mounts, they can not possibly support both forever! Nikon has already long ago killed their Nikon 1 experiment, that mistake is gone in the past now. 

Out of the "big three" I see Nikon the best set up for the long term future, they just need to keep on doing what they're doing. Release another couple of DX Z Mount bodies to get the mainstream average buyers and attract new blood to the system, plus Pro FX Z Mount body and keep up that stream of new Z Mount lens releases. 
(and purely in my dreams.... release a FX6/C70 competitor with a Z Mount!!)

That electronic ND is the best though, really wish it was in every camera.

I don't always limit my wishes to what is realistic to expect.  This a casual discussion not a debate.  Even so, what is realistic for features depends as much on manufacturers choices than what is possible with technology.  BRAW internal may seem a foolish wish for any other camera than BM; until another manufacturer comes along and offers it.  The P4K took a lot by surprise offering 4K RAW so cheaply.  It would have seem unrealistic a request before then.
Its not as if the technology isn't there to deliver on such expectations.   Nikon will gives us BRAW external, whilst Canon provides Raw internal.  If the R5 had a fan and been made by Panasonic that cripples its cameras less, doubtless its RAW video recording would be less impeded.   Who knows what Panasonic will offer next, maybe with a GH6.
The frustrating thing I find about Nikon, Canon and Panasonic is that they are all on the cusp of delivery something I would really value as a filming tool, but each lacks something that truly sets it apart from the competition.  

It's out there!
https://www.indiegogo.com/projects/afx-autofocus-adapter#/
https://www.eoshd.com/news/exclusive-cda-tek-announces-afx-module-for-lidar-autofocus-featuring-tilta-nucleus-motor-drive-and-blackmagic-pocket-cinema-camera-compatibility/
Congratulations to @BTM_Pix
It looks superb and the example shot is silky smooth and natural looking.

Three days to go.
The RAW shooting Sigma fp with the Baveyes 645 medium format speed booster is a little powerhouse.
Particularly when you can now add ToF autofocus to that manual Mamiya 35mm lens.

 

@Emanuel I had heard that it was to use the GH5S sensor. If so, there is a reasonable chance that the color will be the same. If not, then it could be measured. I didn't know about the Osmo, but it is something that could be explored. There were some cool experiments I wanted to mess around with, so a deep dive may be warranted there next.
@HockeyFan12 Very cool, I haven't read that one yet. I did notice S1 moire on saturated fabrics, and in that moment felt the value of the S1H. Here are the S1 fabrics compared to the Alexa:
S1

Alexa

I found the Arri film matrix numbers, and used the Matrix drx printer code to inject them into DaVinci. I'm not sure what to make of it.. it is a lot more saturated for sure. Here are the numbers and the lut/powergrade:
1.271103    -0.284279   0.013176
-0.127165   1.436429   -0.309264
-0.129927  -0.510286  1.640214
Arri Film Matrix Download

It lives! The Sony a7s III conversion is now complete as well.

Hey there. New to this forum but looking for a place to post my findings:
Seems that most other brands got in front of Nikon using the Ninja V and ProRes Raw now. 
Assimilate Scratch and FCPX would provide the possibility to change WB, ISO and exposure in Raw (befor debayering) now.
But according to a list provided by Apple the Z6 and Z7 don’t support any of these options.
It was mentioned earlier that you get the picture pixel binned.
To make ProRes RAW really usable it would need an update taking care of these issues. Getting the 1:1 5.9 k readout and all the metadata for post production.
curios if this will happen. Sad thing that it seems that the pioneer system / combination loses support.

I don't know what's going on here but it's not like they have a cinema line to protect...
Panasonic could have that excuse, but don't use it and just have the somewhat iffy AF issue.
Canon are full of controversy.
Sony have been criticised by only having 12mp for the A7S3 but it looks like when the A74 arrives, now that Sony have improved ergos, menus and colour, they are just going to walk over the whole lot.
And I am no Sony fan but the electronics giant is stomping on the more established camera companies.
It's like they all want to commit financial suicide and close their doors.
Or are we some tiny minority that sees this, but 99% of the rest of the world don't give a shit and just hand over cash to any brand they recognise the name of or the fella in the shop sells them?
I think if the answer to my question above is "no, the 4k 60p when it comes is 8 bit", then I'm on a course to see if the S5 will perform in ALL the roles I'd need it to.
More than a bit pissed off with all the camera companies right now. Every single one cripples in some degree or another everything they are putting out for no apparent reason other than they can. It's just fucking weird! 🙄

I believe it is all 8bit internal, the 10bit is still reserved only for HDMI output.
So no internal 10bit codec.
It's one of the laziest half hearted re-releases I've ever witnessed.
Sony going to be outselling them 10 to 1 at this rate.