The C70 has the same sensor as the C300 MKIII so that could be why. But then you question why isn't the A7s III or FX3 approved when the FX6 is approved and they all share the same sensor.

My guess is that it's what they've been asked to approve and upon which they've done their due diligence.

For Netflix Originals, I would assume most productions are done on rental gear. The difference between renting an FX3 and an FX6 isn't going to be significant at production-budget scales. (And if you had a real burning reason to use something off-list I would bet they can write you an exception.)

That's what I'm curious about as well, as I'm looking at the FX3.

If it were up to me, if the camera doesn't have Global Shutter, it should not be allowed. Nothing more annoying to me than when flash/strobes appear on partial multiple frames. <shudder> Then again, if it were up to me, it would not be allowed to be called cinema unless it used global shutter.

I agree with you about how ugly the split screen effect is, but that's not strictly a camera issue -- you can sync strobes to your genlock signal. That reflects a production choice not a camera choice.

The quality of global shutter cameras is simply nowhere near the quality of rolling shutter cameras, though there are more acceptable options showing up these days, they still typically have lower dynamic range and generally worse specs.

The Arri Alexa is the camera on which essentially every Oscar winning film and it has been shot on for the past decade has a rolling shutter as do the film cameras before it.

You are aware film cameras use a rolling shutter, too?