TomTheDP

I think it just depends what you look for in an image. The XT3 codec is much thinner than 12 bit BRAW and just doesn't have the same amount of color information. Won't always be noticeable of course and if you like the Fuji color science that's a huge advantage.

You think the P4K outperforms the A7S3/FX3 in terms of dynamic range?

I wouldn’t call the Sony’s weak but the s1/s1h/s5 is definitely better.

True although Panasonic is great in crop mode and 4K 60p. The latest Sony 4K 12mp sensor is obviously better but you have to pay for it and of course you lose 6k stills. You can always get the $6000 Sony A1.

The S1 is better for some reason. 24ms in 5.9k 29p and 21ms at 4k 29p. Pretty much average for the sensor it uses. Obviously behind compared to Sony's latest stuff although its likely better than the Canon r6.

Fuji XT3 is awesome for around $800 used. The 10 bit H265 codec sucks if you don't have the right computer. Though you can record in 2k or HD to ease that. Of course there is the option for H264 8 bit. The GH5 is great especially with a speed booster. Can't beat its HD and of course the 4k is great.

I don't know the A7S3 sold fine. I just think it's a lame release. Could be of interest if they don't have the nasty NR that the a7s3 has but it looks like its still there. Still hoping they'll disable it on a firmware update for the S3. Having features like TC in would make sense and I don't think people looking at a FX6 would go down to the FX3 just for timecode. But what do I know.

Yes but why include it in the FX line if it doesn't have cinema camera features.

Prores RAW is coming to the S1 with the new firmware update. The internal codecs are great but definitely start to show their limitations when paired against something like REDraw. I am really interested to see what Prores RAW is like though whenever that firmware update comes along. I never said the fast paced market is a bad thing. Doesn't really effect me. Cheaper and higher quality gear is only good for me. As to it being an overstatement I would say hardly but to each his own opinion.

This constant release of new cameras is kind of a new thing. It used to be much more common for people to shoot with the same camera for 10 years. It’s all GAS anyways, no one actually needs any of this new gear.

Everyones been doing this Fuji, Panasonic, Sony, less so Nikon. Doesn't really matter though good releases are sprinkled in here and there.

I don't know. The EVF is an upside for a lot of people. Its not as big a smack as Panasonic putting out the S5 and giving a firmware update to the S1 to basically make it an S1H, imho

I've been doing ok, business seem to still need advertising and many are redoing their marketing to cater to the Corona virus.

I wouldn't think it makes the A7S3 obsolete because its more expensive and doesn't have weather proofing which is more valuable to most people I would think. Sony does this shit a lot with their lower end A6 cameras. The A6100, A6300, A6400, A6600, A6500 which are all almost the same cameras. Unfortunate they are trying to pull that BS with their higher end stuff. Really lame release. The top handle and audio module is awesome but I assume you could just attach it to the A7S3. I like that they are recognizing smaller cameras in their cine line up though, I guess that's cool.

Did the old 2.5k struggle with the fixed noise pattern issue? That was always a killer on the URSA. I am really shocked how much richer the REDcode is compared against the Panasonic S1's 10 bit. I really didn't think it would be noticeable unless grading really heavily. I'll have to compare it to one of my friend's Blackmagic cameras next. The Lumix is still unbeatable for many applications of course. Clean 4000 iso is amazing to have. Internal ND's and the bigger brighter screen on the Pocket Pro definitely make me consider it, but I am going to stick with what I got this yea