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* not really   http://www.youtube.com/watch?v=-joFyUcBIqk   :)

Here is some test footage from my a brand new Panasonic G6, I think it is the most universal camera and the shoots are not so videoish :-) :    https://vimeo.com/77921309

I use one of those 5 ways on my lampheads to scatter the beam. Makes for interesting light.

lovely man. really nice.

yongnuo is the standard cheap chinese alternative most people buy.

I would take built in NDs over 4K any day of the week. My job consists of getting the shots of actual happenings with no chance of directing(news). You can't really stop a politician or rescue worker or whoever to screw on an ND.    If this camera takes on the "AG" video name, asking for NDs is not that unreasonable.   I can see that 4K is much better than NDs for marketing, but in my world(and I bet in yours as well) NDs has much more value. Sure the ability to reframe in post is nice, but I don't know how many in the market for this camera will deliver 4K masters...

Just sayin.. I'm all for different tools, looks, etc. If you start with a raw image, you can make it look like you set it on fire if that's your aesthetic. Andrew's talking about having an image that gives you the most freedom. Because It's a lot harder to polish a turd if you change your mind later on.

  You can't!  In the way I mean it, 14bits of each primary color.  Looks like I have to go into those "complications".  Camera sensors are monochrome.  They read light be placing little filters over each pixel, either red, green or blue.  Each pixel then "borrows" the 2 other colors it doesn't have.  So if it is a red pixel, it take the green and blue color information from neighboring pixels to create a full 24bit color.  (BTW, they don't work with RGB but YUV, oh this stuff is so f'ing torturous!)  But, for explanation sake...   Let's say we're in a perfect world.  You have 3 color values, each from 1 to 16,000 (red, green or blue).  That means, from those, you can create a full color at 16k x 16k x 16k depth, or 4 trillion!  You can't discern 4 trillion colors.   So now you have more color information than you can physically see.  In the end, we always need to reduce to 16 million.   Here's the rub.  You can't see 4 trillion colors.  The camera can record the 16 million you can see in 8bit video.  So what's the problem?  The camera may not chose the 16 million color values you would chose from a palette of 4 trillion colors.  As the article shows, it is never smart enough to do that.   RAW allows you to  SELECT which colors to scale down to your 16 million painting.  As Andrew said, do you want to start with 4 shades of pink, or 255?  It's all about CHOICE in what you want your final 8bit channel image to be.   Are we getting there?

  I'd go for the G6 over hacked GH2 as well. The codec is actually better implemented on the G6 and you don't get a nasty Russian man with personal issues calling you Voldermort into the deal. Bonus!