Leaderboard

If an RX10 Mark II doesn't break the budget, I think it's a better balance of compromises than anything on your list. The LX100, A6000, and RX100 IV don't have mic or headphone jacks. The FZ1000 has a slower lens and much less wide angle coverage in 4K. The LX100 has even less range--it could be limiting depending what kind of work you do and what kind of shots you like. The RX100 IV even more so. The A6000 requires investing in a bunch of lenses, which I think is a distraction when you're just starting out. Better to have a great zoom and have any focal length you want. That way, you can figure out what you like before you go investing in lenses. It's weather-sealed, offers great stills for location scouting and such, and has all the focus and exposure aids you could want. It records in SLOG, so you can record as much dynamic range as the sensor can deliver. And since you mentioned slow motion, it offers higher frame rates than any of its competition. Couple that with the outstanding lens (hands down the best I've used) and its 4K capabilities, and it might be the only camera you need for a while.

These are looking to be pretty cool:

lomo foton 37-140mm is exactly what you are wanting and even has an interchangeable mount. In fact it is designed to work with a anamorphic front as well. It is designed for s35 so not sure if it will cover the sensor. However with all lenses on a still camera there is the issue that you cannot adjust back focus. For a lens to be parfocal its flange focal distance must be correct which could be a problem. The foton does have a back focus adjustment as I recall. I loved my foton before its aperture failed, they go for $600-$800.

20% Off, DJI Ronin M, Ronin Effective Period:2015-07-21 Times : 1 CODE: 5HALV48D 20% Off, DJI Ronin M, Ronin Effective Period:2015-07-21 Times : 1 CODE: 679RZHWX

Just found some Nick Driftwood's GH4 V-log 10bit 422 untouched footage download link posted on Twitter. Footage is recorded on Shogun. Here is the Dropbox download link: https://www.dropbox.com/s/xtwhwbpe75k3k7s/VLogL-SHOGUN_S001_S001_T008b.mov?dl=0

​To hell with you guys. I'm going to shoot an entire film in real time, with 28 different scenes, and in one take --from the top of the empire state building. http://gearburn.com/2012/06/the-aware-2-worlds-smallest-and-fastest-gigapixel-camera/

I often like to make slow zooms to have some dynamics in my shots, especially if it's static shots just to keep some interest going. That was also my main object going from 1080p to 4k when I got my GH4. I tested out a Nikon 28mm AIS some time ago and put that kind of fake dolly/slider into this little test:

​You are right. ​ BTW: I made a mistake in the short workflow description. It's : deliver (tab, with FCPXML setting and handles), render, save, then goto edit tab and export XML. This is to save BrorSvensson some headaches.

​The NR of Resolve isn't as good as Neat. There is also a Neat version as a Resolve plugin, but rather expensive ($250). If you have Neat already in FCP X, you can send the graded project back to FCP X and denoise there. This is advisable anyway. Workflow: Edit in FCP X (with retiming, but without effects and titles), send FCPXML to Resolve, grade, save, deliver (=render) with handles for possible changes or transitions, send XML back to FCP X, apply effects, render a master file. If you don't have Neat, you can buy Photon Pro, which is a Motion-based plugin, which means it has no own GUI, allows for more realtime within FCP X (though render times are equally long), and it's only $30 in the App store. Rainy week? I'm curious how long it takes for you to figure out how to get more out of Resolve than of FCP X. Good luck!

​Nice find. I've been waiting for that camera. Suddenly it seems even more interesting

Dual iso on the new a7000. 15.5 stops. http://www.sonyalpharumors.com/sr3-sony-a7000-is-the-first-e-mount-camera-with-15-5-stops-on-sensor-hdr/ Hmmm, I'm tempted, let's hope it works in 4k and in slog2

​This is very true. You have to be discriminating to discern it, but that can also be very telling and informative; always lots of scuttlebutt comments that have bad footage=bad camera, however. (and yes I just used the word scuttlebutt)

​I do entire shoots with 5-axis. I love it; works for me. I agree with your opinion that stabilization can look very artificial when the camera is moving. It's a tool on my EM5II that works very well for grabbing static shots without a tripod (which I do often) and for mimicking a short slider shot...but you have to practice at it, much like using a glide-cam type rig. For much of the corporate crap I do, I prefer a quiet lens. For those shoots I'm trying to keep what I do as neutral and transparent as possible. I don't want to call attention to my shooting and/or editing. I put their stories at the forefront and the production style is conservative. I also concur with your assertion, Implement the 5-axis technology in an intelligent pragmatic way and it's a wonderful thing. We all should keep in mind that a lot of shooters you see on the youtubes haven't a clue or are just messing around with testing, (5 minutes of walking though as park handheld? Who would use that in an edit anyway?) so judging by their work is a mistake. And let's be honest, a lot of prosumer enthusiasts can also be talent-limited, assuming that IS or OIS is some sort of panacea that'll make their footage wonderful. Um, no. If you stink as a shooter in general, your stabilized footage will do the same. (those Canadian guys from that camera store come to mind. They're gear geeks and can tell you the ins and outs of a camera's functionality, yes, but they're not the best shooters and the footage always looks subpar to what a particular camera can do.) Finally, don't forget, if your camera has 5-axis stabilization, you can always turn it off too.