Super8

X-T3 unless you can wait for the X-T4. 
X-T3 Specs
4K, 10-Bit, ALL Intra, 4:2:0, 400Mbps internal recording (Up to 30p)
4K/60p (in H264 mode), up to 200Mbps

This discussion looks similar to Sigma Fp topic regarding their raw DNG having some issues. Problems in downscaling 6K to 4K Raw? Very interesting. Still waiting for my Z6 to come back from Nikon. Will do some testing. Although I don't have a pro resolution chart at hand either.

That's what I heard (although I'm the last person that would know such things, so apply salt here..) but with some of the quality I'm seeing, my current production standards for my family travel videos have exceeded (a small percentage) of the quality of some shows on there.  Still, in the end none of that matters and it's about content.
TBH I think that with a very modest setup and the right levels of skill content that looks professional can be created with almost no budget at all.  An example might be @DaveAltizers video Porcelainia:
Shot on a 7D, L-glass, and graded in FilmConvert it's a great example of how, when done well, content shines through.  Think about how many people have access to equipment that meets this level of quality - at this point it would be half the people on earth who own an ILC.
And this is exactly what I'm seeing - there is heaps of content on YT that people make for fun or as part of a side hustle, and heaps of content on Netflix where people with skill use the same level of equipment and skill but are more ambitious and take on larger projects and larger distribution goals and do distribution deals that way.
The best content on Netflix is obviously better than the best content on YT, but the vast majority of Netflix content has less production value than the best examples on YT.  The overlap is huge.

I think 1917 did a great job of keeping the film exciting, but it is not "action-packed" like most action/war movies. It feels very realistic. It's more stressful and tense than high-flying action. And, like in real life, any fights are messy and realistic. I really think they toed the line very well of action and reality. 

American Factory is the doc of the year, yep. Great film. 
I think Canon really blew it with the C300 Mark II. The original C300 was one of a kind and huge for all sorts of productions. By the time the Mark II came along, there were much cheaper and more specced out options (FS7 being the obvious one). I won't say better because I still like Canon's image considerably more, but hard to argue with 4k 60fps, 180fps in HD, more codec options - all for about half the price.
With that said, I think Canon is moving in a very good direction with the C500 Mark II and 1DX Mark III. Everyone has been comparing the C500II and FX9, but I don't think that's going to be the real comparison because the C300 III will be in that same $11k price range when it is released (apparently very soon, probably NAB 2020). Here is how Canon should differentiate its lineup:
C700 - nobody cares.
C500 II - full frame, 6k raw, all 10-bit codecs - $16k
C300 III - full frame, 4k only, 4k 120fps, 4k raw, all 10-bit codecs (basically a C500 II but without the 6k options and 6k raw) - $10-11k - THIS would the direct FX9 competitor. 
C200 II - Just a C200 but with the 10-bit codec (Super35, 4k raw, 10-bit 422 4k, 60fps) - $7499
C100 III - Super35 sensor, as small as possible, no raw, 10-bit 422 4k in 60fps - $5499 (and SMALL - for Ronin-S gimbals. Maybe 2/3 the size and weight of C200).
If they did that (and soon), they would have a great range of products from journalism/broadcast/documentary up to feature film and narrative series - all Netflix approve with plenty to differentiate the costs. 
The most important ones and the two they should release this year (since they are rumored to be releasing two this year) would definitely be the C300 III and C100 III. 

Maybe Cinema EOS should be renamed Video EOS then?

This was stats from 2019, so likely they were filmed in 2018. 
Thus is no surprise to me that C700 doesn't have a strong showing there. Is more interesting to see the stats in 2020. (although my gut instinct is to suspect C700 won't have a strong showing)

Am not surprised to see a lack of C300mk2 cameras, look there are also no FS7 cameras there either! (be much more interesting if they showcased the top 43 documentary shows from Netflix, I bet we'd see a FS7 there! And a scattering of C300mk2 too?)
Because the C300mk2 was not designed to play at this level, the C300mk2 was Canon's response to the FS7 for the low budget productions. 
 
https://ymcinema.com/2019/05/28/the-cameras-behind-netflix-best-series-spoiler-red-dominates/

Looking at the comparisons between mid 2019 and 2019 I see the Panasonic Varicam has experienced a big drop, which is sad. As in 2018 it was the #3 camera. 

Looking deeper into the results I'd say the two major factors are ARRI ALEXA LF & Sony VENICE 

The last Netflix production I was on set for last year they had 3x VENICE. 

Going into the future I bet 2020's stats will show this trend growing even stronger. 

As VENICE was still largely in "kinda beta" firmware up until recently, just lately  in 2019 has it got some really big firmware updates to bring VENICE into prime time. 2018 was very early days for VENICE, that's why the earlier survey only showed one VENICE camera. We're going to see many more VENICE productions coming. 

As for ARRI, well, they're ARRI! Of course they'll be picked. And now they've got the LF and even better the Mini LF (for gimbal / crane / car / etc shots), which the MiniLF didn't exist last year, then the ARRI cameras will only continue to dominate Netflix stats even further 





 
I'd say the most impressive result from that chart is how the Sony F55 (which is the oldest camera on the list) still has a number of productions shooting with it! (the F55 is in 4th= place!)

Erratum: it wasn‘t removed (as Super8 pointed out correctly), it is on the previous page.
 

10 years ago, all the documentary films I made for TV, I shot them with a shoulder camera. The image was sharp and the bokeh invisible. At the same time, I discovered the Canon 5DmII, and I started (me and my colleagues French journalists) my first films with a cine image. Obviously it was a revolution! French TV and production companies immediately adopted Canon despite many new constraints related to DSLR. So what? The tool was incredible and the images broadcast magnificent! None of us saw fit to return to the previous tools, which were much more practical to use! Over time, we groaned against Canon, like all of you because it seemed to us that the company never listened to our remarks to improve its cameras. So, rebels, we adopted Panasonic, Sony or Fuji recently. Alas, in the end, the image was always less beautiful, the colors less real, and the editors pointed out to us that only the final result with the diffusion counted. TV editors have also lamented the Pana and Sony colors. We are in January 2020, I can certify that 95% of DSLR filming for French TV is done with the Canon 5Dm4. It is not snobbery, it is just the result of a collective reflection (Red Chef, JRI, Op Chef, Director, editor ...) which unanimously goes in the direction of Canon images. I also 100% agree with this reflection. However, I used GH2, GH3, GH4, Sony A7SII, Fuji XT3 ...
See today that Canon is putting RAW internally in a DSLR! 4K 10 bit 422 in 60P, etc etc with Canon color science is just MAGNIFICENT. Yes there are still reasons to shoot Canon on sight for quite a few reasons, yes it is still imperfect ... but 95% of French TV and Productions will be delighted to use this 1DXMIII.

An interesting watch from Media Division:
Zeiss Super Speeds vs Contax Zeiss
Literally hours and hours poured into a video like this.
The total opposite of the Northrups.

Yes. The idea is not to keep updating it.
How often do Arri change their colour science?
Once you get it working, once you get it looking beautiful, there is no need to keep tweaking it.
Sony had it right in 2008 then fucked it up and tweaked it for past 8 years to the point where it's only 10% better than the fuck up.
Honestly head should roll, but just like they doggedly stick to the same broken menu system, it seems they stand by their failures in people management too.
My reading of the situation, is that most people are attracted to Sony by the high-specs. I am sure they have more enthusiast usage than pro for stills. I think most stills pros are on Canon / Nikon / Leica. If you buy a stills camera for the high specs you are not going to care about JPEG very much. You are going to care about the raw files, and have ample skill in Lightroom to do what you like to the colour and dynamic range. In video, it's a different story and you are at the mercy of the image processor to a much higher degree. It has to be right.
I have had lovely results from Sony's cameras because they at least afford us a great control over the picture profiles, gamma modes, colour gamuts, etc. and enable us to mix up the settings to patch over any shortcomings in the default ones... of which there are legion. But it is still the case that my 1D C beats it every time for skintones and teal / orange shooting where you want to maintain a nice emphasis on warm and cool tones in a single frame. The auto white balance is also far better. I will do a comparison between the 1D C, Leica SL2 and Sony A7 III soon which proves there is a big difference in the ways the cameras handle colour and WB.
The good thing like I said above is that Sony is not shy about giving us a lot of settings to play with.
When you have the Minolta colour science to compare with (Sony A900), a Leica SL2 and a 1D C, or even an Alexa, you have the best industry reference for colour science in the world to act as a guide. This is what makes EOSHD Pro Color possible, so thank you Sony for allowing us all those complex options to diddle with while I compare.
On the other hand if you are a non-technical shooter with a great eye and a job to do, but no time to diddle around and not a high level of nerd ability and nerd patience,  are you going to have a spare 100's of hours to test settings or even the benchmark cameras to compare to? I don't think so. You just want the damn camera to deliver out of the box effortlessly like your last one did. If I were the latter, I would not let a Sony mirrorless camera within a yard of my shoot. It would be Leica SL2, Fuji GFX, or Canon 1D X III all day long.

They probably do need to go the pixel-binning route, due to the increased bitrate of 12bit
A sensor typically has a slower rolling shutter scan, the higher the bit-depth.
It could be that the 6K full pixel readout is done in a lower bit-depth mode such as 10bit on chip.
Interesting findings, but would like to see a real-world test between Flat, My Z-LOG internal, N-LOG external and ProRes RAW
Atomos have not sent me a Ninja V to try it out on yet.

Ha! Naw, just pointing out their one claim to fame.
But @Mattias Burling's videos make them look pretty good. The same way nearly every camera he makes a video about looks good (for photography).

Well, since the GH2 days I've been pretty true to MFT. Skipped the GH3. Then gotten the OM-D E-M1. Then the GH4. D5300. Z CAM E1. BMPCC. G7. YI M1. GX80. G80. G9. GH5. BMPCC4K. GX9. The oddball was the D5300, but I sold it due to its traditional DSLR quirks. A bunch I sold again, some are collecting dust. Still actually have the GH2. For nostalgia's sake, I can't get rid of it. Primarily these days I use the G9 and GH5 when the objective is to shoot some schtuff. Whenever the occassion is more casual, like city trips in the company of people that might not be the most patient, the GX9 will do. The steps GH2 < GH4 < GH5 have been quite remarkable and I really don't want to get myself into fullframe systems. So I for sure hope MFT really ain't dead yet and that the GH6 will be marvelous. Maybe they'll drop the top line separation and encapsulate the G9/GH5(S)' individual strengths in a single body.

Panasonic fanboys will tell ya: Real Men don’t use AF.
Canon fanboys will say: FF is overrated, crop brings you closer to S35 ciné standards.
Sony fanboys over any criticism: My favorite company is #1. Na-na-nana-na.
 

I read, just wondering why not WTH?! : ) Where's any little to no breathing present there is unacceptable?? You have there only one situation where it is a bit visible... Let alone it is the traditional open wider FOV to match the traveling effect shot if any or minimal. People spend money on dollies for that! : D
Oh gosh, I am in the film industry for decades and something I can assure you all, certain FUD I read over online boards at times is absolutely nonsense or mere BS : P I wonder how many people here are used to watch movies, without mention classics... LOL : -)

Samyang/Rokinon fit(s) me, no idea how it is for you, though : -)
Here's some sample, you can evaluate by yourself:
Hope this helps! : -)

I think if Deakins was let down by his Alexa and dreadful skin tones, he'd consider it a big waste of time.
And I think that way about Sony's cameras. A big waste of time.
I can spend hours dialling in the right settings which look great for one subject, but awful for another.
A7R IV is a camera that does well for landscapes, but naff for human subjects... And if you dial it in for skintones, suddenly you have problems elsewhere, or it lacks impact.
The white balance system seems to use the sensor, it doesn't handle mixed light. If anyone can figure out how to stop it from making a 3200k lit interior look like Donald Trump's face when there is a 6500k laptop screen occupying 1/100th of the shot, please write the answer below.

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

You can probably thank RED for the absence of a compressed RAW format.
The coolest bit of new info to me is that the 4K h264/h265 supersamples from 5.5K.
This is the first time Canon doesn’t do a 1:1 readout for its 4K and means we are finally going to get a really sharp detailed 4K image.
It’s crazy because this camera will basically deliver an IQ that blows away the C200 and even the C300II.
I hope Canon will now unlock at least 10-bit on the C200 or they might have a problem selling them with this beast of a camera on the market. 
I myself am seriously considering parting with my C200 in favor of the 1DX3, although they’d probably make a mean combo.

Pro Color nearly ready for the A7R IV / A6400 and it might include a handy Creative Style this time which works on some Sony cameras without picture profiles (*cough* A9 *cough*). Will reveal all next week.
The white balance system Sony is using baffles me. You have so much as a slither of different temperature light source in the frame and starts going wobbly adjusting for that, wreaking the dominant light temperature in the scene.
The Leica SL2 is an Alexa for colour. In 10bit L-LOG you can apply the Alexa LOG to Rec.709 profile in Premiere and it is 100% perfect. No secret there who Leica are working with on their colour science.
So I started by matching the A7R IV to the SL2 and I think I have made some progress.
If Sony does not dust off their old Minolta / A900 colour science soon, I am going to be very rich.
Apart from the same old dreadful white balance and uninspired picture profiles, it's a great camera!

The D750 as a stills camera (and wasn't too shabby as a 1080 FF DSLR either! Arguably "the best"???) was so far head of its time as a photography workhorse beast in that price bracket! Just a pity that price bracket as too far above what I could justify as a primarily stills camera for what for me is just the hobby side of things. Buth with every passing year it creeps closer to being a "spontaneous what the hell why not purchase". Only problem is all the competitors keep on coming down in price too! Might just decide buying a D7200 is "good enough", or the big extra for a greatly depreciated Nikon Z6 is worth it over a D750 for all the video features (or ditto a X-T3 if a kick ass Nikon F adopter with AF comes out,  or I happen to get a few X Mount lenses). 

Dunno, but I noticed that bit in the video too! Not holding my breath though, as we're having photographers talking about video so far. (or in other words, they're clueless and don't know what they're even saying!) Got to wait until a video specialist such as Jordan from DPReview gets their hands on it. 

My wild guess is the D780 will be as good as the Z6 in video, or perhaps a little better or a little worse. (such as lacking raw output??)
 
Same as I just said above, not holding my breath about TC but being mildly hopefully. Again, for photographers writing about something they know nothing about. 

That’s why nobody bought the S1 series and they are 50% off.