FHDcrew

The chroma smoothing thing is real but overblown imo. Its a pixel peeper thing, in real life scenarios it rarely matters.
Skin tones when shot properly are amazing. The 4K120p is amazing. Better than the class leading A7SIII.
Here is some XH2S 4K120p footage shot in 8-bit 264 standard baked profile: 
Yes the image is sharp but hard to beat such a clean rich detailed 4K120p with no moiré. Any other Bayer sensor camera and that fabric would be moiré artifacting like crazy. And that's in the lowest 8-bit setting..
Its easy to pick apart issues but you also got to know how to play cameras to their advantages.
I prefer softening a sharp detailed image then the reverse. Just pop on a vintage / cine lens and something like a Pro-Mist filter and you'll already get a much softer image.. add some film grading, halation etc on the very chunky robust ProRes codec and you've got yourself a very cinematic image with film like grain:
 

I liked the DR in this shot

I'm not recommending him anything in particular, we're just talking shop and comparing cameras. 
There are enthusiasts with high budgets and also high expectations. There are pros that are very budget conscious and don't place priority on specs. There are Canon fans, Panasonic fans, Sony fans. FF fans, S35 fans, MFT fans. Etc.  I don't know who is who when on gear forums, I can only give you my perspective. 

I noticed a significant drop in user engagement in the forums. Maybe the site's real traffic numbers are not as high as we think it is. Of course its still higher than other photography related websites.
Since January they didn't even bother to cover the news of firmware updates. It doesn't take too much effort to write an article that Z5 got a new firmware update that adds eye AF in video!

https://www.dpreview.com/news/5901145460/dpreview-com-to-close

I like the written blogs, there are not many like yours. They are often worth reading whereas the videos get drowned out in the Youtube torrent.
There are some great options out there. I’m thinking of selling my S1, which I really like apart from the weight and AF, to get a S5mk2 for those very reasons. I really love my Panasonics, the only thing I have been missing was the AF (old eyes) and that seems to have been solved. I’ll keep my S5, even though I prefer the S1, as it makes more sense having 2 cameras the use the same batteries and cards.
Friends have the Canon R6 and it’s a great camera too. The R6mk2 looks even better other than the price.
The FX30 looks very interesting if you are only doing video although I can’t say I have enjoyed using Sonys.
 

The 5D III doesn't pixel bin in Magic Lantern 3.5K RAW
It is a S35 crop of the sensor (1:1 readout) with no binning or line-skipping.
And yes, it's bloody amazing.

Yeah this is a shootout that I want to see, I do miss my 5D III. If I can find one for a bargain I might pick it up and compare it to the S5 II. The micro jitter of the 5D III is something that I do not miss though, but locked off it might be interesting. 

Yes that's because XH2S uses a stacked sensor capable of 14-bit readout under 30fps. Going above or using Flog1 drops the readout to 12-bit delivering lower RS. 4K120p goes as low as 3.9ms.
If you add to that 6K open-gate and chunky ProRes codec options, you have one of the most solid IQs in mirrorless.
This to me makes XH2S best bang for buck camera for ultimate IQ.

What does the C70 or FX6 give you that a mirrorless camera half the price doesn't? If you have the money to spend then I guess I'd say go for it, but honestly there's not a ton of good reasons to purchase a cine camera unless you're a full time DP who can benefit from being an owner/operator, and thus get more work and charge more since it eliminates the need of renting a camera.
For most of us it just isn't a good investment.

Doesn't the Pocket 6K also have gyro stabilization? Maybe that in combination with some of the other options here would work...from what I've seen, handheld footage with gyro stabilization still looks handheld, but without all the micro-jitters.

Looks good though I think if it was rendered as 4k it would look better on YouTube.

Some more footage I shot with the Z6 in oversampled 1080p

The maximum I could get out from my 5D3 is 3584 x 1730 in 14bit lossless. That's not binned, it uses a 1.6x crop.
We are now at around 150MB/s maximum with card spanning, sd card overclocking and several hacks to boost performance. And some talented people are still tweaking this thing.

I have been thinking about this a lot. Why can't current cameras do 14 bit 4k raw?

The 5d MK3 featured a processor capable of 14 bit RAW at 3.5k, that was 11 years ago. I guess color depth isn't marketable? Although 10 bit seemed to be and still seems to be a huge selling point.
All these years later and no cameras have this feature outside of cinema cameras which have been doing this since 2010. To me that is what is missing in the lower end cameras. I have been tempted to get an old 5d MK3 and run magic lantern on it as a B-cam to my Alexa. Obviously there is a dynamic range difference but the color information is there. The workflow and ergonomics simply aren't good enough for me to use the camera on professional projects.

 

I absolutely think mine is the best purchase that I have made in a long time. I can't speak to MF lenses, I don't have any MF EF mount lenses; but I have not had any issues with EF lenses set to MF via the switch on the lens. The only IBIS issue I have had so far is I had to turn off the horizon leveling feature when using the R7 on a gimbal; otherwise the horizon slowly rocks from side to side. Also, the IBIS wobble is pretty bad around 24mm and wider but I try to stay 35mm and longer when filming people anyway so this doesn't really bother me.
The only other issue I have with my R7 is sometimes the record button won't stop or start recording when in video mode. I either have to press it a few times or I have to hit the button on the touch screen; this mainly affects stopping a recording but a few times it has refused to start recording as well. I think it has something to do with coming out of standby or the power saving mode but I haven't tried to figure it out; possibly assigning the shutter button to start/stop recording could fix it.
As far as overheating, it does great in that department so far. When set to 4KHQ @ 30FPS after about an hour of continuous recording the overheat countdown display will appear but as soon as you set it to line skipped it immediately counts back up and disappears. 
IMO the R7 is actually superior to the R5 in almost every way except resolution and of course its not FF. It handles heat better, the IBIS is better, battery life is better, hybrid hotshoe so audio is better, and cheaper dual SD slots so storage is also better. The only thing that the R5 is better at that I care about is lowlight since the R5 has the dual native ISO option. I could probably level the playing field there as well with a speedbooster but haven't shot much lowlight lately.
I know everyone is going to shout from the top of their lungs that the R5 has a FF sensor so it has to be better, but personally I couldn't care less about sensor size, 8K, RAW, the pixel peeping level of IQ improvements because the R5 downsamples from 8K, or the shallower DOF for a given focal length.
To me personally, the R7 as a 50/50 hybrid camera has no equal in Canon's lineup except possibly the R6II. I combined the R7 with the Meike RF to EF mount vND adapter and now have what I consider as close to perfect as currently possible for a hybrid photo/video event camera. The R7 is definitely not perfect by any means, and I still consider most of my negative findings to still hold true, but thanks to what the R7 does provide I can now shoot entire events and many other types of projects with a single camera.
The thumbwheel around the joystick has really grown on me, it is so convenient right under the thumb and with the physical photo/video/power switch which is also right under your thumb, I can power on the camera, take a few images, switch to a few video clips and power it off all within a few seconds without ever taking my hands off the camera; so ergonomically for hybrid work I also consider the R7 superior to the R5 (which has no dedicated video switch).
Color wise, it matches up perfectly with the R5 and C70 if all three are set to CLOG3, and from there I just drop it into Davinci Resolve and use managed color.

I thought I'd go ask it to give me a post for this thread..... 
In 2023, the ARRI Alexa Classic might seem like an oldie, but it's still a goldie! Let's dive into why it could be your go-to camera:
Unbeatable Image Quality: This gem captures breathtaking visuals, boasting rich colors, a high dynamic range, and fabulous skin tones. It's cinematic magic rivals the latest models! Built to Last: ARRI's rock-solid construction means the Classic won't let you down, whether you're on a sweltering desert shoot or filming in the pouring rain. Budget-Friendly: Since it's older, the Classic's price tag is kinder to your wallet. It's perfect for indie filmmakers, students, or pros who want top-notch quality without breaking the bank. Accessorize to the Max: Compatibility with a vast array of lenses, matte boxes, and more means you'll be ready for any creative challenge! Seasoned Pro: The Classic's star-studded résumé is packed with top-tier film and TV projects. With a supportive user community, you'll never be stuck without help or advice. Keepin' Up with the Times: ARRI doesn't leave their classics behind—they still roll out firmware updates to enhance your camera's features and functionality. Familiar Territory: Already an ARRI pro? The Classic's intuitive interface makes switching between projects a breeze, ensuring that signature ARRI look throughout. However, it's worth noting that the Classic might not have all the bells and whistles of newer cameras. Plus, spare parts and servicing could become harder to find. Weigh these factors, and you'll know if the ARRI Alexa Classic is your ideal camera in 2023.

Love the colour the cinematographer shows off in this video. Lush, sublte, attractive, beautiful! Cannot wait to test my own F3. Obviously I can.:) It says in the video description, lens was Canon 18-55 3.5-5.6 kit lens! 🙂 
@TheRenaissanceMan what camera are you getting instead?:)
 

8k phone for an 8k tv, what a waste:)
Lumix G7 will look better on a 4k tv than that:)
what a waste of resources it is, all that madness of 8k from a phone on power hungry 8k tvs. whate a waste regarding energy for production, resources and power hunger when used.
my two cents. but congrats on having owned the g7. a great but humble cam. love it. classic 😊
now best video quality from cheap phones is a hot topic imo.

(Enlarge the frame to see proper colors. The regular preview desaturated the image haha I hate online color inconsistencies)

It certainly goes a long way! If you use golden hour right for example you can get beautiful lighting without needing ANY lighting gear!  This frame I shot is from a 4 1/2 year old FF camera! Lighting and grading are what set things apart visually.  I’m serious cameras are close enough in terms of IQ that it doesn’t matter. 

@SRV1981 I think we are all saying pretty much the same thing; stop worrying about the tech (technology) and focus on the tech (technique). Feature length films are being shot on GoPros and music videos are being shot on iPhones. 
I stopped worrying about sensor size, camera vendors, and camera technology in general a long time ago. I have the same set of Canon EF lenses that I bought almost 10yrs ago. I would be perfectly comfortable shooting nearly anything with any camera I own. The story you are trying to tell, the subject matter, the camera movement, etc is all way more important than the gear.
Yes I enjoy discussing gear on here, and yes I am very picky with what gear I ultimately en  up buying but mainly because I need it to last a long time, cover a wide variety of project types, and deliver the quality that my clients expect. But I don't pixel peep, I don't need the absolute latest and greatest, I don't change my gear every few years, and I don't stress over the small stuff like a missing half stop of dynamic range or FF vs crop sensor, etc. 
The videography and photography fields are vast, and there's way more important things to learn like proper lighting, color grading, audio, etc. that are far more important than what gear you use. If anything, the number 1 thing to focus on is getting and keeping clients.
As far as lighting goes I am with @FHDcrew, nothing beats natural light for most projects. Some projects of course are made for artificial lighting such as music videos but not because the lighting is needed; more so because the lighting is needed to add a certain mood to the video.
I have shot many a fashion show and other event where the lighting is terrible; my favorite is events that start right around sunset and continue into the night. For those types of projects I use a simple camera mounted Falcon Eyes F7 video light, adjust my photo and video settings accordingly and shoot with my fastest lens (F1.4 FF). 

I'm gonna be honest man, I would really quit worrying about cameras and focus on your craft.  For the longest time you keep posting about camera recommendations and advice.  This is great for sure, but I'm sure you have a wonderful camera already.  They're all great.  They all have great DR.  They all have great color.  They all have more than enough low light.  They all have more than enough shallow DOF with the right lens.  So go out, film and learn lighting, even just natural lighting.  Focus on things like that instead of the pursuit of cameras all of the time.

This is true. If you have the control anything made in the last 10 years can look great, especially if you only have online delivery. Throw away that control over lighting and all of the sudden things like dynamic range and highlight rolloff become immensely important 

This is true. If you have the control anything made in the last 10 years can look great, especially if you only have online delivery. Throw away that control over lighting and all of the sudden things like dynamic range and highlight rolloff become immensely important