solovetski

It does look like a darn nice camera other than the AF. It is just too bad it is priced so high. With all it has in it I think it really is worth it, but there a lot of other cameras in that price range that a good also.  
But as a Cine camera it probably is the best thing out there for the masses.

Yeah, if you're set on AF then there's the OM-1 and if not then there's this.
Maybe the zombie apocalypse is actually thousands of people running around outside making films with dead-format cameras having a great time and the FF purists huddling in their fortified caves afraid that they'll get overrun by the impure hordes!

90 minutes of applauses!
I just don't understand why it is assumed that EVERYONE aspires to have a FF camera. And that therefore those who don't have a FF camera must necessarily suffer from the small penis syndrome. It's just the premise that is wrong.
In my own small way (deep technical diving), I wouldn't think of taking an FF camera on a dive, which, with its housing and porthole, is as big as a washing machine. The M43 is the perfect compromise of quality and size.
For decades sports photographers have used APSC cameras because it was the right tool for the job.
And for eons cinematography has been Super 35mm.
Now legions of youtubers have decided that if you don't have an FF camera you're a loser. Then of course I respect all those who need a FF sensor for their work but they should stop explaining me what I need...
 
Regarding Gerald, if you're a Youtuber for a living you play by the rules of your job and shut up just like all the other workers who clock in in the morning.

I can tell already this post will be long and probably ramble a bit so I will apologize in advance 🙂. For me, purchasing the C70 was a years in the making decision because I do not make new camera purchases lightly. My goal with a camera body purchase is that it fits with minimal additional investment into my existing camera ecosystem, it will perform its purpose for at least 5 years, and it will handle my specific type of projects.  Everything in this post is based on my own personal style of shooting, the types of projects that I get hired to do, and the gear that I already have. I am also posting this after owning the camera for less than 48hrs so my views may change over time.
After using the camera on a single shoot, I thought about how I would describe it in a single word.....and quirky keeps coming to mind. I'll get to more on that later, but in comparison to my current favorite camera, the Panasonic S5 I would describe the S5 in a single word as frustrating. The S5 is so close to being perfect, yet the AF finally pushed me back to Canon. Since I have called it (and continue to call it) quirky, let start there.
Here is my list of things that I just find strange about the camera:
The Mount - the mount is without a doubt the strangest mixture of FF, crop sensor, RF, and EF that I've ever encountered. I bought the 0.71 Canon speed booster so that I can use my EF lenses but with it mounted I cannot use my EF-S lenses. For EF-S lenses I also need to buy the straight through adapter. I have no RF lenses and probably won't have any for years so EF and EF-S is it for me. I would like for the speedbooster to live on the camera so I bolted it on because I like the extra stability, but that means I can't use the Sigma EF-S at all unless I want to either leave the speedbooster unbolted or or fiddle with removing it while on set.  Speedbooster - Yes, the speedbooster gives you a stop of light with EF glass, but the DOF remains the original DOF. Additionally, I saw some sample videos where the speedbooster decreases contrast and saturation in strongly backlit scenarios due to the extra glass elements, it also decreases the AF area for EF lenses. Not sure if this is also the case for EF-S lenses. It is great for providing a FF FOV, but it still falls into the quirky category for me. Storage - this one hit me before the camera ever arrived. I planned on buying 1TB SD cards due to the data rates but discovered that there is no such thing for V90 cards. In fact, the largest V90 cards I could find were 256GB which means now I have to worry about running out of space; something I haven't even thought about for years. Speaking of V90 cards, they are actually crazy expensive when compared to the typical V30 cards. So now I have a camera that can go up to Canon RAW yet no way to store the footage in the camera. I know I could use an external recorder, but I like the dual slot redundancy and the compactness of doing everything in body. Even V60 512GB SD cards are nowhere to be found. Such a strange problem to have in 2022. Lens IS + Digital IS - The C70 does not let you turn off lens IS and keep the digital IS on, no idea why but I discovered that during my brief testing. I wanted to test the difference in lens IS vs digital IS with the same lens but you can't have digital IS on and lens IS off. OK, so here for me is what I find is just bad about the camera so far. Once again, this is due to my own personal workflow and my shooting style, for bigger crews and different shooting environments this may or may not be something you care about at all.
Firmware Bug - Yep, within 20min of turning it on I found what I believe is a firmware bug and I currently have a Canon CPS case open for it. I shoot a lot of content that goes on both YT (16:9) and IG (4:5), so instead of shooting vertical which would mean it would only work on social media, I shoot landscape and display 4:5 aspect ratio guides on screen so that I know what would fit perfectly on IG. My customers love this, I deliver them two versions of the video and both fit perfectly on their respective platforms. I set this up on the S5 and I checked before buying the C70 that it had the capability to configure custom aspect guides as well. So while setting up the C70 I went into the aspect guide menu > custom > and started inputting my guide ratio. What I found out is that there is a bug and you can only change the left side of the guide. So I can set up 2:1, or 4:1 but there is no way to change the 1 on the right side. I called CPS and they couldn't figure it out either, so they opened a case for me. Fortunately, I have been using the guides with the S5 for so long that I kind of know from memory how to frame 4:5 within 16:9 but it is very annoying to say the least for this not to work.  Flip Screen Quality - This is a real thing, terrible quality, very flimsy and the worst physical part of the camera. I can only hope it does not break and if it does I hope it breaks when I don't have a job lined up and while it is still under warranty. I avoided flip screens for years because I thought they would be flimsy, my first camera with a flip screen was the GH5 and now in 2022 Canon found a way to confirm my worst fears about flimsy flip screens. By comparison the R6, S5, and GH5 all had great high quality flip screens. Stabilization - this is a big one and anyone who knows me knew this was coming and I know cinema cameras do not have IBIS, I knew the C70 did not have it before buying it, but it is still a downside in my book for this camera. It's one thing to not have it for cameras that are too big to hand hold, but when you market a cinema camera as being handheld and give it a DSLR form factor IBIS would be great.  I will say that I never knew how good lens stabilization was until I shot with the C70, if you have a stabilized lens and turn off the Digital IS it is almost as stable as IBIS. When it comes to digital IS, I simply do not trust it and feel like it makes the footage jittery so I only use if I don't have a stabilized lens on the camera. Speaking of stabilized lenses, I discovered my favorite video lens (Sigma ART F1.4 50mm) does not have lens IS which makes the S5's IBIS even more impressive in my book. I had no idea that none of the 50mm EF lenses offer stabilization and neither does most Canon EF lenses. So now I am stuck with no IBIS, and only the Canon 24-105mm F4 and the Canon 24mm F2.8 for stabilized lenses options. Horizon Level - Yes I know no Canon cinema camera has this (I think the C500 does but not sure), but it is still really annoying to have to keep checking the edges of my screen and guides to try to keep the camera level. It is easy when it is on a tripod and there's plenty around to line up with, but when you are hand holding it is one more thing to try to guess at. I use the horizon level religiously with every other camera. I would think this might be able to be added via firmware, I'm guessing it has a gyro since it provides digital stabilization but not certain of this. Flip Screen Visibility - The flip screen looks great indoors but completely disappears outdoors, no possible way to see much more than an outline of what you are shooting even with a monitoring LUT enabled. This means an external monitor is almost required and for gimbal work you pretty much just have to hope you are pointed in the right direction. Indoors it is great. The Fan - I know, I know, it is required to keep it cool...but I live in FL (where everything overheats so the fan is even more important lol), but living in FL I also shoot a lot on beaches with the wind blowing and sand going everywhere. That fan is my worst nightmare in that scenario. I really don't know yet what I am going to do for those shoots, I may just use the S5 whenever a dusty or sandy environment like that is required.  The Joystick - the joystick is nearly impossible to use. You can navigate left/right/up/down ok, but if you try to press it to select a menu item it typically jumps to a different screen, very hard to precisely press it. I started using the Set button in the thumbwheel instead to select menu options. It is not all bad, and I will say up front that I do not regret my purchase (not yet), so for me (so far) the good outweighs the bad:
Internal ND Filters - those glorious internal ND filters make me smile every time I press the button. I almost like them more than I like the sensor and image quality. Being able to dial in an exposure with the press of a few buttons is nothing short of awesome. Gimbal Balancing - I watched a ton of YT videos and bought counterweights and a clamp for my Ronin S because I didn't think it would balance otherwise. Well, it turns out that with my gimbal lens (Canon EF 24mm F2.8) it balances with no problems. The arms are at their outer limits, but it does balance properly. I was able to balance the Sigma EF 50mm as well but not properly and the motors had to engage just to keep the horizon level...not a good situation. Sensor - This one is a given, all of the spec charts and YT videos in the world can't compare to just shooting with the camera with your style of shooting. The sensor is more than sufficient for everything I need do and I tested right away a model backlit by direct sunlight and the image was good enough for me. It did wash out a bit but it wasn't as bad as I thought it would be. CODEC - Yesterday I shot mostly 30FPS and 60FPS and the XF-AVC codec was actually easier to edit than the H.265 footage coming out of my S5. I wasn't sure if I was going to be able to edit it and Davinci Resolve along with my editing setup handles it with no problem. Ironically the hardest footage to edit on my system is GoPro footage. Ecosystem - This one is important to me and since I have a lot of Canon glass and XLR audio equipment it was important that it fit into my existing ecosystem. I picked up a shotgun mini XLR mic for on camera work, a cage, a DTAP to C70 power cable, the speedbooster, v90 cards, and that was it. It fit perfectly into the rest of my gear.  Integrated XLR Audio - Obviously this is great to have, no more finicky adapters to deal with. The mini-XLR jack isn't that big of a deal to me, my new on camera mic is mini-XLR, and I bought adapter cables for the rest of my equipment.  Build Quality - I was actually expecting worse build quality than it has after seeing so many people complain about it. It's not great, it definitely is not as nice as my S5, GH5, C200, or 5DIV, but for what you get I think its not bad. The buttons feel a bit cheap when you press them but as long as they work I don't really care. Auto-Focus - having AF is just wonderful....ANY AF is better than NONE, and this will be the first video camera I have owned that I can somewhat handhold and have AF at the same time. I know everyone is saying it is not that good, but to me it is great. I just set it to large area AF and kept the box on the subject and it did the rest. I already know in lowlight it won't work well or with certain skin tones but the focus peaking is so good that I am actually looking forward to MF for those situations. Exposure Tools - Obviously there are a ton of them, I thought I had my setup all figured out but during the shoot I ended up just using the WFM because it was the only thing I could see in the sunlight and it worked well. Battery Life - The battery life is decent, 1.5hrs shows on the meter when I first turn on the camera. With the DTAP to C70 cable I can connect the camera to my VMOUNT battery which can probably power it for at least 4hrs. OTHER CAMERAS
   Before buying the C70, I did a lot of research and comparisons to other cameras that I felt could meet my needs, the list below is arranged from closest to furthest for how close they came to what I was looking for:
Canon R5C - This was the number 1 contender, but for me there were too many compromises. No internal ND filters, adapter required for XLR audio (the adapter BTW that even further shortened the already terrible battery life), the weird USB PD power requirements, the terrible battery life, and no IBIS ruined this one for me. If it had IBIS or an eND filter system I probably would have picked it over the C70. Canon R3 - Interesting camera but no ND filters, would need the adapter for XLR audio (adding to the price), no video exposure tools, no good codecs, and cost a ton of money for that fast readout sensor that I would never need since I don't shoot sports.  Canon R5 - No XLR inputs, no ND filters, no video tools, terrible codecs, and that horrible overheating issue that just won't go away after all the firmware updates eliminated this one from my list. Panasonic - All of their cameras have no useable AF, so as much as I love my S5 in every other way, there's no way I am buying another one unless their AF system changes. Sony - that's a whole different world for me and different ecosystem which doesn't interest me at all. Nikon - looked interesting but I know nothing about Nikon and feel like they are one foot from the grave (kind of like Panasonic for that matter). I am sure they make good cameras but I don't feel like learning their ecosystem, also I would have been paying for that sensor and XLR adapter similar to the R3. FIRST SHOOT EXPERIENCE
    My first shoot was almost comically bad. I got the camera late on Friday, went through all of the menus and watched YouTube C70 setup videos until 3AM, then got up and did my first paying shoot with it at 10AM. Also, the cage did not come on time so I really felt out of place hand holding it without a cage or side handles and nowhere to mount a top handle or mic.
     I thought I had figured everything out....I was going to use the Zebras at 45% to expose the skin tones, use digital IS for the 50mm, and use only lens IS with the 24-105mm.  I set up my favorites menu with AF mode, Zebras on/off, and framerate. I also balanced it on the Ronin S with the 24mm F2.8. As soon as the shoot started I realized the zebras were impossible to see in the sunlight, I forgot to turn on digital IS when switching to the 50mm, and without the zebras I had no idea if I was exposing properly. So I switched to the WFM, gave up on the skin tones, and kept it in the middle of the WFM. 
    After the shoot I checked out the handheld and gimbal footage and it wasn't as bad as I thought. I ended up throwing away much less shaky footage than a typical S5 shoot where I have to throw away out of focus footage.  The subject for this shoot moved around quite a bit and my S5 keeper footage rate would have been way lower.
     I also ended up buying the Buttery C70 LUT pack to get the initial grade. Sound It Out Films did a great YT review on LUTS and the Buttery one looked like it had the best starting point for the Rec.709 grade. I do not like their creative LUTS though because they added them into the Rec.709 grade vs separating them so you can't use them for all of your footage from different cameras from a shoot. But their Rec.709 primary grade is the best looking to me.
LEARNING EXPERIENCE
   I still really need to learn how to properly expose CLOG2 with the C70. I think I did OK on my first shoot, my false color LUT shows me that for the most part I was able to get the exposure where it needed to be, but I definitely need more experience with CLOG2. The totally confusing area for me is the AF, I watched tons of YT videos but the whole area AF with subject tracking turned on confuses me. When whole area AF is on and subject tracking is on, boxes are flying all over the screen, it seems to be tracking things even though I did not tap the screen so I am not sure if it is just showing me what it decides should be in focus or if it is actively tracking something. I also don't really understand the logic behind whole area AF, how it works and when it breaks so I need to test that feature a lot more.
WRAP-UP
   For my needs the C70 is a great "quirky" camera that I think was worth it. I hope to get at least 5yrs of use out of it, but TBH with you my main concern now is how to get V90 cards big enough to store long form content. I don't see 256GB cards lasting through an 8hr day. I may actually test V30 cards at its lowest bitrate settings or even 2K @ 30FPS for long form talking head content. An annoying problem to have in 2022 and out of all of my problems with this camera, that's one I never saw coming. So far it definitely seems like it was worth it, but time will tell. I still don't think it can replace my S5, when I need to travel light, work in dusty environments, or I'm on a shoot with a budget that just isn't high enough to bring the C70, I will probably still use the S5.

Time will tell but this isn’t the same mirrorless market than when GH5 was released in 2017.
GH5 got many budget conscious pros on board back then as it was the only mirrorless offering 10-bit at an aggressive price.
Today, most S35/FF cameras offer 10-bit, some RAW and Sony & CaNikon have flawless PDAF systems.
BMD does ProRes/RAW and has ND’s to boot.
I don’t have numbers but I suspect many users have switched, even to Pannys own FF system and I don’t see them going back to MFT. Not at that price and with AF still lagging behind.
Just seems like a tougher market for Panny to expand outside leftover GH fanatics heavily invested in M43.

You never used the old Sony menus, huh?

Olympus as OM Systems has come back from the grave with this so-called ‘wow camera’ and maybe…and I hope it will be, - I want them to succeed.
But if it doesn’t (succeed), they are dead.
My fear with the GH6 is…and I am no tinfoil hat wearer, is that unless it’s a success, it will be the last.
If it is the last, how does that bode for Panasonic’s entire camera division?
The full frame line is hardly selling compared with the likes of Fuji & Nikon, never mind Sony & Canon.
I want Panny to succeed for 2 reasons:
A: I’m invested in the kit. Not so invested I couldn’t get out if I had to, though I’d take a hit.
B: Other than the AF issue, for so many, it could the best system available.
Except their marketing is head in the sand terrible so if the worst happens, they only have themselves to blame.
I like the underdog and will generally support them, if I can, over the bigger players, but in order to do so, they do need to make a product; I need/want, is of a minimum standard/spec and actually make some kind of effort to deserve my commitment.
In terms of kit, Panny/L Mount has been (mostly) achieving that, but as a company beyond that, I don’t care for them as I did previously with Fuji.
Ditto Sigma, I like them, their product and their company ethos. I like it that the head of the family makes launch videos he presents himself.
I don’t care for Canon’s policies.
Sony to me is just a faceless corporation taking over the World.
Nikon…are a mystery. I prefer them over the 2 above but I don’t know why…
Perhaps because they have became a bit of an underdog over the last couple of years, mainly in regard to mirrorless?
Ultimately, the bottom line for me is quite simple; “does it do what I want it to do?”
Will either of these new models do something/anything that my current system cannot?
If so, what and is the cost to change worth it?
Well I have few needs/wants beyond what I already have…
My dream camera is:
1: The S1H shrunk by around 10% in size & weight.
2: Sensor size increased from 24-47mp.
3: Some form of internal ND.
4: Decent/reliable enough AF tracking.
5: Full frame 4K 50/60p not cropped S35.
If an SH2 only had 4:, I’d buy it in a heartbeat.
If it had some or any of the rest, bonus.
I hope the reveal of both of these new boys is not a disappointment, even if neither are for me, simply for the sake of the camera industry at a wider level.

Interesting.
I've heard people say they compared images and they were basically the same, so assuming that's true then similar/same is good enough unless someone is planning on taking theirs apart and re-programming or re-using the chip in a different circuit - otherwise knowing the exact model number really doesn't matter 🙂
Great chip though.  Pity there isn't a camera with the 2022 version of the chip.  Considering how good it was at the time it would be spectacular with a decade of further development added to it.

Unfortunately I don't share your thought that everyone knows this.  I've seen many conversations in the past, both here and elsewhere, saying that digital stabilisation / EIS will make IBIS and OIS obsolete.  Perhaps it will, in action camera products, but not if you want to maintain a 180 shutter, as I would imagine the majority of people who shoot 8K RAW would be interested in doing.
An additional factor that comes into play is the general lack of understanding about how these things actually work.  Of course, we can't expect everyone who uses a product to understand how it works - none of us could ever use a computer ever again as they're now hundreds of times more complex than any person could ever understand - but knowledge is power and there are consequences to people not understanding some of these things.
A lack of understanding about ISO limitations might cause someone to suggest that they can darken an image with aperture to get a deeper DoF and simply compensate by raising ISO.  This is true but if their understanding of ISO is that "higher = brighter" then they're going to risk ruining an entire shoot because they didn't understand the limitation of the technology.
Same with digital stabilisation.  It does have a stabilising effect, just like raising ISO has a brightening effect, but it's not the same as IBIS or OIS, in the same way that raising ISO isn't the same as turning your lights up.
Any time a conversation begins with a faulty understanding of reality, the danger is that it goes in strange directions that are misleading and outright wrong.  There were many references in this thread to digital stabilisation being a substitute (or even an upgrade) for IBIS.  Anyone who knows that OIS and IBIS are similar (which they are) might conclude from these comments that digital stabilisation can be a good substitute for IBIS and OIS.  The fact that the tests presented included OIS and this was basically ignored in pages of discussion is misleading at best.
There is something magical about ARRI colour.  It is magical in both its RAW form and in the Prores files from it too.  It is expensive though.  
There is magic from the older BM cameras (OG BMPCC and BMMCC) but in many ways these cameras are a PITA to use, and also limited to 1080p, which for many isn't enough.
There is magic in the ML RAW files too, even when graded with a simple LUT.  However, there wasn't magic in the compressed files.
A couple of people have expressed that the compressed files from the latest Canon cameras have "clay" like skin-tones. Now, we know from the 5D3 that the RAW was great (thanks to ML) but the compressed files weren't, so we can deduct that the compression that Canon employ removes some of the image quality.  My impression of ML RAW through Youtube compression was that it has this magic, but that normal Canon footage from the Canon you tubers does not.  
I then make the assumption that the lack of magic in the current Canon cameras is from the compression and image processing, rather than assuming their sensors have gotten worse since the 5D days.  Maybe this is a faulty assumption, but I suspect not.  In my experience heavy NR and compressed LOG profiles are generally what result in clay-like skin- tones.  
That leads to the idea that if you want to get great skintones from something like the R5C then you have to shoot RAW.  No problems so far, good stuff, but it gives you a choice.  You either shoot the full 8K RAW with the large file sizes, or you crop into the sensor which you'd have to compensate for in lens choices and more noise etc, or you shoot compressed codecs and lose the magic that is very likely to be present in the RAW.  One way around that is to use an external monitor to get RAW out of the camera but compress it to Prores, which can (as ARRI and BM have shown) retain the magic within skin tones.
That's it.  That's the logic.
My thoughts on the wider topic are this:
Cameras are giving us more and more pixels, but less and less magic.
In 2012 Canon released the 5D3, which had a sensor that captured magic (when paired with a hack).  Also in 2012 BM gave us a quirky sub-$1000 camera with a magical image, but the magic was also in the compressed files.
Now, a decade later, we have cameras that cost 3x, 4x, 5x, or more, the price of the OG BMPCC, but there is no magic.  We have 16x the number of pixels in the image, but no magic.  We have 120p, 180p, 240p, but no magic.
  Worse still, manufacturers have managed to brainwash us to not even expect magic.
The entire point of cameras is to make people feel something.  Images should be emotive.  Colour is a great way to do that because it's subject agnostic.  A CEO giving a quarterly update will have a substantially different effect on people emotionally if their skin looks radiant rather than pallid.  This is something that matters.
  Sure Canon RAW might be similar to ARRI RAW, but (as you say) ARRI RAW gets professionally graded and Canon RAW doesn't.
This is all the more reason for the compressed files to look just as great as the RAW.  BM gave us this in 2012, after all.  In this sense, cameras have gotten harder to get good colour out of instead of easier.  But this gets us into the crux of the matter, which is GAS.
  If you're happy with what you have you stop looking at what else you can buy.
If Canon implemented Prores and a colour pipeline that could keep the magic in the files, perhaps requiring a LUT to be applied in post, then people would be happy and not looking to upgrade.  Lots of people who own a 4K RAW camera that they're not completely satisfied with would probably be interested in an 8K RAW camera.  Almost no-one who owned a 4K RAW camera that made wonderful images would be interested in that same 8K RAW camera.  The manufacturers are in the business of keeping you happy enough to buy but unhappy enough to upgrade as soon as you can. What do I own?
I own a GH5 with manual and vintage lenses.  I shoot handheld in available light in a verite style with no directing and no retakes.  The IBIS and internal 200Mbps 1080p 10-bit ALL-I codec create a nice image that's easy to work with.  I tested the 5K, 4K and 1080p modes with my sharpest lenses stopped down and the difference in resolution and sharpness was small and so the benefits the 1080p ALL-I files have in the rest of my post-production workflow outweighs that slight IQ bump.
I am not happy with the colour science / DR of the GH5, and this is one of the weaknesses I hope the GH6 fixes.  I am also not happy with the low-light performance of the GH5, which I also hope the GH6 will rectify.
I own a GX85 and GF3 for pocketable fun projects.  These are paired with vintage, manual, or lenses like the 12-35/2.8 and the 12-60/2.8-4 that I plan to get to replace the 12-35.
I own the BMMCC, which I bought as a reference for its magical image and colour science.  I have done dozens of comparisons with it and the GH5 trying to emulate the colour of the BMMCC with the GH5.  I haven't gotten perfect results, but I have learned a lot and still have much to learn.  Being able to do side-by-side tests is the only real way to compare two cameras if you plan on really learning about how each of them works and how to get the best of both.  In theory the 10-bit from the GH5 should be bendable to the colour science (but not the DR) from the BMMCC, but I'm yet to really nail it.
I own the OG BMPCC, which I bought as a small (pocketable!) cinema camera to use for fun projects.  Turns out the screen isn't visible with my polarised sunglasses (a terrible design decision) and isn't really visible in bright conditions anyway, requiring an external monitor, and negating the point of the camera over the BMMCC.  The GX85 was the replacement for this and I'm just yet to sell it.
What do I recommend?
I recommend people point their cameras at interesting stuff.  Assuming they're already doing that, I recommend that they study and increase their skills in story-telling, directing, lighting and production design, composition, editing, colour grading, music and sound design and all the creative aspects of film-making that are relevant to what they do and the roles they play.
I recommend people practice and get as much experience with things.  So many people on social media ask questions that they could answer themselves.  So many more people on social media endlessly parrot things that "everyone knows" but are actually outright bullshit.  I've lost count of the number of times I've read something, questioned it, done a test myself in an hour or two, and realised that this "common wisdom" is actually just flat-out wrong.
I recommend that if a problem can't be solved by learning more or working around it (one of the reasons to practice and try things yourself) I recommend that people spend money on basically everything except their camera.  Lighting, modifiers, grip, supports, audio, and lenses are far better upgrades than cameras, most of the time at least.
In terms of cameras, which I know was what your question was actually about, I recommend that people truly understand their needs.  Everyone wants the perfect camera and there isn't one and there never will be one.  This means that in order to get the camera with the fewest compromises you have to work out what your priorities are, then starting at the bottom start removing them until you're left with a list of just your top priorities that can be met by a camera.  I would suggest that existing lenses and other ecosystem factors would probably be high on this list for most people.
My philosophy is that you miss all the shots you don't take, so priority #1 is getting a setup that you can use.  
Fast primes might be great, but if you film in the remote wilderness and can't carry the gear there then it's game over, pack lighter.  If you need to shoot fast then primes won't work either - ENG cameras had long zooms for this reason.  Would ENG footage have looked nicer if they could have gotten blurrier backgrounds or if there was better low-light performance?  Sure.  But primes were never going to work, and a lens that weighed 20kg/44lb was never going to work either.
Priority #2 is having the equipment allow you to get the best content in your shots.  
For me size is a factor here.  I regularly shoot in private places (like museums or art galleries etc) where professional cameras aren't allowed.  I could afford a medium-sized cinema camera but I'd get kicked out of those places in a heartbeat.  I also appreciate not hassling people around me with a large camera, and I don't appreciate the unwanted attention that it brings.  For me, a GH5, lens, shotgun mic and wrist-strap is about as large as I'm willing to go.
Priority #3 is having the nicest images come from the camera.
This is why I use vintage and manual prime lenses.  I want my images to look as cinematic as possible.  Not because it's cool, but because it suits the subject matter and aesthetic of what I shoot and the effect I want them to have on my audience.  It also makes me happy to shoot, and it's pretty obvious that I enjoy the technical aspects of it as well, so this is part of the experience for me.  I prefer the look of a vintage lens with IBIS rather than a modern lens with OIS.  I like the lack of clinical sharpness that vintage and manual lenses give me, because, once again, this suits my target aesthetic.
This forum spends lots of time talking about this level - the image from the camera.  It spends less time talking about the practicalities that are associated with those choices (priority #2) and even less time talking about Priority #1.
Worse still, we spend basically zero time discussing aesthetic, which is what the whole imaging system is designed around.  It's just assumed that more resolution is better and sharper lenses are better, etc.  I have the distinct impression that the people here who could actually talk about their aesthetic, what the emotional experience of that aesthetic is designed to be, and how their equipment and process is designed to maximise this.

How do you do run and gun without IBIS? You know.. I’ve come on here for years and listened to Andrew ask for the one thing that would have made Canon a champ all these years - all we wanted was a decent upgrade to the 5D Mark II - a perfect hybrid camera video shooter. All those years ago, Canon saw the potential when Hollywood was actually utilizing 5D Mark IIs on set. But rather than capitalizing on this moment and continue to create consumer-grade products that were so good - they could be used in Hollywood, Canon instead went the other direction - chose to “monetize” those Hollywood customers with Cinema EOS - purpose -built products specific for video, and much more expensive too!
In 12 long years Canon failed to recognize the need for a consumer-grade hybrid - a proper update to the 5D Mark II. Today - More than ever before - photographers are becoming videographers - it’s just the nature of the business. People still take photos, but people want video. 
In those last 12 years, Canon has only released two more products that are as “perfect” as the 5D Mark II as a hybrid shooter - the 1DC and the 1DX Mark III. Every other product Canon has released has had some sort of diminishing return - what we call “the cripple hammer”. But that cripple hammer is mostly thanks to Cinema EOS, and the mental gymnastics Canon continues to take their customers through in order to “protect” this Cinema market.
Yet I haven’t heard of any of those “Hollywood” customers purchasing Cinema EOS products - I certainly don’t see them at the top of the sales charts. Maybe I’m wrong, but I’m pretty sure ARRI and RED are more popular at the Hollywood level?
So then why the need for Cinema EOS? To me it’s just a ploy from Canon to force you into buying one product for video and one product for stills.
Knowing this past history I went into this R5C announcement with expectations that IBIS would likely be missing - looks like I was right.
Without IBIS I just don’t know who this camera is aimed for. In hindsight I guess we should’ve seen this a mile away. We have the C70 and the R5 - had Canon made a “perfect” solution then why would anyone buy the C70 or R5 moving forward?
And so perhaps the issue is that Canon has too many products with no focus? It’s no wonder that they’re losing money. Why do consumers always have to trade off with Canon in this manner? Especially when no one has to trade off when it comes to Sony or NIkon.
My current camera is a 5D Mark III. I haven’t upgraded not because of cost but because Canon refuses to release a perfect camera. And if I’m spending $10K on the camera, lens, batteries, battery grip, adapters and CFExpress cards - all required for the R5C - then we must demand perfection. 
 
Perhaps the R5 Mark II will be the true spiritual successor to the 5D Mark II? Would certainly make sense? But how many more years do I have to wait? And what features will continue to be omitted as part of a stupid effort to keep Cinema EOS “protected”?
 
 

Oh yes. I'd forgotten about that.
Crazy fanboy lunatics. I had daily anonymous threats via my contact form with fake email addresses. Found the guy by looking up his IP address and comparing it to previous website use where he'd used his name and email.
I think the reason I forgot about the Canon fanboys was because most of all I remember the Philip Bloom defenders coming after me in their hundreds.

Interesting, but normally cameras from HK have the same firmware and thus have the same recording limit (if there is any). I could be wrong though. 

A few people will create videos in a new genre with this...perhaps, but the vast majority of the billion or more phones being sold will be used to make cheesy rack focus tiktok memes.
Personally, the trend towards short social media content is disturbing. Spend 5 days straight swiping through instagram reels or tiktok and then step back. You will be less patient, dull, and be addicted to instant gratification.
Shits toxic.

I know it's an impossible thing to really quantify to other people, especially pros, but it's been true in my experience as well.  I've just ended up preferring using Oly cams for some reason.  Ergonomics I think.
And it doesn't make sense because Oly's menu system is a bit of a jumble, but I guess once I learned it, it's been productive.
I don't do a lot of high end stuff, and what I do (still) do is almost always hand-held run-n-gun.  I get by easily with 8-bit.  My cheap EM10iii with a variable ND does the job.  Here's a recent thing I was hired for; half day shoot and half day editing with a script they recorded.  Basic basic basic, but got the product delivered to the client as they requested.  I'm not sure if I even used a high end camera for a gig like this it would've turned out much different.  So, you know, for me, the rather simple tool is appropriate.
 

I think another factor is that the expectation for quality is also dropping. It's become so easy with cell phones that anyone can do it so now the "viral" photos are based on who is in the image vs. the skill that was required to create the image. A horribly lit and composed cell phone picture of Kim Kardashian will get 50M views yet a photographic masterpiece that took weeks of planning and years of experience to create will barely get seen by 1,000 people. Another factor is no one prints anymore, so even if a camera were to advance by the magnitude of a decade or two....the typical viewer would never be able to tell the difference because it would never be viewed on anything other than a cell phone.
The same thing can be said for video....who needs 8K raw when the average viewer is going to watch the final video on YouTube using their cell phone? If your client can't tell (and isn't going to pay for) the difference in quality between a $15K camera and a $2K camera why would you buy the $15K camera?  I have to face these harsh realities each time I consider my next equipment purchase, I would love to own the Inspire 2 but my clients are not going to be able to tell the difference between the Inspire 2 and the Mavic Pro. Likewise the C70....why bother buying the C70 when my clients are going to pay me the same if I use the S5 instead. Thanks to cell phones which are "just good enough" for most people they are less and less willing to pay for quality.

No surprises here, but I'd say it's the Blackmagic Micro Cinema Camera.
A modular cinema camera under $1000 brand new, uncompressed Cinema DNG RAW at 60p, and a beautiful image.  
The image doesn't look like that second generation iPhone or camcorder that Canon love to imitate when clipped either..
https://www.youtube.com/watch?v=bMb6CR781Kc
With Resolve it superscales to 4K beautifully too.  You don't actually want 4K, you just got trained by the camera brands that 1080 is bad because they compress the absolute living crap out of their images - no-one is rejecting the Alexa 1080p because it's not 4K!  With great quality RAW images you can push and pull them in post and they keep on giving and this is pretty darn close to that...
Plus it's the easiest camera to grade that I have ever seen.  Great images just appear when you drop a LUT or CST onto them, rather than struggling for hours to get good colours.

The challenge is that the camera must know who to focus on and when.  This is essentially an impossible thing, especially for narrative.
Imagine a shot with a composition like this, but where only one character is in focus at a time:

The background character starts in focus...
BG: You've screwed everything up....... I can never trust you again pause FG: I'm sorry When should the AF change focus from the BG character to the FG character?
The answer is, it depends on the director.  It could change during the pause in 1, before 2, after 2, in reaction to 3, or not at all.
If the answer is anything before 3 starts speaking then how the hell could a camera know that this was the moment to transition focus????
This is the fundamental challenge of AF.  Anyone who doesn't understand this doesn't understand how to use focus as a creative tool in a film.  
Lots of people don't need to know this of course, but I find that even in making videos of my family this stuff becomes relevant, which is hardly the pinnacle of the art form. 

Bumping this, because I'm not sure it needs a whole new post.
The second trailer is now finished, but I'd love some opinions before it goes 'live'. All comments and feedback welcome and encouraged!
 
 

Wanted: a partner that loves me as much as Panasonic loves DFD.

Perfectly viable, but a very tough sell.
"Would you like to purchase our mildly updated camera, or the very latest and greatest from someone else?"
These days, very few will pick the former.
I hate Sony. Actually, 'hate' is too strong a word, but to me (and yes, I do own a Sony camera and have had several recent models), they are just soulless tools.
But ultimately, what i need more than anything is something that delivers the results regardless of the badge.
I could make a very good case for Sony. Or Canon. Or Fuji, but there's just enough advantages for me with L Mount...but I know that if I was starting with a clean sheet of paper today, - no bodies, no lenses, no nuffin', it would be very hard for me to make a decision against Sony.
But 'viability'? Viability to who? Panasonic? A minority market? A majority market? It's the latter that will largely determine the success of most things and 'slightly updated when folks were expecting and wanting (much) more' product just isn't going to cut it in 2021.

This is my concern too.  Hopefully I have dissuaded them from your arguments sufficiently.
Once again, you're deliberately oversimplifying this in order to try and make my arguments sound silly, because you can't argue against their logic in a calm and rational way.
This is how a camera sensor works:
Look at the pattern of the red photosites that is captured by the camera.  It is missing every second row and every second column.  
In order to work out a red value for every pixel in the output, it must interpolate the values from what it did measure.  Just like upscaling an image.
This is typical of the arguments you are making in this thread.  It is technically correct and sounds like you might be raising valid objections.  Unfortunately this is just technical nit-picking and shows that you are missing the point, either deliberately or naively.
My point has been, ever since I raised it, that camera sensors have significant interpolation.  This is a problem for your argument as your entire argument is that Yedlins test is invalid because the pixels blended with each other (as you showed in your frame-grabs) and you claimed this was due to interpolation / scaling / or some other resolution issue.  
Your criticism then is that a resolution test cannot involve interpolation, and the problem with that is that almost every camera has interpolation built-in fundamentally.
I mentioned bayer sensors, and you said the above.
I showed above that bayer sensors have less red photosites than output pixels, therefore they must interpolate, but what about the Fuji X-T3?
The Fuji cameras have a X-Trans sensor, which looks like this:

Notice something about that?  Correct - it too doesn't have a red value for every pixel, or a green value for every pixel, or a blue value for every pixel.  Guess what that means - interpolation!
"Scanning back" you say.  Well, that's a super-broad term, but it's a pretty niche market.  I'm not watching that much TV shot with a medium format camera.  If you are, well, good for you.
And finally, Foveon.  Now we get to a camera that doesn't need to interpolate because it measures all three colours for each pixel:

So I made a criticism about interpolation by mentioning bayer sensors, and you criticised my argument by picking up on the word "debayer" but included the X-Trans sensor in your answer, when the X-Trans sensor has the same interpolation that you are saying can't be used!
You are not arguing against my argument, you are just cherry picking little things to try and argue against in isolation.  A friend PM'd me to say that he thought you were just arguing for its own sake, and I don't know if that's true or not, but you're not making sensible counter-arguments to what I'm actually saying.
So, you criticise Yedlin for his use of interpolation:
and yet you previously said that "We can determine the camera resolution merely from output of the ADC or from the camera files."  
You're just nit-picking on tiny details but your argument contains all manner of contradictions.

If we concern ourselves about most reviews, most sales, most people, we may as well give up filmmaking.

Who cares!! The more unique and customised my camera is, the better. Who wants to use whatever everyone else does?

Not at all. The lack of mechanical shutter makes it almost unusable as a photo camera unless you just shoot landscapes. The silent shutter (ie non-mechanical) on the A7r4 is just a gimmick (because of the rolling shutter) - I have used it once (and regretted it). Of course the stacked sensor on A91/A9ii/A1 are a different story.