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​I would definitely stick with the Blackmagic Pocket. Despite its drawbacks, it's a far more capable music video camera. The RX100 IV is nice, but it's going to give you a more broadcast, consumer camera look, which is not what most artists want in their videos. Mine usually prefer a more "personal" aesthetic with some character.

Aw damn. I think you're right.

Just what I was hoping for! A E-M5II-like camera (yay! built-in stabilization, yay! tilty flippy screen!) but with Panasonic video! So much vintage glass, couple of cine primes... would definitly benefit from that! Doesn't have to be the same as Olympus's IBIS, too much chance of weird shifts and warping imho anyways. As long as it works well handheld. I can always get something like the CAME-TV Single pistol grip gimbal stabilizer for actual dynamic moving shots. Wait. The answered to that ánd it has a new sensor?! So, even more perfect for hybrid shooting. And I was happy enough if it didn't do stabilized 4K, just proper 1080p, but it does?!! We'll have to see how it is in lowlight... photosites are even smaller now... hope new sensor tech and Venus engine can work some magic. Of course, they don't want you to forget about the GH and G lines. So chances are, no V-LOG or perhaps even CineLike styles. Audio interface?? But hey, exciting. I guess tomorrow is the 'keynote', so we'll know soon. But I guess this means bye bye E-M1, hello GX8.

If for nothing else, the prebuilt effects look great. Just to have access to the muzzle fire alone is worth the space on my hard drive.

​Its 24-200 full frame equivalent. Whenever they say 35mm they mean "full frame". What they should be saying is "135 format equivalent feild of view". People usually say "super 35mm" if they are refering to the cinema standard. Although that could be anything from crop factor of 1.4 to 1.7 depending on how loose you are with the definition. So it wouldn't have much meaning or make much sense to gives equivalents in super 35 for a stills camera. And I have never seen such an equivalent given. DPReview gives the "Macro focus range" as 3cm. I asume this is the minimum focus range from the front of the lens as opposed to the sensor. And I would guess that would be at the widest angle. The 135 format maximum depth of feild equivalent is about f7.5. The APS-C maximum depth of field equivalent is f5. Don't worry. 200mm f8 on 135 and 135mm f5 on apsc and 73.3 on " "one inch" type" will give you a blurred background.

This is why they sell light meters.

I got mines by email as well. It's been told it's the alternative to AE. I tried HF2E when they offered it, and I concur with Andrew, it's really nice. "Also couldn't find a way to apply a LUT." Actually, they have starter pack, I think. http://hitfilm.com/store/hitfilm-3-express as per their Colorist Pack: Give your videos the professional look they deserve with advanced grading tools and support for cinematic LUT files. Learn more… Color vibranceA splash of intensity for your effects, or a vivid color tint for your videos.CurvesThe colorist’s essential tool, providing fine control over brightness and contrast with an intuitive graph interface.Grading TransferInstantly take the look from one video or image and apply it another. Want to replicate the look from your favorite movie? This is how.LUTInstantly create an evocative, distinctive cinematic look. ... Hope that Helps

I just tried it and it's nice. Like a streamlined Premiere Pro. No 4K timeline support though on the Express version. Maybe the 300 euro Pro version has it. Also couldn't find a way to apply a LUT.

Even though the OP went with the G7, I have the A5100 and haven't experienced any overheating. Make sure to move/tilt the LCD off the body. I rolled three consecutive 25-30 minute takes shooting 30p XAVC with no issues in the hot Florida sun. Its far better than the Nex5n/7 days when the camera would get really hot to the touch and shut down after a few minutes. YMMV.

I ordered the G7 today Thanks guys

​Sir, you would do well to be more courteous on this forum.

​​​Finally bought them, some great stuff in there How do you use them in Vegas ? I cant find a way to use LUTs in Vegas.

​How can you possibly tell how many stops of dynamic range in the scene just from looking at a raw still? Most high-end professional DPs can't even do that. ​Or instead of using ETTR, he could've exposed for his subject and let the window's exposure fall where it may. The BMPCC has a nice enough rolloff to just let it blow. I'll never understand why people prioritize the windows when they're shooting indoors.

​I've had my Rx100 mk1 from the first day it was available to consumers in 2012. Its been around the world in my pocket and thrown into my bag without a case. It has lost some paint on the edges but it is certainly not a fragile camera. My mother dropped hers straight onto the lens from 5' and yes that broke it, but barring that its as solid as you can get short of a gopro.

If that's true why don't you correct the aperture for Full Frame? Why does the sunny 16 rule work both for my medium format as well as m4/3? Why does my light meter not ask me what sensor size I have? Because it's BS, that's why.

Just used the 9320 on this shoot with the BMPCC.

To me, these handheld gimbal stabilizers are bigger game-changers than the 4K/upped color space push. I'm just an enthusiast, so maybe the "gadgetry" aspect is what's appealing to me, but the effect that smooth motion has on footage is pretty profound. Exciting to see and know that you can have both (4K + a gimbal) for around $4,000!