*sigh* I miss Kodachrome.

mmm, well, I'm afraid I disagree, (perhaps I should have added the obvious, that the statement is based on opinion). They capture and record their data in different ways, with different sensors that interpret colours differently, and I bet I could pick out a Canon vs. Sony sensor 9 times of out ten. If I'm so wrong about that, why is Arri both incredibly expensive and incredibly popular in the high-budget arena? If they could just take any 10-bit 2K image and have it fixed in grading, why aren't they saving the money? It's like saying Ektachrome and Kodachrome were equals, all they did was record data. Nope. For the price range, Canon has the better sauce.

Canon has the best color short of Red or Arri and it's easy to work with. Having had several cards fail during assignments, I always record to two cards at once, so Sony would be a deal breaker for me even before getting to the inferior color. If you can swing it, consider a used C300, that form factor, codec, and instant recording backup to the more reliable CF cards are a nice balance. Shoot pretty much all day in 1080p on one 128gb card if you want to. Just make it Sandisk.

A the pithy quotation marks are often counter-productive... the "it just works" sarcasm in the same sentence describing how it--wait for it--does actually, just work--while the PC admittedly, in the same paragraph, leaves you searching the internet for drivers to download and hope for the best. And the amazing monitor that's so much more accurate than... well, it doesn't matter, because you can't trust it for colour accuracy. And ProRes is just a prescient copy of DNx, which almost nobody uses, and which one could argue is itself a copy of whatever video codec preceeded it (likely Pro Res). I'll just explain that to clients and I'm sure they'll all immediately accommodate me and convert to Avid once they see the light.

Weird piece.

This article convinced me to stay with Mac. I get the impression that wasn't the intent.

I'll be doing exactly the same thing in coming weeks, and though I've not yet done even one DCP, the research I've done on sites like LiftGammaGain suggests most people still grade in Rec709 and allow the DCP conversion to change everything including the grade to P3, and as long as you correctly put in the settings such as gamma, luminance, etc., you should get a spot-on conversion. Also, not sure if it's strictly true, but you shouldn't try to P3 grade for screen projection on a monitor anyway, that's best done with compliant projectors in proper grading suites. So I'll be grading in Resolve in rec709, gamma 2.2, luminance probably 80, on a calibrated 10-bit Eizo monitor and then hopefully the DCP conversion will take care of the rest. I'd be most concerned about good calibration, good monitor and ten-bit color.

But again, I'm no grading doctor...