Max's review is flawed. He measured out-of-the-box resolution at 100% magnification and called it video quality. He knocked the Z7 because of its extreme sharpening and the EOS R because of its softness. In the case of the Z7, he might have considered turning down the sharpness in the Profile settings.
For video, resolution of fine detail is only a minor factor in image quality. More important is the overall subjective impression in the perception of the viewer.
It would have been better to present each camera filming a variety of subjects, including faces, moving subjects, and under low light.

He did do the same thing twice. Terminator 2 was a great film. Terminator 3 was a rehash.

I would like to see a real-life review not in a camera store.

The trailer is a disappointment. It fails to convey the feeling of movement, and that special feeling you get when you view live dance. The closest I have seen is a couple of moments in All That Jazz.

I got interested in filmmaking in 2011. I auditioned every NLE except Avid, which was out of my price range. My initial impression of FCP7 was not good, besides the fact that it is still a 32-bit application. Before I retired, I was an IT consultant, frequently installing software that I had never seen before. My standard for UI was, and is, how hard is it to do the central function for which the application was designed? Except for FCPX, all the NLE's flunked. I had to spend quite a bit of time in the help files just to do a simple operation. In contrast, when I fired up FCPX, it was immediately obvious how to almost everything. And since I did not work professionally, I did not miss the features that X lacked and now has. I cheerfully paid the $300, and have received three free major upgrades plus countless fixes. NFS, wise up. Your obvious bias against X is embarrassing.

It has a lot of nothing moments, but it captures ordinariness in a way few films do. When he's driving down the country road in the stolen Oldsmobile and discovers a pistol in the glove compartment, the moment comes off completely uncontrived. He's simply surprised and delighted to bump in to this new toy. He knocks off the motorcycle cop just for the fun of it, and unlike countless gangster movies where a cop killer snarls and laughs menacingly, he treats it as just another minor obstacle disposed of. One of my prime objectives for my narrative work is to present scenes that have that ordinariness in them without boring the audience