Brace yourself...
Truthfully. I am not into the "K's" and new sharp lenses (per say).
I dig color, and contrast... a lot. I am not professional at all.
Another -major- reason,
I felt zero difference (at the time) between the 550d and the 7d, and I could get money for the 7d vs the 550d. The quality I got best, by a long shot, was the 50d. I use a color wheel or contrast adjustment and everything had latitude the others didn't.
Now, I have been only using the 50d for over two years so I am out of touch with the other models (honestly). I hit the mb limit with the older models, and I liked the sensor in the 50d vs the other apsc ones. I guess it is subjective because of my first response. I like old manual glass, and non-flashy film. A phone shoots 4k and the new Cooke lenses are so sharp that most pros have been diffusing the sharpness. Honestly, as crazy as it sounds... tech got completely out of control.
A cinema big screen vs a streaming service essentially are two completely different needs behind the lens. C. A. of a lens is actually amazing sometimes, especially to a guy like me. And that translates to working in Resolve as well, but i digress...
I am happy with the 50d being the last camera I need to buy before these objects end up in a landfill. Netflix, and Youtube will take an iPhone film in 4k before an Arri filmed for the large screen. Lenses got TOO sharp in my eyes. Another example, I cannot watch skateboarding 60fps (unless in slow motion) because I feel nauseated. Same thing with shakey camera movies and post 1999 video games.
Frame rate and detail, among other perfections in image quality are fascinating for looking across the universe and on the nanoscale. The K'wars are essentially the Plasma/LCD wars two decades ago, all the while LED existed and TV companies don't want you to know. I don't truly understand the need (as a film enthusiast) to go beyond Raw for color correction.
