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Finally we can get a glimpse of some footage shot on the Alexa 65 and it looks amazing, Lubezki and a 65mm digital cinema camera is like the perfect combo for a new oscar! Can't wait to watch this movie! The cinematography looks amazing, you can really see it's lubezki behind the camera (wide angle and a lot of steady cam reminded me of Children of men and Tree of Life)!

I don't think anyone expects that this camera will take customers from Nikon/Sony/Canon in terms of it's stills quality. However, it is a much needed progression for people already using m43. It may possibly tempt some hybrid users from other formats, but it's not cheap so who knows. They did hobble its features quite a bit on the video side unfortunately. I will wait and see what GH5 brings, personally. I hope they include (real) video Ibis (and for 4K..) in that. It will be interesting to see if we are going to see a departure in sensor resolution though. I wonder if they dare go to say a 12MP sensor for GH5 to optimize video. That would leave me a bit in a sticky position though, as I like to do both, so I have to determine if a loss of stills resolution would be worth it.

Magical. It's the 40mm and 50mm lenses giving similar fov's to what we'd need a 16mm or 18mm to achieve on an normal alexa that give those expansive wides such a powerful look. wide, but not with the distortion of a super wide. That first shot looks like it's beinf projected on a curved screen. it wraps around! resolution looks amazing. if anything i'd like to see some film grain overlay on that just to take the edge off. almost too clean for the theme of the movie.

Pretty much what I just said. And the a7 really got a bad rep when it came to moire. It was so easy to avoid. I've had much more trouble with moire in the nx1, bmpcc and a6000 than the A7. And none so far with the a7ii. Only had for three days though.

Thanks Bold, just a tripod with two legs, you can see it somewhere in the behind the scenes :

The interesting thing about BSI is the capacity to capture more rays, specially those from bright and/or wideangle lenses designed for film (simetrical wideangles from leica,but also retrofocus lenses that were great on film but bad on digital).

All I'll say is just hold off on the exciting pre-order until the reviews come in. Like the A7s, the rolling shutter won't be perfect, and there'll be the typical 8-bit grading problems but personally I love the A7s despite these issues and can work around them. It's been almost a year since I got the camera and I've gotten better and better at filming with it. For the price range of these cameras you're not going to get something perfect. For 4k more, there will still be problems, just different ones.

​BSI may add a little DR, but not that much. Look at the NX1 vs the A6000 - almost identical. See here: http://www.dxomark.com/Cameras/Compare/Side-by-side/Samsung-NX1-versus-Sony-A6000___976_942 Anyone expecting a dramatic jump will be seriously disappointed.

Sorry to dig this up, downloaded Miller's free DeLuts Armchair LUT and added it to a random family video. It wouldn't work for everything but really loved the results. Download is here: http://deluts.businesscatalyst.com/deluts-free-lut.html​ ​

For studio use, some kind of NAS solution with Gbps interface will be the most affordable solution. Thunderbolt or similar faster storage solutions tend to cost more.

I would have considered it an upgrade because of s-log. Not having that was enough for me to have no interest in the AX100. That and it's imo weird colors and low DR.

The 'Killer App' for the C300.2 is the autofocus with all Canon lenses. Having fast + accurate autofocus is a huge time saver. Canon's color science for skin tones is also excellent. While I've learned to grade the FS700 to look decent for skintones, for the last couple months I've been shooting lots of stills with the 5D3 and really appreciate the excellent skintone quality compared to Sony color science (I'd never use a Sony for stills for a paid shoot (other than perhaps landscape / not skintones)). For pro/paid work the C300.2 is probably worth the extra $8K over the FS7. An excellent comparison would be the C300.2 vs. FS7 where time to color grade skintones is also factored in. Time is money, and over time the extra cost of dealing with funky color science reduces profit. Additionally, there are cases where it's just not possible to get great skintones from Sony color science when one has limited time to color grade. If tests show that the FS7's skintones can hang with the C300.2, that will make the C300.2 less appealing, however Sony's autofocus on Sony lenses doesn't appear to be in the same league as Canon's C300.2 autofocus. Getting great skintones with faces in perfect focus in 4K with little hassle are very strong features with no competition at any price right now. Regarding a video-look: I noticed that too- would expect a different grade to look more cinematic: it's really about lighting and light response+behavior, not lenses and sharpness. An overly sharp image with too much brightness in the mids & highs along with lack of grain makes an image look like video. Provided the highlights aren't clipped, this can be quickly fixed in post (with a preset / LUT (+ grain if desired)). Canon lenses can look very cinematic: 24-105 F4L and 5D3 ML RAW: https://vimeo.com/92437795

I realize this is probably a lame question but I could use some guidance on this please. Talking about video only (not stills) - is the RX10 M2 considered an upgrade or at least on par with the video coming out of the Sony AX100? I shoot mainly video and want to get something that would be an upgrade from my Canon XA10. I like the smaller form factor of the RX10M2 vs. the AX100 but at the end of the day video quality is the key here. Any thoughts? Thanks so much!

Nice lens. The bokeh on that 2.8 blows my mind. I have two of these, the same version you have and an older model that has a little silver on it with a nubby rubber grip. I think I paid 50 each and both of them have aperture problems. I think there's something wrong with the pin. I also have the 35mm f2.4, which I got for a steal. It was recently cleaned and declicked... Which is nice. I'm thinking about having the 50mm 2.8 declicked too, if I can find someone to do it for a reasonable price. I'd love to get the 20mm 2.8 or f4 but I can't justify the price right now.

​But it doesn't beat a £470 Sony A6000 for stills and therein lies the problem, if it's clearly aimed at photographers. Anyway the £599 Samsung NX500 arguably performs better in 4K mode than the GX8. 2.2x crop on the Samsung, looks like a 2.5x crop on the GX8 from a noisier sensor with suspect colour.

Hey Jonesy, I'm a Linux user primarily. Since the death of IRIX, most post production and vfx software that used to run on SG workstations has long since been ported over. commercial post software includes: Maya, Houdini, Flame, Lustre, Nuke, Shake, PF* apps, MochaPro, Mari, Mudbox, Arnold, Renderman, Lightworks useful free software: Gimp, inkscape, ffmpeg, mplayer, mencoder, dvdauthor (for screeners), VLC, OpenColorIO, and tons of vfx utility apps, see a list here: http://opensource.mikrosimage.eu/index.html free communication and f-off related: LibreOffice, Steam, Pidgin, Thunderbird, Chrome, Banshee, Rhythmbox, Spotify, Renoise, Bacula (for project/footage backups) and of course more programming tools than you could list, I prefer to use GNU/Linux emacs. Still need a dual boot option though for certain things like taxes, incoming photoshop files, certain games, commercial audio like Ableton and Max.. listening to my old DRM files (thanks Apple).

The pistol grip will likely boom into 2016 with lots of options, so I would actually wait (unless you can afford it). Just liek with 4k cameras.....wait a bit for your investment and you will get a superior product for your hard earned cash just months later. (although this can also be considered an eternal matter). I think in the early stages of development, this certainly rings true.

​Yup. Although I hear the Lens Turbo II is a better bet. I don't know, just the opines I've seen on the 'tubes. Is the quality the same? Maybe. I think they're probably all made by the same orphanage/factory in Zhōngnán.

​ It effects close range as well, way more for that matter. Here is an example I have a lens turbo EF to m43. I use vintage lenses, mostly Contax Yashica (thanks Andy) To fit them to the lens turbo they need an adapter ring. I adjusted the Lens turbo so the Yashica lenses hit infinity without overshoot. Then I found a Yashica Auto Yashinon zoom1:3.5 45-115mm. It’s a M42 mount. It connects with an adapter ring to the EF lens turbo. Focus between 115 and 45 were completely off. So I checked if I could improve that by adjusting the lens turbo element. It’s not a real parfocal lens (I think), but it is now as close to parfocal as I can get it. If I now connect my C/Y they slightly overshoot when set to infinity …I couldn’t care less as the zoom lens suddenly is way easier to handle as everything stays in “focus” throughout the zoom range. Non of these lenses have an original EF mount, all adapterrings differ so to make it stick to one lensturbo/speedbooster you will have to make choices. Metabones advice is for varivocal lenses. From my understanding the Sigma 18-35 is a parfocal lens. And I think it’s your lens to go, so if I were you, I would make sure it behaves parfocal on the adapter …even if that means other lenses will suffer from it.

The camra is great, the only problem is that A7s ii will have all this and the 5 axis stabilization - then you have to buy that too. -:)

​Better

​Nothing you said is about the "quality" of the video not being "delivered." The 4K video is superb, and the firmware update upped the H265 bitrate to almost the same as the NX1 (70 Mbps, again, HEVC)). The crop in 4K can be advantageous - the 16-50mm kit lens gives you a compact 135mm telephoto at the long end - absolutely great for candids of people; the 200mm zoom gives you a 525mm telephoto. The form factor is great, and AMOLED lcd enables easy viewing even in bright sun - you have to try it to know this. There is no compromise in video quality after the latest firmware update. I do miss the focus peaking in video mode.