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Friday 7am London time sees the release of a firmware update for the Sony FS5 which optimises the performance of internal recording, fixing the issues spotted by early adopters of the camera including myself (Andrew Reid) and Paul Antico. Read the full article

I’ll admit it, I use camera forums a lot. Too much, probably. I use them to check out the latest cameras and lenses and lights and accessories. I waste about two hours a day on them. Time I could spend watching “the View.” When I started out shooting part-time in 2005, I got a DVX100 because a juggler who was a featured extra on a tv show called “Sons of Saddam” told me to. “Cause it does 24p.” I didn’t know what that meant, but I plunked down $3,000 - all the money I had in savings on this camera. The camera could have been a bust. But I did it because a juggler who played one of Saddam’s sons goons said so. That’s how easily influenced I am. Then I bought a HVX200, not even testing it first. “Cause it can do HD.” I bought the Redrock micro adapter because I watched the work of MacGreggor and some other DPs back then do stuff on a Gorilla 35 lens adapter that hadn’t even come out. I hadn’t even tried it first. Just sent in my credit card info. Rinse and repeat. All these periods of time I bought things just based on videos I saw shot on them. No tests - I didn’t understand tests. Just videos shot with them and the opinions of people I respected. I could look at screen grabs but just scroll down to their opinions. Well finally 11 years later, I am seeing what I was doing - buying based on people’s emotions. Based on the emotions of people whose work I liked. This is fine to do, but it’s not always the smartest thing to do. There are several, maybe twenty influential figures online in the cinematography world. David Mullen, Shane Hurlbut, John Brawley, Art Adams, Geoff Boyle, and of course Andrew Reid, come to mind as leaders who people follow and listen to. Even the opinions of the above people and the other influencers are, in the end, just their opinions. When someone says, “this to me screams filmic” or “this looks digital” - again, that’s all an opinion. If they say, “that grade is terrible” or “man you nailed the skin tones” - again, that’s all opinion. Even looking at test charts and camera tests, the results are subjective. Aesthetic is subjective. There are scientific tests, but they lead to opinions. This isn’t pure math - this is an art form. There is no such thing as filmic. Everything is digital. Film emulsions see the world differently, but they go through a digital intermediate. They become digital . And I think that’s probably about 99.9% of all films shot on celluloid. Maybe a few hipsters shoot film and use a steinbeck, but they still upload their results to vimeo, which converts this to a h.264 file. I have very strong opinions, and a lot of people have very strong opinions. That’s why we work in film. It’s an art form that is full of passionate people. But I also have low self-esteem. My whole nature of existence is based on others approval. I’m getting better at trusting my own self, but this is my basis. I think maybe most artists have low self-esteem or why would they want to share their art? Is it ego? Or the attempt for others to connect? Yes that’s part of it. But whether you want to admit it or not, we love when people love our work. We live off the feedback, or why would we check vimeo 5 times a day to see if someone commented? Why else would we have awards? Especially in an art field where awards are just based on opinions of a community who may or may not get your work? Something is beautiful if you think it is. You don’t need an oscar in cinematography to be happy with your lighting or camera movement or angle, or have your opinion mean anything less if you aren’t in the ASC. Everyone brings something unique to the art form. Everyone brings a new perspective that is needed, especially now, when everything feels pretty much the same.

This is a bunch of basic information about affordable camera support gear. A lot of people who are new to all this Blackmagic Pocket Cinema Camera stuff (or DSLR sized cameras), and folks who don't have much money to spend have been asking me about all this lately. I don't have a lot of time to do gear reviews, so I decided to try to cram as much information as I could into this one video hoping to answer as many questions as I can all in one place. Items covered in this video: BMPCC Cages Rail Systems Shoulder Rigs External Batteries Follow Focus Devices Matte Boxes Cats and Dogs Living Together Tripods Jibs Gimbal Carry Case *Note: The "one size fits all" cage I show here costs $149. I forgot to mention that. https://www.youtube.com/watch?v=hqzJlgPjL_c Some of the links I've been able to locate: "One size fits all" Cage - $149 Movcam BMPCC Cage - $323 Fotga Follow Focus - $170 Follow Focus Speed Crank - $13 Giottos Quick Release Adapter - $38 Offset Riser Clamp - $18 Cavision Matte Box - $99

Most Used? Helios 44. The greatest lens ever made. Favourite lens? Helios 44 + FF38 WA Adaptor. for the reasons above but with wider angle> Dream Lens? Hassy 110mm/2 - there ain't nothing like it! >

Whenever I start to design a building, at first I get very excited, my mind gets into a fugue, my "intuition" spits out fast results. Then usually I go into the library and look at similar proyects, I start to rationalize, I begin to get influenced, conservative, confused and loose motivation. This process can last forever until the thing needs to get done, in the end I always end up doing something similar to what I had thought in the first moment. I wish I could stop doing the inbetween because it sucks out your life. In college, when the whole class had to do the same project, it often occurred that we ended up doing almost the same thing, a boring standarised answer, a conservative and consensuated solution. I read a study where they would make people take decisions. At first they would ask people individually to give a fast answer, afterwards they would give them time to think and have access to other peoples responses. The fast individual (the gut) answers turned out to be correct more times than the others. It's judgement that defeats us (I was reading about "Cognitive bias" just before reading your posts, that timing )

Alright, I've about had it with all this nonsense, tell you what, I'm going to sitdown this afternoon fire up my engineering workstation and create a brand new stabilizer that will blow this away. That way we can stop this silly thread once and for all. Expect my product on kickstarter... Mark my words, it will work, it will cost less and it will be easy to use. And everyone will want one. This camera stabilization thing is not really that tough of a nut to crack.

In my experience with Panasonic cameras, you should avoid using LUTs. I haven't shot with VLog (I'm a GH3 owner) but whenever using LUTs I have to dial them down a lot in order not to destroy the footage. What happens is that your greens will turn into yellow / brown and your reds will look off, too. This is exactly what happened with the footage you posted the other day, too. I really enjoy the GH3 and other Panasonic cameras for the image quality, conveniance, battery life etc. but I'm getting to a point where I simply don't want to use the camera anymore because of the colors. I use Final Cut Pro X, Color Finale and IWLTBAP LUTs that you can purchase from benymypony. What I usually do is I do basic color correction (highlights, shadows and mids) and then apply a Delut that flattens the image (9090) and then use whatever LUT is pleasing for the particular project. I usually dial down both LUTs to around 50% opacity. After that I do a few minor tweaks. Keep in mind that the footage isn't LOG footage, so be careful using LUTs. It brings your footage to life when you have LOG footage but doesn't work well with regular footage. Color Finale is a fantastic plugin for FCPX in my experience but your results will strongly depend on the camera you've shot the project with.

I agree with Bio. You should definitely learn the basics of color correcting and grading first and play with footage until you get the hang of it. It's a very valuable skill to have when you don't have the budget for a colorist. As far as plugins go, there are of course lots of opinions on this matter, but I prefer Filmconvert over MagicBullet and such. It is very easy to use on it's own and you can get great looking images when you learn how to use it in combination with all the standard tools you have in FCP.

Marco, the edge of the NX1 is that it has been out one year and a half before! Use your camera to make great videos and forget about "spec competitions"!

Well I really like cameras that give a generally cinematic look - that's why I use so many Blackmagics - but that's only one look of many. It doesn't convey nature documentaries as well as super high-res clear and realistic cameras will. Like a Sony FS7 or Canon C300. We are getting to a point with the evolution of these cameras that certain cameras are intentionally designed to have different strengths. And so far they don't really overlap. Meaning: yeah sure, you can make a super-documentary camera "look" more cinematic and vice-versa, but it takes a lot of extra time both in shooting or in post to do so, and it's just a much more streamlined process to simply pick the right camera for the job - in PRECISELY the way we already pick the right lens for the shot. Same thing.

My most used is the Sigma ART 18-35 too. Easily. My favourite current lens is the Helios 44-2 85mm (modern version). This thing is nuts. Bokeh is crazy. Flares are really random. Star shapes and all sorts.

Did some tests with the beholder ds1 and a lighter setup than the 5d, tried it with the sony rx10 II i used the step up plate and the lighter profile took me 5 minutes and was good to go

I was all in with MFT from the AF-100 to the GH cameras. I sold my GH4 and all my MFT lenses last year. The A7 Sony cams just had me. I feel noise was a issue and not liking what ISO1600 looked like made me move. Hopefully Panasonic can clean up the image in the next version because I really feel that is more important than resolution.

Thanks, I just requested it as well. The one you're pointing to is pretty locked down. The important stuff comes in binary format not source code.

Hello! Sooooo... I've spent several days off and on combing through the magic lantern forums to find an answer to no avail. At this point you can snag a Mark 3 for a sweet deal, but I'd like to add ML for raw capabilities. It's been a while since I followed its progress, and last time I checked in, Canon okey-doked everyone with a newer firmware that didn't allow the ML port. All newer shipping Mark 3's wouldn't allow it, and you couldn't downgrade to the older firmware I'm told?? - so it's pretty much pointless.. I'm just curious if Magic Lantern works on the latest firmware for the Mark 3 and if it's stable. 1920x1080 raw with 1066 CF Lexars? Thanks in advance! This video still blows my mind. Gorgeous:

I would love to purchase Sony. They are a powerful brand who always have something on the horizon. The only thing holding me back is just the color science. If they can do something with that I'd be a sony whore. A dirty little sony whore.

It probably will so it pairs nicely with the new sigma aps-h camera.

I use Samsung 85 mm f/1.4 for 95% of the time.

Forgot to say, that yes, 10-bit footage would make learning CC a lot easier - a hell of a lot easier! Also, FilmConvert is my favourite plug-in, but take a look at what Vision Color offer too, as they seem to be flavour of the month (used their Canon Picture Profile with great success) - but each to their own!

This is amazing, Andrew!!! Great work - you are literally improving a camera!!! No many people can say that!!!! The FS5 is a damn fine little camera and after you are done, even better!!

No. Read it again, it is not written ambiguously.

No I don't, as my iMac is too old & so can't get it. But if I could I would get it without a moments notice. That series of videos is so useful & it'll help with solving the skintone problems that you were having in your other post. Yes, I've got the BMPCC & grading with 10-bit footage is like discovering Eldorado! The thing with 8-bit footage is that you can't really push it too hard - it'll just fall apart too easily. My rule of thumb, when I used to shoot 8-bit, was to get it as close to perfect in-camera & then any grading was performing minor tweeks so as not to destroy the footage. At the moment, I've been re-visiting a rejected project that I shot on my Canon 60D & most of the shots are fine, but some really need Film Grain to cover up stuff - but am really enjoying the limitations! The way I've always seen filming is to get it right or as close as you can, when you are filming - thinking that you can or should just fix things in post is making more work for you in the long run & you won't really learn how to film properly with that mindset. So 8-bit footage is a really good education, as it should teach you how to film properly. As for 10-bit footage (or Raw), it just gives you more options once you get your paint brush out - neither is going to save really badly shot footage.

The new Sigma-Art lenses. Currently the 50mm/1.4 (i.e. for my little girl), true Zeiss-quality. Apart from that of course the 18-35mm/1.8 on the D7100 and NX1. If only it wasn't that huge and heavy... The 35mm/1.4 on the D810 is no wimp either.

last years favorite was the nikon 28-70 2.8 (still taken from a7s video): this years most used are some of the sony cinealta t2 pl lens set (my buddy bought them) (stills from nx1 video) dream? tough. i'd love to shoot on some panavision anamorphic lenses.

Seems like SLR magic will soon make available their new anamorphic lenses. I was pretty excited about these and was looking into ordering one. But after noticing the price, it seems I'll be staying out of anamorphic for a while longer. Just can't really justify it for what is pretty much a hobby for me. http://www.bhphotovideo.com/c/product/1233201-REG/slr_magic_slr_ac50133pl_anmrpht_lns_1_33x_50mm_lns_cs.html

In video, yes. The LX100 also had this improved processing, which is why many confused reviewers were reporting better noise performance in 4K. I haven't had hands on with the GX8 yet, but it has the same per-pixel noise as the G7 in RAW and the improved processing, so it would stand to reason that it too is improved over the GH4. The few samples I've managed to find online seem to bear that out.

Got confirmation from an A6300 tester " DVFire", 4K 24P/25P crop factor 1.5x (24MP full sensor readout) 4K 30P crop factor 1.9x (13MP crop area full readout) HD 120P crop factor 1.9x (13MP crop area pixel binning readout)

This company has a long and storied history of extremely bad behavior and customer service. Their overly-aggressive and accusatory posts on DVXuser would be laughable -- if they weren't so pathetic and repugnant. I wouldn't buy one of their products if they were the only game in town.

Cutting the top & bottom off is certainly cheaper... (that's my approach)

I just checked the preorder prices and its really competitive. Just over half of the rx100iv. So again, Nikon Flat and I will buy it. Anybody seen any manual or something to flip through?

I think its pretty terrible how you continue to post videos here, all the while your actual customers on your facebook page seem to be completely unable to contact you and ranging from annoyed to furious. Is this what you consider good business practice?

What about an HDMI-output that doesn't block the articulated screen?

Most used lens? - Sigma 18-35mm f/1.8 Art. Favorite lenses to shoot with at any price? - Zeiss Standard Speeds. Favorite dream lenses that it's possible to actually own? - Sony Cine-Alta II.

Dont know why people shop from there. Ive never been scamed in my life and cant either. Just buy from real people. People thats within a few hours distance so they know that you will come visit if its a scam. Or use a safe payment optionoption. Or if from abroad on a forum like this, use paypal and you are golden. The exact same protection as on eBay is given between people outside of ebay. Frankly, being scamed as a buyer is pretty much impossible. As a seller though... I never accept paypal. So easy for a buyer to rip you of. I let them just send the cash and have faith or come pick it up.

I offered a guy $500 for one yesterday, he is concidering it. Also found the 16mm, 30mm and 45mm primes for $390. Pretty sweet deal compared to what $900 gets you at the store. I think the NX1 will be totally current for atleast 3 years. So if one can just ignore the gas, the bargain of the century is just around the corner. Because it will drop further.

G Masters are also a tough sell for Sony crop body users, who have been left out in the cold lens-wise.

Okay folks, NO. You cannot balance the DS1 with the giant Sigma 18-35mm f/1.8 Art lens. I used the Metabones Speecbooster's foot as the connection point instead of the BMPCC's own bottom mount, but it's still too front heavy. By the time you move the mounting point far enough forward, the camera will hit the back of the cradle. Now you could also add about 300 grams on top of the BMPCC - that would get the balance right - but by then you will be significantly over the DS1's max payload of 1.6kg. Oh well...I never even suspected that would work anyway. This lens is a freakin' BAZOOKA. The one lens that I really want to try that I don't have is the Samyang/Rokinon 16mm T/2.2 because that is a great lens, and their 10mm can be a little too wide sometimes even though it's a killer lens. I have a couple of 20mm's that I've been using but I'm not knocked out with them. Nikkor Ai-s 20mm and a Voightlander 20mm pancake style. They are both "good" lenses, but they aren't "fantastic". I think 20mm is a length that just doesn't lend itself to great lenses maybe. I dunnno. Anyone know of a really killer 20mm lens? I also have the Panny 20mm f/1.7 but that lens is also in the "good": category, but as an MFT lens I cannot speedboost it so it's really not a comparable 20mm even. I've heard good things about the Olympus 17mm - but that's really close to the Sam/Rock...and the Olympus 25mm gets into the range of my Nikkor 28mm Ai-S which IS a great lens. Anyone got any other recommendations? Thanks.

I still don't understand Sony's crusade against touchscreens. Yes, you can do pull focus with button scrolling, but why not have a touchscreen for focus point selection in addition to buttons? Every other manufacturer seems to be implementing touchscreens, so I'm not sure what Sony's business case against them is.

It's unfortunate that there wasn't coverage of the beholder from the likes of Dave Dugdale. I think he got a preproduction model and he's shrugged it off ever since and seemed pretty fed up with it. I bought the H1+ because of his recommendation. But maybe Beholder is nicer. But, DPStewart said that be prepared to spend zero hours balancing it. But in the video, it looks like you gotta balance it. I can balance the H1+ in a few minutes. Requires a tool. PID settings....especially with a different lens and/or body, well that's another story.

As you say, let's hope they get the codec right. If it is 8 bit 4:2:0 with a low bitrate, then it is almost wasted tech.

I've seen this, too, even in Gone Girl, where they at least embraced it. The new OLPF looks dramatically better at least. It seems like 95% of people love the Red look. I've never liked it but I'm in the minority and appreciate what the company has done for the industry. It's just a matter of taste. I always found 2k to be enough and preferred rich color over resolution, but it seems the trend is in the opposite direction, and it becomes the artist's job to follow trends or buck them in niche ways, I suppose.

Yes it is sharp - but look at the beige skintones - he looks like he's as tan as Donald Trump. And not secondary skintones on his face, no blues, or greens. This is more what we expect from a still, with lots of color in the face - red, blue, and some greens hitting in the face.: This is what we need from cameras - natural skintones. After that, then yes, resolution is important. Need it circular and round feeling so it pops, so it shows the organicness of an image like film. That feels, in my mind, how we see the world. But skintones should always be the number one priority. That's what Arri and Canon have figured out. And to many extents, Blackmagic is right there behind them.

F/stop is a ratio between focal length and pupil size. It has nothing to do with image circle size.

Thanks for the kind words guys. This was a fun and sort of insane shoot. I've written up a few words on lens selection, lighting, and post workflow with some BTS stills here: http://phfx.com/articles/forgedIn8K/ To answer a few questions. @Dan Wake - Editing native REDCODE RAW is something I've been doing for a while. This shoot was done this way using Adobe Premiere Pro CC which has GPU acceleration and adaptive resolution settings while editing. I even ran some of these files through my laptop and was able to "work" effectively. While this is not the only way of working, especially on longer projections with more content and assets, it's certainly something that doable not on a NASA supercomputer @araucaria - 8K is interesting. For display purposes I would prefer 8K to hit theatrical and exhibition use before it hits home. At the moment and for a long time, like a decade plus, UHD 4K is going to be the focused format for home use. Especially since every major studio has now come to an agreement on a UHD Premium Standard via the UHD Alliance. The resolution itself can be down sampled of course and that provides certain advantages as you mentioned to the debayering process. However, 8K will indeed land on screens and screens smaller than you think. I wrote up a paper titled "The Window Effect" that explains much about resolution and optimum viewing distances not too long ago. Here's a link to it: http://www.phfx.com/articles/theWindowEffect/ @Jimmy - Thank you Jimmy. IMAX theatrical presentation is one area I'd like to see this camera used the most. @DPStewart - Thanks Stewart. Resolution is all about "what type" of resolution it is. I have a great deal of experience in the world of motion picture film scanning and film's resolving power purely comes down to what format you are shooting, what stock you are using, and the glass you are shooting with. Super 35mm for instance resolves about 4K-5K worth of detail. Typically we scan it in at 6K and over sample to down sample to yield better quality results. At 6K resolution Super 35mm film's grain is globular and larger than a pixel. It isn't exactly sharp, but it's rather smooth. Most higher end digital cinema cameras that are using Bayer Pattern sensor tech are somewhat emulating that effect to a degree. When we get to larger film formats like VistaVision 8-perf, 65mm 5-perf, and 70mm IMAX 15-perf the resolution increases based on the negative size. If you've seen a full optical release of a properly shot IMAX film, it's still a tremendous visual treat. @Mattias Burling - Much of what I'm after with my images is due to my film background. I'd say not until fairly recently, like around 2013 did we actually get into the true potential of digital film alternatives when it comes to motion picture production. Film still has that magical quality to it that's something hard to truly define, but at this point there's certainly quality alternatives for those who choose the crazy world of digital capture. And it's a very controlled yet flexible format at that. Much of my earlier work before RED hit the scene and even before the PV Genesis was making digital cameras look more like film. Adding grain was one aspect of that, but I'll tell you 10+ years ago it was much harder to do than with today's cameras. Especially if you are using high resolution scans of actual film grain. @Goose - Thank you. Seems like 20000 people like it and about 3 don't so far But boy do those negative comments sting. @AaronChicago - Guardians of the Galaxy Vol.2 has already begun filming on the first batch of 8K Weapons and it's going to be interesting to see how that translates to VFX and post workflow for sure. I think they are aiming for a 4K finish if I'm not mistaken. The standard in 2020 will still be mostly 4K, but 8K broadcast trials start this year and in 2020 NHK is hoping to broadcast the Olympics in 8K "somewhere". As for the next 10-15 years, yep, a lot of UHD 4K with a growing trend of 8K for productions that are looking to explore that world. HDR is going to be the next big thing that comes home it seems. @richg101 - You hit the nail on the head when it comes to glass Richard. That's the main reason I went with the Otus primes. However! I did also use a few several decades old Olympus OM lenses in there as well as a Leica-R and Canon 200mm (so I didn't set myself on fire). I have a feeling the Otus trio will be something I'll be shooting a lot of content with on the 8K. And much of this was f/2, with a few f/1.4-f/2.8 shots in there. There's something truly seductive about this format size and focusing on nuanced detail in my opinion. @Dan Wake - That flicker doesn't show in my ProRes masters here. It appears it's a YouTube encoding artifact. Had to watch both a few times to make sure I wasn't crazy. Seems to be minimized when watching full screen on a 4K display, but it's certainly weird.

don't expect anything like that from sony, they have a pro 4k camera segment to protect, the only companies that could have given us the best bang for our buck ( such as 4k raw on usb3) are companies that do not have higher priced 4k camera segment to upsell ( black magic in the begining tried but they now have a higher price range of camera to protect, samsung tried with nx serie but failed as they are getting out of the camera market). let's wait for the next new comer to flip the market upside down - the obvious thing that will change everything is an open firmware where third party developers can add features inside the camera, again samsung started that but they failed (http://www.imaging-resource.com/news/2013/05/28/redesign-your-own-camera-samsung-nx300-nx2000-source-code-released) - do you remember how expensive, crappy and limited where our digital phone services before the smartphone era with the app model, this is where we are now with the digital camera market.

Thanks I hope they get rid of that pesky PAL/NTSC mode warning that shows up everytime you turn on the camera if you switch it to another region. Apparently you have to switch it to NTSC if you want 24p on PAL cameras.

But they are. A FF f2.8 lens will capture the same amount of light over the image as a m43 f1.4 lens (both wide-open). That also means you get the same shot noise (which is most of the noise in the image). You need to increase the ISO on the FF camera by 2 stops to get the same exposure. However that doesn't affect the noise as (i) most of the noise is in the light and changing the ISO won't change that and (ii) the sensor read noise will usually fall a bit with increasing ISO, so the total noise will be lower if anything. (Think of it this way... at the same illumination level if a f1.4 lens puts 1M photons onto a m43 sensor then a f2.8 lens will put 1M photons onto a FF sensor. Of those photons on average 1,000 will be the shot noise, in both cases.) Increasing the ISO isn't a problem as the FF sensor will be able to capture around 4x the electrons of the m43 sensor due to its greater size. Increasing ISO by two stops knocks about a factor of 4 off that so it will be about the same as the m43 sensor and not saturate if the m43 sensor doesn't. Also remember a 50mm f2.8 lens has the same diameter entrance pupil as a 25mm f1.4 lens (17.86mm) so the DoF will be the same at the widest aperture. The FoV will also be the same. Diffraction softening will also occur at the same DoF (it goes with DoF, regardless of format). Hence the minimum and maximum amounts of available DoF are the same.

No, a 50mm f/2.8 will be two stops darker than a 25mm f/1.4. Same depth of field, but that's it. The lens size advantage is indisputable. And it's not just sensor size; it's aspect ratio. Designing a lens with good edges and corners becomes much easier with a squarer aspect ratio, and requires a much smaller image circle. The G7 has already improved 1-1.5 stops in noise performance from the GH4. If the GH5 sensor offers any noise improvement at all over the G7, we're looking at a usable ISO 3200, which is more than enough for me. I don't understand how you can argue that m4/3 isn't a standard. Of course it is. We have 6 different manufacturers making lenses for it. And with a simple speed booster, you increase your low light performance by 1 stop and gain a s35 sensor with Canon or Nikon mount. Sounds plenty standard to me. M4/3 offers lots of advantages. Smaller, better-corrected lenses, faster fps, lower rolling shutter, broader dof, less overheating, better battery life, a 4:3 aspect ratio for anamorphic shooting, easier to process higher bit depths, etc. And if its performance in stills isn't enough for you, nothing made before 2006 must've been either. It's only a half stop behind APS-C in every metric. And though their sensor tech has stalled a bit, m4/3 will perform as well in 3 years as APS-C does now; at that point, I'd target have the reduced size and weight than a fractional bump in IQ. Also, keep in mind that we have no idea what we want. I mean none at all. After the GH2, what did everyone ask for? Better low-light, DR, color science, build quality, bitrate/codec, and menus. What did the GH3 deliver? Every single one of those improvements...yet everyone panned it as a minor step forward because the spec sheet didn't wow them. Here's what I want. -1 stop increase in noise from the G7. - reduce the crop factor to the native 2x, or bring back the multi-aspect sensor for 1.86x (APS-H with the speed booster) -1 stop increase in DR -V-LOG, with view assist and the green/magenta blocking issue fixed - anamorphic de-squeeze -10-bit internal recording, and a 200mbps 8-bit option - dual card slots (It'd be cool if you could record to both slots simultaneously, or your big files to one slot and 1080p proxies to the other, but that's dreaming) -A full sized HDMI port. There's room, and it would make external recording much easier and more reliable. -a better implemented YAGH brick than can run on 2 GH4 batteries I feel like that's an attainable wish list and a compelling enough tool to keep people on board until the next big leap. I'd buy one.

From a youtuber / journalism / film making perspective I think the following features would yield the most IQ progress: - Global shutter, - 4k 60p - 4k 10bit 422, 200Mbit recording - Full sensor read out downscaled to 4k - NX1 level of focussing + tracking. - Auto iso in manual mode - + 1 stop in DR and iso. - 5x IBIS would be nice too. I like the idea of an oversized and/or multi aspect sensor. A cinema lens set would be cool too. Great to see so many responses here. I wonder if Panasonic employees actually read along.