RawZion

I doubt Sony is put out much by these numbers. Sony has never been that much of a 'camera' or 'lens' manufacturer - the 'camera business' is just a show case for their sensors. And in the sensor business they totally dominate (do Canon even use their own sensors anymore?)
Of course Sony's really big market is smartphone image sensors. There was a time that a smartphone had one image sensor - my latest phone (Xiaomi) has '5' (all Sony) and including a 1 inch sensor.
So I would reckon Sony are pretty ok with Canon dominating what is essentially a declining niche mirrorless camera market, Sony have essentially capture the fastest 'growth' area of the photo industry...

The domestic segment might be the part of the picture you're missing...  I work corporate and the people who wear business attire to the office and are "into photography" tend to buy "the best" like the 5D and 24-70 F2.8.  
When I was filming my kids sports games the parents either used their phones or had enormous DSLRs like 5D or D800.
When I used to go to photography meetups maybe 10-15 years ago about two thirds had pocket cameras and one third had 5D / D800 level cameras.  One woman whose husband had a fancy job was a stay-at-home mum and had a 1DX and all three of the F2.8 zooms, but she had a longer lens too which was seriously long and looked ridiculous TBH.  Looking at the lenses now I think it might not have been the 100-400, but might have been the 200-400mm F4.  It was so long it made the 1DX look small.
Obviously a low percentage of normal people are buying Canon DSLR / MILCs, but there are so many more affluent amateurs than there are professionals, it would be easy for the consumers to dominate the sales figures.  They're also a hidden segment - unless you go to kids sports carnivals then you'd never know they existed.
You could say that this market segment is driven by reputation, but let's be honest, for stills Canon cameras are absolutely spectacular.

Yeah this is what I don't understand (and would like a source link to for context). IATSE covers virtually everyone behind the camera. Crew members on a union shoot are IATSE. And IATSE issued a statement in solidarity with WGA and SAG: https://iatse.net/teamsters-iatse-writers-guild-dga-issue-joint-statement-in-solidarity-with-sag-aftra/

Aren't most SAG-AFTRA members making less than $50,000 a year?
I think the anger should be directed at the studios, not the folks that are acting in solidarity with the writers.
As Michael said, it's the unfortunate side effect of being a freelancer. It sucks, but none of this would be happening if the studios weren't so greedy. 

Who cares with such subject?! LOL ; ) Love the shooter's work BTW :- )

I would love to try out those large sensor phones.  It's pretty incredible already what my Huawei P30 (which I bought for $250 CAD) can do by guessing at focal distance and combining images from it's three lenses. 

What I'll often do on a recreational excursion is bring a longer prime for my Nikon Z6 (either an 85 or 50 usually) and use the smartphone for wide shots, where depth of focus can be deeper.  I absolutely adore the in-body raw photo editing in the Nikon, and Adobe Photoshop Raw on the phone is a pretty annoying and terrible program, but I would imagine that software will advance quickly and that'll help further blur the difference between the two devices.

We can't really fight change, I'm learning to use both.  Here are some shots from each, I'm sure you'll be able to tell which are which, but I think you'll be surprised how similar they are.

Yeah, they seem to over-blur the things close behind the subject and under-blur the things a long way behind the subject. I would have thought that they'd apply a progressive blur?  The depth-camera is surely able to give zones where things are further away, although the more zones you have the more edges you have to navigate so I guess that's a potential issue.
For me it's the lack of progression to being blurred that makes them look odd.  I saw a video the other day where the subject filmed at a wide aperture in front of a landscape with everything a long way from the subject and it created this two-levels kind of look which immediately looked fake, but I think it was real and just how the scene was.
It's kind of like when 3D graphics first got good and you'd get used to the tell-tale signs of how they looked fake, but every now and then you'd see one of those signs in real-life and do a double-take.  

I would love to try out those large sensor phones.  It's pretty incredible already what my Huawei P30 (which I bought for $250 CAD) can do by guessing at focal distance and combining images from it's three lenses. 

What I'll often do on a recreational excursion is bring a longer prime for my Nikon Z6 (either an 85 or 50 usually) and use the smartphone for wide shots, where depth of focus can be deeper.  I absolutely adore the in-body raw photo editing in the Nikon, and Adobe Photoshop Raw on the phone is a pretty annoying and terrible program, but I would imagine that software will advance quickly and that'll help further blur the difference between the two devices.

We can't really fight change, I'm learning to use both.  Here are some shots from each, I'm sure you'll be able to tell which are which, but I think you'll be surprised how similar they are.

Actually many manufacturers have been wanting to get out of China since the beginning of 2020. The Pandemic and the whole expansionism contributed big time to it. The Japanese Government even paid businesses billions of yen to move out of China (https://www.bloombergquint.com/global-economics/japan-to-pay-at-least-536-million-for-companies-to-leave-china).
I believe many other countries with manufacturing in China did too, and many large ones left are contemplating too. The environment for manufacturing has been losing its advantage for a while now, and the whole friction with its Asian neighbours, was probably the last nail.in the coffin (surprisingly, not Covid or the terrible lockdown so much). 
Apple seems to be one of the few ones, that has been able to retain much (not all) of its advantage. It pays higher wages than before, but their other sweat shop practices, apparently haven't gone. They paid enormous sums apparently including the majority as political money, to continue running their sweat shops.
https://9to5mac.com/2021/12/07/apple-china-iphone-pledge/

It's great to have you and the blog back.  Please stay very active shooting, both to keep up your creativity and morale but also because it's far more useful for the rest of us to have real-life situations than laboratory tests to learn from.  Also it just looks cool to see what you get up to out there.

And please keep up your picture profile research and development, you're the best out there.  I use Pro-Log and Z-Log frequently, and your C-log for the Canon DSLRs was extremely useful too.  Welcome back Andrew.

It's great to have you and the blog back.  Please stay very active shooting, both to keep up your creativity and morale but also because it's far more useful for the rest of us to have real-life situations than laboratory tests to learn from.  Also it just looks cool to see what you get up to out there.

And please keep up your picture profile research and development, you're the best out there.  I use Pro-Log and Z-Log frequently, and your C-log for the Canon DSLRs was extremely useful too.  Welcome back Andrew.

It's great to have you and the blog back.  Please stay very active shooting, both to keep up your creativity and morale but also because it's far more useful for the rest of us to have real-life situations than laboratory tests to learn from.  Also it just looks cool to see what you get up to out there.

And please keep up your picture profile research and development, you're the best out there.  I use Pro-Log and Z-Log frequently, and your C-log for the Canon DSLRs was extremely useful too.  Welcome back Andrew.

It doesn't apply to ProRes.
This is a H.264/H.265 thing

ProRes was made to be easy on CPU/GPU, so not sure hardware accelerated support will give any advantage. For h264 and h265 hardware accelerated support will give significant advantage.

The 14 bit RAW of the Canon 5d2 and 5d3 in Magic Lantern remain the best image quality I've seen outside of Alexa and RED.  As in your test with the still photo, this is because Magic Lantern just made the cameras quickly shoot raw photos.
In my real world shoots Andrew's Z-Log picture profile in 8-bit holds up extremely well against 10-bit N-Log on the Nikon z6.  I like having the Atomos Ninja V monitor for the LUT preview and other monitoring features, but the extra bitrate really doesn't seem to add much.

MBP are great. I may offer them the gear I don't manage to sell through a Gear Store on my blog which I'm getting up and running.
I got my 1D C back in the day from them!
eBay is a great shame as there's a lot of very good sellers on there.
But the platform just takes advantage of them and fails them all the time, and we are all getting pretty sick of it.

I could certainly try opening my own camera store here at EOSHD. Need a clear out and really would hate to be scammed over something like an Iscorama or Leica SL2.
I think I will continue raising some awareness of how dangerous eBay is for sellers and then go my own way.
Thanks for the support guys.

Holy shit @Andrew Reid this is insane. I've often felt like a crazy person being so nervous to sell anything of value on eBay, but this justifies my fears. I'm sorry this happened to you and I hope some better resolution can come of it!

We did an Heliski video in the central Swiss Alps "Sustenhorn" It is a glacier you start around 3200, and go down to 1600m. We waited almost a month for having good conditions and be there alone....

This one is a good example that I would not have it if taking only photos as it was not planned to do this small jump and did not catch the crevasses there until I saw the video:

same this one



IBIS+IS helps a lot when you don't have time to put out the tripod..... this if from an insta360 on my helmet while I was filming

 
For these cases I mostly don't take pictures anymore I pull frames, no fear to miss something and 8K RAW or still RAW is not a huge quality difference, I wish it had an open gate mode. I do one run with higher shutter speed and one with lower but for sports like this even higher shutter speed for video imo is not a huge issue as most of the people are so used to gopro and co action footage that are all taken at high shutter speed..... 
The 1Dx III stayed on the heli as backup..... too bulky...

Ohhh wow I would not have accepted at all. Here I’m platinum CPS (here is based on your equipment and is free) I had one issue many years ago with a 1D III and they gave me a loan replacement in 1 day and I had an issue with a lens 5 months ago and the turnaround was 2 days.
 
My 1Dx III is exactly 1 year old this week and it had served me well but since October I have also a R5 and I pick the R5 much more often that the 1Dx III.
 
The only advantage of the 1Dx III over the R5 in my experience are:
-Much faster AF acquisition for photos from full defocusing but only when using the mirror. So for some sports that the athlete comes out from hidden place like alpine ski is still an advantage. Tracking I find it better in live view and it seems the same with the R5.
-50-60fps especially RAW but this is also my biggest complain why not AF ?!?
-Much better construction I carry my 1Dx III with the 200-400 attached only from the grip with one hand a lot…. I don’t trust doing the same with the R5 + adapter…
-Battery life but at the end the weight is more so not sure is really a big advantage
 
Advantage of the R5:
-45 mpix vs 20 mpix is huge the crop-ability is just so much better.
-8K RAW > 5.5 RAW again I can frame even more loose and crop in after. Also I’m pulling a lot of stills and the res is just better.
-IBIS!
-Swivel screen is very handy on gimbal and low angle shoots. With the 1Dx III I had to use quite a bit an external monitor on the Ronin S and is just a pita…. Cable management, battery, weight, etc….
-4k 120 fps is just night and day compared to 1080 120 fps of the 1Dx III (this is just terrible in my opinion)
-RF-EF ND adapter
-Lightweight
-Zebra!!!
 
So far my R5 has never overheated or even warned but I do a lot of small takes. Last week I did capture 1.8 TB of 8K RAW in 3h but here is cold at the moment.
 
My R5 for video is basically setup in two custom modes: 8K RAW and 4K 120fps CLog….. I rarely use any other video mode. My biggest complain for the R5 so far is the micro hdmi and 4k 120 is conformed to 25 or 30p with no audio, I wish you could do the same as the A3SIII to record at 120 with audio so you can slow it down or not in post. Of course you can conform it back to 120fps but you don’t have the audio….  
4k 120 fps screen grab:

 
I edit 8k RAW without transcoding or proxy or optimize media in Resolve on a gaming notebook normally on a 4k DCI timeline with no issues, I switch to 8K timeline to render out stills that I want. Same notebook struggles with the h265 as discussed multiple times, for the 4k 120 parts I generate optimize media as is too painful without.
Bottom-line for most of my work R5 is the A camera and 1Dx III is the B (or remote cam).


8K RAW frame grab cropped a bit, heavily processed for the blue sky... 

The 1dX3 looks awesome, I would love to try it.  In the past couple weeks I have had the chance to try the Canon R5 and R6, and they confirmed that I did the right thing in purchasing the Nikon Z6 (or literally any other camera).

On yesterday's shoot the R5 overheated.  Thankfully it was working again after only a ten minute break, but we were only running it at 4k/24, and this is the important bit:

WE'RE SHOOTING OUTSIDE IN CANADA IN WINTER!  It's NEGATIVE FUCKING 12 DEGREES AND THE FUCKING CAMERA IS HOT AS A TOASTER!  WHAT THE FUCKING FUCKITY FUCK?!  WHO THE HELL GREENLIT THIS PIECE OF SHIT?!

Anyways, we took breaks and finished the show, but I cannot really recommend this camera, as it is an undependable tool.  I can't imagine how hard it must be to use in California.

Great points Andrew.  I think it'll be very interesting to see what the newly-enriched professional class produces on their own for less-lucrative ends after making more mainstream non-controversial works.

In the USA Disney/Marvel financed Black Panther, which was respectful of Africans (so rare in Hollywood) but otherwise just a competently-made superhero movie no more daring than any of the other Avengers.  However, because it made a billion dollars studios started financing other Black-empowerment vehicles, such as the HBO Watchmen series (the best show of all time), Black KKKlansman and the just-released Judas and the Black Messiah (a movie whose view of the police would never have been presented before).  Without Black Panther's success none of those other daring works could have happened.

So I hope other cultures and people can be empowered to risk their new success making original fare, even if only for their own creative vanity.

Also even if you're not a fan of history or tragedy you should watch Judas and the Black Messiah just for the beauty of it's rehoused Arri DNA lenses.  The film looks dreamy and aged despite having just been made.

Great points Andrew.  I think it'll be very interesting to see what the newly-enriched professional class produces on their own for less-lucrative ends after making more mainstream non-controversial works.

In the USA Disney/Marvel financed Black Panther, which was respectful of Africans (so rare in Hollywood) but otherwise just a competently-made superhero movie no more daring than any of the other Avengers.  However, because it made a billion dollars studios started financing other Black-empowerment vehicles, such as the HBO Watchmen series (the best show of all time), Black KKKlansman and the just-released Judas and the Black Messiah (a movie whose view of the police would never have been presented before).  Without Black Panther's success none of those other daring works could have happened.

So I hope other cultures and people can be empowered to risk their new success making original fare, even if only for their own creative vanity.

Also even if you're not a fan of history or tragedy you should watch Judas and the Black Messiah just for the beauty of it's rehoused Arri DNA lenses.  The film looks dreamy and aged despite having just been made.

Holy. Moly. 
Honestly, it's ABOUT FRIGGIN TIME one of these companies took mirrorless form factor videos 100% seriously. The Sigma FP was the closest, but obviously had a lot of issues. C70 was close, but still big for a small b-cam/gimbal cam. S1H was close, but still a hybrid. A7sIII, same - has video limitations.
This could be the all-in video mirrorless though. But that will depend on a few things: does it have timecode, some audio solutions, shutter angle, and (most importantly) INTERNAL electronic ND FILTER!!! That last one is the kicker.
I've always bashed Sony for their colors and thin IQ, but the FX9 and FX6 definitely seem to be going in the right direction, so one of those cameras plus this as a b-cam could be a killer combo.

Well the other part of the equation is that digital cameras last a long time for most consumers and semi-pro's. Unless you do timelapse with mechanical shutter beating your shutter to death, how many shots a year do you put on your camera ? 5K ? 10k ? with a shutter good for 150-200K releases you've got 15-25 years worth of life with that camera. Longer if you use it less. Couple that with minor improvements in resolution for mid to lower priced cameras, minor improvements in DR, those two big selling points just aren't . Most cameras are in the 20seomthing megapixel range and even the higher 36MP sensors aren't that much of a jump up for _most_ users when their current camera is perfectly good for their needs. Only 4K displays has pushed the res limitation a bit. Until we have mass market 6K (computer) or 8K screens will anyone feel any real need to push the pixel count up on the sensor. Current cameras produce really respectable DR and color for the most part. More than good enough for most people's needs now and for a while. 
 Maybe the only real thing that might push someone to get a new camera body is better AF. We have most of that with phase detect and face recognition thats pretty good, again for most people's needs most of the time.
with feature needs covered, the want to upgrade is low, esepecially when looking at the price of new cameras. Fuji has done well with good retro design in the bodies, great color that is their own, and kept pricing for the S35 cameras affordable enough what while its a decsion of thought to get a new one like a Xpro3, its not such a giant investment you really have to plan and think it out hard for a lot of people. indeed keeping it under $2k + APSC has proven a good combination.