TomTheDP

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 year. No more camera purchases.

All-i vs LONG GOP makes a big difference too with H265.

I've been let down by auto focus enough on different systems to the point where I've given up on it. But that's just me I know for certain applications it can be great. In regards to the C70 there is a lot of speculation going on here from people who don't own the camera. I watched a lot of reviews and ISO 12,800 isn't pretty on it, in fact I've seen people who say they wouldn't shoot past 3200 iso with it. But its all opinion and comes down to your tolerance for noise etc.... I've been using a RED scarlet MX and find 2000 iso is perfectly usable so go figure. The dynamic range on the C70 looks great though CineD rated both the C500 and A7S3 as having more dynamic range. I personally don't care about CineD's testings though. The C70 definitely has way better shadow recovery than the A7S3, which is quite poor in the shadows despite being a 12mp sensor. Another issue with the C70 is the auto focus is lacking compared to the 1DXMK3 or the R5. It has an issue with losing focus on darker skin tones, even in normal lighting conditions. Kind of a turn off for me considering AF is a big sell on the camera. Still a great sensor none the less. Lack of RAW is a becoming a big deal to me. I've been surprised how much RAW makes difference in terms of color rendition when comparing my old ass RED Scarlet MX to my Panasonic S1. Still the RF mount, ND filters, great high frame rates, canon color, and image are big draws on the C70. The Sony does smoke it with AF performance, you also get better dynamic range past 60fps as the C70 loses its dual gain after that. The Sony is also better in low light. Of course the NR and sharpening ruin the image for me. But at the C70's price point you could get a Sony FX6, which is probably where I'd go especially considering the rolling shutter difference. Also 12 bit RAW from an Atomos is available on Sony cameras. I wonder how the latency is on using an Atomos with the FX6. I've been hearing really bad things about latency which makes external recording useless for a lot of applications. Regardless the P6K pro is an amazing option at $2500 imo. I do wish they would have went with an MFT mount, but I guess that is too niche for most of the market. People still don't get that MFT mount doesn't equal MFT sensor.

I am pretty sure the sigma is lineskipped

The sigma FP is lineskipped as well as the Nikon Z6 in Prores RAW. As far as I know the Fuji XT3 only downsamples when in 4k. RAW has to use the full res of the sensor unless its cropping in like BM cameras or Lineskipping like Nikon or Sigma. Could be wrong but I am pretty sure I am right 😅

Using a Micro HDMI port sucks though, they'll end up breaking sooner than later. I just read some stuff about the latency being really bad when using a Ninja V. Kind of kills it for manual focus use. Guess that's a big plus on the A7S3 actual useable auto focus.

Prores raw 2k would be line skipped but at least you’d still be getting the extra color information. The Xt3 and 4 can’t due Prores raw due to the xtrans sensor tho

I am guessing it also is trying to appeal to people obsessed with noise and clean images. Being good in "low light" is a selling point these days among the low budget/prosumer market. Otherwise you'll get a million people asking why their footage looks so noisy.

I don't know anyone who's had a problem with them and it seems like everyone and their brother has one around where I live. I've heard of faulty cameras with every manufacturer.

What type of work do you do? Not trying to question your legitimacy or anything just curious. It is pretty crazy how far compressed codecs have come but yeah won't cut it for every job. I wish 12 bit codecs would become a standard in cameras tho. Panasonic has always impressed me with the image they put out for the price.

What do Pocket to Alexa luts have to do with the cameras dynamic range? Those type of luts are pretty useful if you are trying to match the two cameras or if you just want better color without a lot of work. Juan Melara and GHAlex do great work with their color conversions. Honestly for the price it is like a Jesus camera. What else comes close to this anywhere near the $2500 price range, at least in terms of image quality.

Sounds like a lemon to me. Did I say handheld camera anywhere? I said you can do handheld with an OIS lens. If you look at most of the Pocket camera product photos they are shown using OIS lenses. My Fuji xt3 with an 18-55 kit lens was fantastic for handheld and had the benefit of a zoom range. It's not misleading to say you can easily do handheld with this camera. OIS lenses are relatively cheap and light weight and many already have them. There are drawbacks to it of course like anything else.

Depends if you need a two camera setup or not. Keep in mind the F3 really shines with an external recorder. Without you are only getting an 8 bit image. You can't really go wrong with any option these days. As long as you aren't insane like me and buy and sell your cameras every 6 months.

Handheld is very doable with a lens that has OIS tho.

A7S is quite good even in 2021. I'd say the F3 definitely has more pleasing color. A lot of people say the Sony F3 has more F35 like color than its successors the F55, FS5, and A7 cameras. It has the original Slog no SLOG2 or 3. It should be more similar than using a completely different brand camera though.

No the Pocket 6k. It has amazing highlight retention and shadows not far off from an Alexa.

😬 oof

Have you compared the two side by side? I was speaking of the C300 mk2 not mk3. I would hope the C70 destroys both those older cameras.