Leaderboard

Tnx. The EF mount is a big step forward. The factories of adapters should not only build an adapter for all lenses because not economically convenient. But I am an Italian craftsman, then, considering the price, for obvious reasons, will be more expensive than mass-produced in China, I prefer that, who buys a NXL can use it with all the lenses, this is a great advantage because even if you spend a little more you can use it with any lens. In future I adding electronic controls and smart functions.

Just a test in low light with Canon 50mm 1.8 II. The crop, the dof, the bokeh and the flare it's very cinematic and very nice look. I tested with M42 and Exakta lenses, this lens work perfectly. (Excuse me, the color grading is fast and no perfect).

First fast test.

I love the "Gold Ring" on Samsung NX1... It will be a very long wedding!

Tnx! The NXL speed booster lesn that I built is compatible with Canon, Nikon, m42, exakta, pl and more lenses mount. It's one SB for all lenses! In these days I will publish progress with nikon lens.

Buy Samsung camera division and make the NX2

I know a lot of DPs who own a mini and have already paid it off. They just don't brag about it. Reduser regulars except for my friend Nick are their own brand of "interesting" folks. Nearly everyone in the LA and NYC commercial scene own or use the Alexa almost exclusively. I don't know many DPs who would chose to rent a red over an alexa mini. Before, red dragon was going strong because it was small and lightweight. that all changed with the Amira and then definitely with the mini. Red is pretty much, in my mind, over. Unless Mr Jinnard really does introduce "the next big thing" - which I doubt. C300ii definitely looks interesting at its price. Red was really attractive to producers 5 years ago. Now, all they want is the Alexa. But you can easily convince a producer to use your camera if you show them the work you do on it and can explain to them why it's a better choice for the project. If the producer doesn't listen to you, they aren't being a smart producer.

The Nikon 1 series has some pretty amazing PADF capabilities, and had it before Canon or Sony, they can do mirrorless AF. They're in a tough spot to do large sensor mirrorless because of their commitment to the F-mount, Sony isn't exactly lighting the world on fire with the kludgy LAEA adapters that mate A-mount glass to E-mount bodies, reception to and adapter will probably be equally cold.

fu*k that's amazing. didn't know it's possible to have one speed booster for them all. keep us posted. thx

According several comments it works, but it seems there's a slight difference in buttons to press. That might make it a little trickier to get back from system default NTSC to PAL. So I've been hesitant to try it out myself. That would be hard to balance I think anyways, since the 18-35mm f/1.8 makes the whole thing really front heavy. Not a lot of gimbals cope well with any combo and the 18-35mm, even if you'd use the Z Camera E1. Of which I btw still have to watch yesterday's video from Devin. Might do that right now, curious about his thoughts on it.

Yeah, the GH4 is definitly more production friendly. But the GX80 is just so sexy. I can pop up a compact prime, be it that 20mm pancake, Mitakon 25mm f/0.95 or a boosted Contax Zeiss and you can have a really low profile set-up for some run-n-gun handheld shooting. You can squeeze a bit more out of the sensor performance wise and it's all stabilized. I wouldn't say: 'get rid of your GH4 now, it's obsolete, all hail the almighty GX80!', since the GH4 is still the productivity master that offers up more functionality. But the GX80 does make a pretty mean addition to get some cool shots into your projects as it's just so convenient and well performing. Hopefully, indeed, the GH5 combines best of both and then some!

I'd like to see Nikon/Olympus/FujiFilm make a camera which is FS5/C100 sized (i.e. smaller than a C300 or FS7, more in line with the size of a larger full frame DSLR instead in size) which does (at a minimum) 4K DCI 30fps 10bit internal + 2x XLR inputs + internal ND filters + full size HDMI out + SDI out + 120fps FHD 10bit internal Anything extra on top of that would be pure gravy, but I'd like to see that at a minimum. I don't care if it is FujiFilm X mount, or Nikon F mount, or Olympus MFT mount, just make it please! I like that name "VC5"! Be like a GH5, but with much much more (internal NDs, XLR inputs, etc). And at a size much much smaller than an AF100, but would still have a bigger body than a GH5 to fit in all the extras they'd pack in. Nikon never made camcorders for the consumer/prosumer market like Canon did? Maybe that lack of knowledge/experience is one big factor holding them back from making a "N100" (i.e. a "Nikon C100", N for Nikon rather than Canon! ha).

Sounds like the new firmware just changes the temperature at which warning/shut down occurs. Users have been reporting it runs until it's almost too hot to touch now. I wouldn't feel comfortable letting my camera get that hot

Updates NXL NX / EF: Hi, I worked on this adapter for a few consecutive days, the biggest difficulty was finding the right point of distance between the lens and sensor. A tenth lower and slamming into the sensor, a tenth farther and slammed into the lens. Find the right setting to infinity focus it seemed impossible, and some moments I was throwing in the towel with canon EF mount to return to Nikon. All this for 0.05 of a millimeter (Canon EF mount is definitely the final flange focal distance limit). Now fortunately, the system works perfectly and soon will publish the first tests with Nx1 camera. See you soon.

I suggest that we use another topic to discuss the Speedbooster for the Nx1. I know that we don't have much news about the hack development lately but lets keep on topic here, please.

Well, let me start by saying, I really liked the G7... but so far, I love the XC10... but I miss interchangeable lenses. But this is a long story for me... and it may be boring for you... Last year around this time I had just my eos-m, then the lure of 4K and a ridiculously cheap price tag brought me to pick up an NX500. I had a love hate relationship with the camera. By the time I started finding it's sweet spot, the G7 went on sale. Since I had a small collection of c-mount lenses, and the bundle came with a Rode VideoMic Pro I jumped on it. The NX500 was a little sharper and shot in Cinema 4K, but the ease of use and external mic plug in led me to use the G7 way more than the NX500... so I sold the Samsung. Shortly after that I decided to pick up the FZ300 for family stuff and I liked a lot of the features... I loved that camera. Without a doubt it was the most fun camera to go out and shoot with, but the IQ just wasn't there. Still happy with my G7, and my lenses, I just went on writing some shorts and planning some shoots. One of the shorts I wrote required some slow motion. I had read that the Nikon D5500 had really nice and clean 1080p both in 24p and 60p... all of the videos I saw online confirmed that. And since I had a small collection of Nikkor lenses, i thought it would be the perfect option... it was out for over a year and I figured the price would be well below $500 for a body only... even if it was grey market. Well it wasn't... the cheapest I could find at the time was refurbished for $600... which was a little more than I wanted to spend for a camera I would probably only use for one short and then I realized the BMMCC had come out and was getting glowing reviews for it's 60p... Once again I was lured in by the promise of natively shooting ProRes and Raw, so I sold a few things and bought one. For the first month I loved the camera... I was able to use old Kern Paillard lenses and the Raw image is just stunning... as is the ProRes... but it is literally the most unenjoyable camera to shoot with. I prefer to shoot handheld or with a monopod and the form factor of the BMMCC is not suited for handheld once you rig the camera up with even just the bare essentials. And the battery life is simply horrible. You cannot leave a battery attached to the camera, because it will drain almost as fast with the camera off as it does with the camera on in standby and the batteries take 2+ hours to charge, so you really have to prep your kit the morning before a shoot, so you can charge half a dozen batteries... But the image is just damn gorgeous. After a while I just got burnt out using it. It wasn't any fun rigging it up every time I went out to shoot... or break it down if I was moving to a different location. Since I consider myself a run and gun shooter, all spontaneity ran out the door because it was such a hassle to quickly reset shots... for me. Other shooters who are more used to rigs and the proper way of shooting narratives are probably fine with it... but for me... it's just not an option any more. Then one day I was reading eos hd and I came upon Andrew's review of the XC10. Now mind you, I was in love with this camera when it was released... I may have been the only one. Over time, every negative I had about the camera faded away as more and more footage emerged. Basically my buying and selling of cameras and lenses over the past year put me in a unique position to afford the XC10 this year. So, after a little more research, I jumped in head first last week. I have only shot with it for a couple hours, but I enjoyed every second of it. I have been mostly shooting with the 1080p C-Log, but the couple test shots I did do in 4K... I was pretty impressed. Now I just have to learn how to expose C-Log properly... I'm starting to get the hang of it and how to grade it properly... I'll probably never get the hang of it. Finally, I originally intended to keep the micro and use it for really small, contained shorts. I have a few short film ideas that are only a couple minutes long. But after using the XC10, I don't think I could go back to the Micro, I think I would feel stifled. This leaves me without an interchangeable lens camera... Hmm? I love my lenses and I know eventually I will want to use them again. If I had to purchase another camera today... which I won't... I am leaning towards either the GX85 or maybe I'll stay with the Canon family and pick up a used C100... I actually bid on one the day after I used C-Log for the first time, but I didn't win it... maybe next time. Sorry for the long post. Basically, 5-axis ibis and IQ trumps the G7... even with the ability to change lenses. I also think the internal 4k to 1080 downscale, of the XC10 is better, to my eyes, than the internal 4K of the G7, with post downscale to 1080p. The G7 wins in the shallow depth category and with that in the lowlight category. The GX85 seems to have a better image than the G7 and it has 5-axis... but no mic input. It seems like there is no perfect camera out there, but the XC10 is the closest i have come to thus far. It seems like the GX80/85 owners feel the same about that camera... if it had the mic input, I may have chosen that over the XC10. Again sorry for the long, and boring, post but these things are so subjective, I wanted to give the history of how I got here... which may help people understand why I inevitably chose the XC10 over the G7, GX85 and BMMCC.

After much work and many sleepless nights, I have almost finished my work and I think I have brought the lens NXL to the point of being sold to the public. I thought if the test this week will be positive to produce it with Canon EF mount dumb to which you can add a Nikon adapter with iris aperture control. At this stage it allows to mount all Nikon and Canon lenses, in the future I will continue to work to enable the electronic control of the lenses.

I've had some time to play with the DJI X5R and for the first time, put it knee deep into a professional shoot with lots of flashy stage lighting (the video is a high end "fake live" shoot for an international events band. So far, using this device is a very slow burner and I can't really make a judgement yet, but here's some things I've found. There are many negatives at first, however I'm trying to solve them and see what difference it makes in the long run. What I do know is that this combination has a lot of potential, however this camera needs quiet a few firmware updates to get there. ProRes on board would be great! I feel DJI didn't test this camera enough before release. Had to deal with lots of annoying issues. Positives Footage in 4k and HD raw an be spectacular - very clean and detailed (but only if you shoot and light skilfully!). Very intuitive to use, combining the Osmo and Inspire 1. DJI Go app responds and works very nicely. Stabilisation and handling is very different to a normal 3-axis gimbal like the Ronin, however getting to know it's behaviour can yield some awesome moves. Walking bounce can be eliminated if you know how to "do the walk". Some shooters online are just not trying at all, letting the vertical movement bounce everywhere. Walk as flat a possible, all is good. Unit is small and light - no balancing required. No big bulky cases. Nice and portable. Low light is better than expected. GH4 level really. Battery extender is very useful, if you need long periods. (lasts about 2 hours 45 mins on constant with Inspire 1 TB48). Proxy files look decent in good light. Handy to have when raw isn't an option. 1080p is very sharp. 4k is ridiculous. The gimbal lock on the Osmo is sweet. You can pull off some crazy dolly moves and pans. Negatives Autofocus on the app isn't great. Takes two tries and it MUST be on something of high contrast to work well. Aperture resets overtime you switch off the device. Bit annoying. As phone is a monitor, you need a USB power bank. I strapped one on the back of the mobile phone holder. Phone (iPhone) lasts 45 mins otherwise. iPhone monitor image breaks up sometimes and lags quite a bit. Annoying if you are trying to do a smooth movement or judge focus/exposure. Changing settings such as aperture can be fiddly. It just won't let you choose what you want sometimes. Sometimes the unit goes into sleep mode a few seconds after you switch it on. SSD fan noise is like a shit hoover. The internal audio with the cheap mic add-on is absolutely garbage. It's hard to hold the X5R on the Osmo with one hand, while using the thumb controller. Two hands is better. The SSD card reader is shockingly temperamental with Mac. Sometimes it doesn't mount at all. Have to use USB keyboard input on Mac. Doesn't work on the normal USB inputs. DJI Cinelight is rubbish. Transcoding is very slow and the tweaking options are very basic. Memory fills very quickly. HD is about 2 hours per SSD, where 4k is about 25 mins per SSD. For long shoots , another SSD is almost essential. Just very very pricey. Focusing can be difficult on apertures between f1.7 and f5.6 using the app. Seems like the expensive follow focus would be ideal (not on your wallet). Normal OSMO batteries last about 7 minutes. D-LOG on proxy files is a HUGE HUGE no-no!! It looks and grades horribly on the teeny 60mbps codec. That's enough for now! More soon...... with images!!

I'm afraid that the Varicam LT will be a dud with rental houses, if only because of the bad taste left over from the original Varicam 35. Despite all the good features, excellent codecs and good image quality, it was a total failure. We have one at the rental house where I work and it only went out a couple of times, which means that it never came close to recouping what it cost to buy. Anyway, the Dragon still works, and works a lot. It's very versatile, has great options for frame rates and format sizes, and can be stripped down for gimbal use, or built up with an Optimo and all the trimmings. That said, it's beloved mostly by those who grew up shooting DSLRs and are comfortable with the idea that a camera should be modular and customizable. Older cameraman take comfort in the Alexa and the fact that there's one choice of baseplate, one choice of handle, one choice of shoulder pad, etc. Also, what really keeps RED in second place is the reliability and durability. They freak out a lot. Crash for no reason. Have glitches. Require a very knowledgeable touch. It can be a burden for the cameraman who wants to focus on the craft and the artistry, but must instead spend many hours soaking up technical minutia just to keep his camera running smoothly. I received several hours of instruction on the RED system at my job, and feel that I need several DAYS more in order to really wrap my head around it. Meanwhile, I figured out an Amira in 20 minutes basically on my own.

This. Most productions I work on are now shooting Alexa Mini where they may have previously been shooting Dragon. Netflix now only want 4k acquisition. Alexa can't deliver that, though I've heard rumours that a true 4k Alexa is not too far off. Seems most Netflix productions are now shooting Varicam or F55. Considering a VaricamLT and Alexa Mini are priced similarly to a Dragon, I see no particular reason to go for a Dragon unless you desperately need 6k resolution. WIll be interesting to see how the Varicam/LT fare - one might imagine that a rental company that invested too heavily into these may be able to give you a good deal on them..

Nah will be more like the APS-C of the digital medium format world

Why won't Netflix accept Alexa? This article about Sony's new codec, which sounds very impressive, has a pic of a couple F55's that are gonna be used for a new Netflix show. Very interesting article. OP, have you looked at the F5? http://www.fdtimes.com/2016/08/05/sony-axs-r7-x-ocn-original-camera-negative-recording/

Interesting. I've been working (in post) on ads and network tv this year and so far it has all been Alexa. But I know Netflix won't accept Alexa. I find it the easiest image to work with in post by far. The C300 Mk II really should be a lot better post-firmware update and at 13k it's a great deal. Most of my friends are not high end shooters, they have gone the C300 path, and they're working for Vice, etc. and still making really good livings. They got into the game later than the Red owners I know. That said, Red user is proof positive of how well that investment worked out for a substantial plurality of people.

I'm struggling to think of many examples for any system that cover that range. 24-70, plenty, 24-105, a decent number, 28-135 they're around, 24-150!?! There are some 18-135 lenses that would hit that as an equivalent range, but you say you're looking for that as the APS-C range... so we're looking for a FF lens that's 42- 225ish. The only things that come to mind are the other superzooms, none of which are optically stellar. I guess there is the Sony 24-240 FE lens, only a 10x zoom rather than the more typical 20x+ of 18-200. Fun fact, the 18-200 is the only NX lens that saw production in Japan, makes one wonder if there was any foul play, lol. It's not missing focus so much in the bright sunlight as it is just that soft at the longer focal lengths, manual focus it, it isn't any sharper. At 18 the lens is quite decent, but if you only needed the wide end then there's lots of other options. Go with two lenses, even like the 16-50 PZ and 50-200 combo work out well and are cheaper together. If you're using it for video it's quite decent, and I guess it's video where having that range in one lens is most useful. Anyway, the 18-200 is the only lens I have bought for which I'm unsure why I still own it. Sometimes I think I'll avoid the hassle of taking more lenses and just take the 18-200, give it another chance on a walk... 10 minutes later I'm back home to take two other lenses instead.

Luca, great work! I am happy that it will work with EF mount... From previous post it seems that crop factor is around x1.1 on NX, am I correct? Optics comes from Lens turbo (v.I or v.II) or Metabones SB (Ultra os SB I)?

Kinemax...find their examples on Vimeo...amazing image!

Maybe you don't have to... 'Setting Panasonic camera in system mode - PAL to NTSC, 25p to 30p, no 30 min. limit' https://www.youtube.com/watch?v=Dt-GX5BdcgU As seen on: Otherwise I know Vitaliy is good for it. Have done some deals there myself. I would recommmend http://www.onestop-digital.com/index.php of which I heard great things, just they don't seem to carry that model right now. They have a good import tax policy for some European countries. Google Shopping mentiones eglobalcentral . They're a little vague on how they ship 'em to ya. If it would come out of Hong Kong, or from Europe. They do say in the conditions that their price policy holds no surprises and is free of customs duties once delivered. So there's that. Great stuff in this topic while I was gone for a bit. Jan, great stuff man!

Not on the kit lens (pancake) it's all electronic and there's no switch. Every time you stop recording it goes back to AF... that's why I asked.

but you have it, you just have to switch it to manual focus from the lens i guess. What i find really anoying is that when you have the single AF and you put your focus on something it doesn't stay there, it starts focusing on whatever come's in the frame. Bothers me. Have to use manual focus all the time now.

I'm OK with 1080 50p, but I didn't went Oly due to their horrible oversharpened look even at minimum sharp settings. Their flat profile improved it on the OMD EM5II, but it was too late and limited to that model, they have to expand that to their other models. Now that Pana has IBIS on the GX80 I hope it spreads too to the GH5. On the M43 they need better low light performance. They're getting there, but just a little better noise and It will be great for me. If the EM1II gets dual card as rumored and by some miracle can record backup video to both (never seen on DSLR or mirrorless body) it will be a no brainer except if the GH5 gets it too. My father rocks Fuji now and he loves it, just not the last one. Maybe IBIS and FJ-log to the card? The lenses are great, the rendering is beautiful and APSC size is perfect. It's nice to see them finally throwing a little love to us video freaks. We gave up Nikon completely for a lot of reasons and just keep our Canon lenses for compatibility. I nearly went with the 80D but the image is too soft and I could see moire in a lot of examples. I can't go to the C100 line for price and size. I can fit three mirrorless with their lenses in a lowepro backpack and a C100 is just too tall, not even talking about Pana videocameras (I used for a while a HC-x1000 and it was just too big and cumbersome with the un-detachable handle) And in Sony camp, I'm just happy with the RX10II for casual photos and videos as it does all well in all fields except battery life. Never had a problem with it, not like with the rest of their line up as @Cinegain said. Overheating is intolerable.

Crazy to think there was a second account from waaaaaaaaaay back in 2012! :-o

For something so beginner, or at least non-pro (well some of their customers), an 8 bit and 1080p limit with a still manageable bit rate, and the DR, color, sensor size, lenses etc offered in a nikon d750 and xpro2.. that's hard to improve upon. You can always make every camera an alexa of course with 12 bit raw global shutter more more more. And 4k is something everyone is whining for all the time, but as things keep getting "better".. a lot of people are more excited watching older tech prices drop >:) Though i hate to be the one guy with an old, cheap computer, it's nice to find a camera with magic that also just freaking works!

Eos M h264. Deliberately blown out, just a test to see if the highlights could be pulled back... seems to be more info recoverable than on the Panasonic GX7

Wow, that's really awful. Are you sure you're managing your super whites correctly? There doesn't appear to be any detail recovered by the LUT. Try with curves and lift/gamma/gain, anything happening before the LUT. If the LUT is working in RGB, maybe it's losing the extra detail in the YUV to RGB step. I wouldn't blame the camera for such poor performance before looking at the node tree and seeing if the LUT is recognizing super whites.

I agree with everything you wrote. For $13k I would get a C300 Mk II (post-firmware update it should be much better than it is currently–I have an acquaintance on the ACES board who mentioned to me it has been upgraded substantially with the new firmware for no more sensor banding and for reduced noise), but since your needs are specifically for slow motion I can't recommend that. And your budget seems to be around $13k so I can't recommend buying an Alexa Mini as it is three times the price. However, I agree it is the best "all around" owner/op or production camera available and by no small margin. However, Red users seem to love their Reds, and most of them are very successful pros, whereas this forum is mostly hobbyists. It is interesting to go to Red user and see so many people making a living off their expensive cameras (anecdotally, my friends who went this route are all making six to seven figures a year), whereas very few Alexa owners seem to pay back the investment quickly. The Alexa owner/op path is surprisingly uncommon.

T2i. There's not that much recovery going on. It's just filling in the blanks with slightly less blank. Although it looks to blend more well with the sky opposed to the curtain.

eos-m raw?

J89drummond@gmail.com I've emailed the info you previously gave me, but no response from that as well. Also, you've created a new account, so you could have just messaged me from this one.

well I went to see Bourne last weekend and the cuts are so fast and the camera is moving so much that you have no idea what camera is what on the big screen , there are no shots that jump out as being bad or not fitting with the previous Alexa footage , it works they did a good job , now on most major films they are using what ever camera suits each shot / set up...... Bond Spectre was the same Film and Digital combined and multiple camera and formats Anamorphic , Spherical Alexa 65 and 35 all made it into Spectre

Awesome work Luca! Will it also work on the nx500? Should bring it closer to super 35 crop in 4k mode.

The EF mount that can then also be adapted to Nikon is a wonderful idea, in my opinion the best of both worlds really (that way I don't have to switch out all my FF rokinon EF glass for Nikon!) So @lucabutera what's your current thinking on a production-run of these babies? Is some sort of crowd funding campaign necessary in order to scale up production and secure orders? Let us know whatever we can do to help! Exciting times for Samsung-abandoned NX-users everywhere.

Here is the edit from my first real video job. Unfortunately I was only able to capture the preparations as the parade was cancelled due to lightning and torrential rain. Horrible weather to work in. Too bad, as all the kids and organisers put tonnes of time into preparations. Handheld using two GX80 with the Panasonic 12-35/2.8 and 35-100/2.8 lenses (the LX100 for time-lapse).

My first project with the GX80. Since size / weight does matter and securities are kinda picky, i had no choice but to leave my lovely Voigtländer 25 lens at home and put the Panasonic 20mm on it. I had mixed feelings especially I did not use this lens for a very long time but in the end, I am satisfied with the result. Grading was a breeze, skin tones need little to no adjustment and also this lens works quite well with the Tiffen Ultra Contrast Filter.

Alexa Log-C (2K, ProRes 4444) : https://drive.google.com/file/d/0B_KuHKCXVppYbkFSRnlReTBNQ2c/view

I've never posted on this forum before but I read it quite often, and I thought I should finally contribute since I have actual useful content this time that nobody's actually definitively confirmed. I have the Panasonic GX85, the US version. I have it in my hands and it's a beauty. But let's just get straight to the point. 1. In AVCHD and in 4K, there is no 29 minute recording time limit. There still is a weird 29 minute (and 4GB) limit for FHD/HD/VGA MP4 clips, but none for AVCHD and 4K MP4. Part of me didn't actually believe it, so I took a fresh battery, a fresh 64 GB card, put the camera into 4K video mode, IBIS on, and just hit record. 1 hr 29 min 9 sec later, the card filled up, and the camera stopped recording, but the battery still had one bar left, and the camera never quit recording on me. It was warm, but not hot to the touch. It was indoors and at night, however, but I'm just telling you, recording long clips is well within the realms of possibility with this camera. I'm actually quite excited about being able to record indefinitely in AVCHD as well. When I'm recording a long event, it's not that important to get the best quality, but it's important to be able to get SOMETHING. I can run this camera up on a tripod, set it to AFC mode at 1080/30p 24Mbps AVCHD, hit record, and come back some time later and know that it got SOMETHING for last hour and a half. AVCHD can be annoying to work with, but a lot of consumer-level camcorders still use the format, so in effect, I'm getting a very capable large sensor camcorder to go along with my high-end 4K shooter. No complaints at all. 2. And that's not all, folks. I've had a GH4 and one of my least favorite things about filming 4K in the GH4 (and GX8 and G7) is that stupid 4 GB file size limit thing. So when you're shooting 4K, every six and a half minutes, there's a new 4GB file. But that's history now. On the GX85, if you use an SDXC card (basically anything bigger than 32 GB), the camera will give you one single monolithic file. I record a lot of musical performances, so long takes are kind of standard in my regular usage. I am not joking when I say that my editing process for 4K just became 40% happier. According to the manual, a file will split if "the continuous recording time exceeds 3 hours and 4 minutes or if the file exceeds 96 GB." Since the battery can't even last that long, for all intents and purposes, GX85 will give you single takes in single files. I expected the IBIS and the 4K and the beautiful design and all the other stuff. But I honestly didn't expect these two features. I really thought they were going to burden us with a stupid 29 minute limit in all settings (I assumed that and ranted about in other forums, I feel dumb now, oops) and never in my wildest dreams did I actually think they'd solve the 4GB issue with this camera, but they did. It's safe to say, this is the best MFT mirrorless shooter right now. GH4, you had a good run, but GX85 is the king. This is a true hybrid shooter. And at about half the price as a GH4 when you consider the cute pancake zoom has decent resale value. As an aside, GX8 buyers have got to feel a little burned by the GX85. I'm sure a lot of them would love large file support and 5-axis IBIS.

One's really got to be shortsighted to not appreciate the performance you're getting from such a camera at such a price point. Honestly, it's kind of ridiculous how good and cheap this is. In my mind Its a value on par with the BMPCC that was sold @$500 awhile back.