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Oh comon emanuel, thats slomo footage. The 6300 does have the worst RS around, and RS is a problem.

RS is on of the most defining differences between high end cameras and consumer ones. If I cannot use pans in a shot that takes away a storytelling tool. And the A6300 isn't simply bad, it's horrendous, it's easily the worst performing RS of any consumer camera. It makes it unusable in any professional filmmaking setting, relocating it to use in interviews and event work.

Oly 12mm has those jumps when using the manual focus mode. The 17mm doesnt have any jumps - at least i dont notice them at all. 12mm is unusable for focus pulls.

Might not have a big boy sensor... but if it's able to play its cards right... this could be the ultimate camera! I honestly can't find much to fault it on. All comes down to... will it keep up in the video department? Or will it be riddled with stuff like moiré and compression artifacts?

Interesting. Thanks! I just finished another shooting day on my BMPCC and SLR Magic set, and I'm still so in love with that kit. It renders very 3D, flares beautifully, produces great skintones, does lovely things to highlights, and has rock solid build/handling. I'd like to give the Voigts a proper workout, but I've been happy enough with my current setup to avoid the temptation of yet more glass. ...for now.

There is also a third model which I think Sony has taken (it's also quite a new approach). Don't you think Sony delivers features but a lot of the time they're not 100% reliable like on Canikons? They're unreliable to the point that some people after initial OHs and WOWs switch back. The third model is based around Lean startup method in which you intentionally release lower quality products in order to improve them later on.(https://en.wikipedia.org/wiki/Lean_startup). The idea is to get a "good enough" product on the market ASAP and improve it over time (https://en.wikipedia.org/wiki/Lean_startup#Minimum_viable_product). This way you can release cutting edge technologies earlier and more often, cut the costs (less testing time etc) and get feedback from customers earlier. The downsides we all know, don't we ;)? We're all unpaid beta testers all the time in a way. There is also something called split testing in which "different versions of a product are offered to customers at the same time" - sounds familiar, doesn't it? It'll be interesting to see which model will come out first in the end, though!

From testing on Photokina AF tracking loose very fast subject and transition was very harsh on 12-120

They sure do! In fact, they remember your manual focus clutch position if you switch back to AF, too, so if you set your Mf ring to one point, switch to AF, then focus to a different point, simply moving the focus back to MF will snap your focus straight to that second point. Kind of interesting for when you need a quick pull.

NX cameras have the only 28mgpxls BSI APS-C sensor, two years ago; plus DIS (Canon makes it really a big deal on the latest M, just saying), the right form factor for serious use, amazing battery life for a mirrorless, the best UI and OS (of course this is subjective), a right collection of lenses for some of us, the right codec(H265) for some of us (and for all, pretty soon), no heat problems, a breath of new life fror the second best mod/hack scene in the industry, 15fps, some cool AF tricks, best connectivity options in industry (used too, I do not know if there is anything better now), best touch screens (others catching up here too), and a few other things. What's not to like? Oh, yes, they have exited the market for good..and no RAW video.

The only missing thing for m43 now is a good 17 1.2 lens. I hope tracking and focus transitions are smooth.

I wonder, is AF really a high prioritized feature as he stated in the video? I know, you could use it for gimbal work, but other than that, I thought it's more a feature for soccer moms. I think even with DP-AF it's not always focusing in the speed you want and it still can't read your mind. The longer the take, the higher the probability, that AF will ruin it. Isn't stopping down the lens still the preferred way to capture moving objects? Because I am still skeptical regarding AF for video it wasn't a feature I was looking at, in the first place. That said, for stills it was an important feature and I am completely satisfied with its performance.

I've used all three pro zooms, and only use them. The 12-40 and the 7-14 are the best, they really do respond like a regular lens with a follow focus. The 40-150 is still usable, it gets a bit jumpy when focusing near infinity though

a review mostly on its video. Colors look amazing. Focus is fast but jumpy. Needs full articulating touch screen. Needs ibis.

If you're looking for a pocketable compact it's not superior in any way. It's a completely different class of camera, and it's dead. So why bring it up in yet another thread that has nothing to do with it? *Facepalm*

Imagine how great this camera would be with the FS5 auto ND! I'm still finding my way with post on this, but my best results so far have been getting it legal manually then applying rec709 looks. Canon log seems to be really really easy to deal with and the results just knock me out - super 16 vibe with enough resolution that you can afford to throw some away. I'm grading it for colour and exposure, then adding a filmconvert layer with the colour dialled to zero but with super 16 grain to 35% or so and it's making me wet my pants.

Yup! I've always liked the underexposed Canon look. The 70% zebra trick is what made me really love the camera. When I first got it, I had it set to 100% and for the life of me, I could not get the highlights down in post. I also made the mistake of leaving the built in ND on a couple times and being utterly confused by the settings... And then I had my duh moment. It's actually a shame the built in NDs don't have more power. As I said above, I leave it on manual and ride the exposure wheel. In 1080p with the 5-Axis I can walk around, with almost steadicam level of stability, ride the exposure and use Push AF. It's a ton of fun. With post I have had equally good results with LUTS and just simple saturation and curve adjustments. The Impulz Log to Rec709 LUTS really shine with the C-Log. I've also liked FilmConvert with it as well for a quick turnaround.

I've got my zebras set to 70%, but I'm actually finding (so far) a more reliable guide is just to ride my variable ND (you *have* to use a variable ND on this camera) to stay just about a stop over. By the same token, I'm also finding C Log on this thing considerably more forgiving than either my GH4 or my FS700. It's also got that Canon trick of maintaining a pleasing image in underexposure. Most of all, I'm just finding myself wanting to take it everywhere with me and wanting to shoot with it all the time - the thing just cries out to be used, it gets the shots and the images delight. Maybe I can get a bulk deal on external hard drives.

@kidzrevil Not sure, as far as exposing for c-log I just set zebras to 100% and try not to clip anything except if I'm shooting a person who is strongly back lit. One thing i've noticed is the lcd screen is rather dark so it looks like the shadows are under exposed but the footage actually turns out much brighter. I don't have much experience with color grading footage so i've stuck to using curves and saturation which i've been happy with so far. I do think c-log in HD can look soft so i've started applying sharpening through fcx. The camera is definitely not perfect. The biggest problem I have with it is when I use high iso's and the footage has a weird ghosting effect that looks bad with motion, I wish they would have turned down the automatic noise reduction and just let the image get grainy. It's important to keep the camera and it's limitations in perspective. If used within it's range it can be a very effective tool. It would be nice if it had a larger sensor and faster lens but there are plenty of other camera's that already have that. There are very few that are as simple to use at the same time being so effective with image quality. All I can say is experiment with it, you can always resell it and try something else.

After all, I am pretty pleased with the DR of Classic Chrome. This still (grabbed from Resolve) shows a color corrected scene where I pushed the shadows and had a power window on the sky to bring down the highlights. Finally, I added some contrast and saturation to bring back some life. Please keep in mind, this is 8-bit 4.2.0. As you see it was a cloudy day. This image is more colourful than as saw it with my eyes.

Depends. Do you need the video production tools that are possible on the GH4? Like V-LOG L, anamorphic mode, headphone jack, TC, etc? If not per se, the new G80/85 has newer sensor tech and like the G7 and GX80 already, have a much cleaner image with a little nicer colors. On top of that it adds the 5-axis body image stabilizer which shifts the sensor to allow all of your non-stabilized third party lenses and primes to finally have stabilization! That's a major deal! Again. Depends. Every camera has their own strong points. The GX80/85 is nice 'n small. But with the G80/85 you would gain a vari-angle screen, instead of a tilty one. You get a mic-in, which sorta is a big deal if you want to record audio internally. Features Cinelike profiles. And it has weather sealing and is grippier. I'd say the best option for the time is the G80/85. It's the new Panasonic hybrid flagship for stills and video. Just to have the GH5 beat it, but at double the price, half a year later. -- if you're residing in the UK/EU, check out the killer deal I posted in the main thread:

The GX85 does not have mic input, and the battery is smaller. The body is smaller which is good for vacation, but shape is worse for work.

Nx1, of course.

Nx1 does pretty good in this regard, especially if you have the bitrate hack if you can deal with the h.265 codec and can find the lenses you need.

Thanks! Hercules is great for product shoots but it's a little fiddly to control as it only has one button and many settings. Would love it if they made an updated version with smartphone control. Some of the shots are also a bit wobbly and I'm not sure why, could be the IBIS though. If you're going to use the rail on a tripod it needs to be a steady one. Didn't work well with the gorilla pod, I used a Benro alu tripod . Small primes like PL 15mm and 25mm on the GX85 works very well with Hercules. It can tip over with bigger/ longer lenses so be careful. Haven't shot so much at night yet, but it holds really well up to 1600 ISO and pretty good at 3200. Did you see the ISO video I posted in this topic? Or @jase festival video?

ibis legacy telephoto tests

Really? I find it to be the most pleasurable shooting experience I've encountered with any camera. I reset the custom buttons so Push AF is right on the grip and then the aperture wheel is easily accessible with my index finger. If you treat the focal lengths like 3 different zooms it works great... IMO. You have a 24-50 F/3.7, a 24-70 F/4 and then a full range at 5.6. Or it also works fine if you treat it as a bunch of primes. What don't you like about C-Log? I've found it has some good latitude in post but you have to expose it with the 75% zebras. If you use the 100%, you'll never pull back the highlights.

Yes, because it has hard stops, but they're still not as good as real manual lenses. Here's the deal: The Olympus primes have a distance scale and a very nice tactile feel, but the focus ring actually causes your focus point to jump between many discrete distances, not the smooth infinite spectrum of a proper manual focus lens. Therefore, you'll see your focus point "stutter" a bit as you turn it. This was improved from the 12mm to the 17mm, and again to the 12-40, but I haven't used any of them enough to say for sure whether or not it's noticeable in practical shooting situations.

Maybe empirically, but it's nothing you'd notice in actual shooting. Both brands focus very fast.

Here's a few clips in c-log Hd, as well as some 60p shots. I'm not a very good at color grading so I know it could be better. I had my daughter in a pack on my back of all these shots so the stabilization helped a lot.

Mio caro, exactly my POV! We both share the same cinematic perspective on motion pictures, let it alone the aerial footage. Unfortunately, people are too uneducated with their small displays. We live in a sad age where artifacts are the king. Sawtooth borders (when not aliasing) are taken for sharp content... What else can we say? *Phew* To me, this is the first small drone to focus my attention on it. For the same reasons you mention. Still from the European press presentation in Lisbon (I know very well those locations and how curious is to me to see them to be shot like that with so tiny capture device -- DJI should/could/can slash the GoPro business with that toy/cam beyond the drone industry) take a look from 3:48 minute on:

Oh, I forgot one thing. I had to get a NEUTRIK NA3FM because you can't just plug in the Oktava into the iRig pre. I did try buying another iRig Pre to mod with a XLR female jack so I can plug the Oktava directly into the iRig pre, but it turns out I'm just really really terrible at soldering. I'm back to using the NEUTRIK NA3FM. The Rode SC3 is a TRRS to TRS adapter.

Only upgrade it needs is +10bit prores

I see it's 'In stock' at places as well. Though, rather than picking one up in town, looks like it would pay off to order from e.g. CVP (savings roughly 110~120 EUR; excl. shipping). Anyone who bought and played around with it yet? I guess it makes sense to sell off the G7 and GX80 now... the GX80 form factor is way nice, with the compact zoom comparable to the LX100, but I guess having the best of both is worth trading in the small size for. Is that Lumix 12-60mm any good (I'm thinking about having something for the 5-Axis DUAL I.S 2)? 14-140mm the same as bundled with the GH4? -- another benefit ordering one from the UK, a G80 promotional free battery grip*: (*Purchase Period: 19/09/2016 - 31/10/2016. Applicable to residents of the EEA, EU, Switzerland, Channel Islands and Isle of Man who are aged 18 years or over)

Ok, I admit, you can't get IBIS via firmware upgrade. But if I had bought a Sony A6300 I would be pretty upset now. Regarding the schedule of the product announcements of A6300 and A6500 I would feel ripped off. But thinking about possibilities for a firmware update for the X-T2, I could imagine the following internal F-Log histogram and or zebra in video mode Kodak 5219 film simulation (ok, maybe a Fujifilm motion picture film sim) continuous video AF improvements etc. (I am pretty sure, I forgot some other things which can be fixed through firmware evolution) If I think about the improvements I got for my X-E2, a lot of things are possible.

Actually it's a still raw file, not a video file. What they were talking about was using burst mode to take many raw stills and then use them to create a video. Anyway, is it really 24fps?

Used mine to record this video in Cuba. Never overheated ...

I've got a 54 & it's all about the taking lens, nothing to do with the Iscorama. The 54 is less forgiving than the 36 or 42 (the sharpest Iscorama) & you really have to choose your taking lens carefully, if you want a sharp image. Not sure why anyone is stating that you can't shoot lower than f2.8 with an Iscorama because you can, but also not sure why anyone would want to shoot at f1.2. The Core-DNA is really for dual focus Anamorphic attachments. If you've got a single focus Anamorphic, you'll be better off spending the money on some good Diopters - achromatic doublets, not the singlets.

According to your needs. According to mine the Samsung NX1 couldn't reach the level of the much older and cheaper bmpcc. According to deep sea divers none of them reached the level of the yet even older Gopro. You dont see the "wow" of the Fuji for the same reason I dont see the wow of the GH4. Its simply not for us.

Nice write-up. I just bought an X-T2 (in a small shop in Venice where I am shooting and holidaying!) We'll see what it can do here, as it's a pretty photogenic place, quite demanding on dynamic range with all the narrow walkways and bright sun. I find Pro Neg Std does seem to lift the shadows nicely and sharpness all the way down + using 180 degree shutter helps with cinematic motion candence. The footage out there so far hasn't been very impressive as not many people are buying it for video.... yet? The only annoyance I have so far is that they removed the video record button and to switch between video & stills mode is now on the drive lever, which is an awkward bastard of a dial to say the least - not sure what they were thinking ergonomically with that one!! You cannot assign video to a funtion button or enter video mode in the blink of an eye. It takes a fiddle with the lever and an accidental turn of the ISO wheel...hmm. Am shooting via a passive Canon EF adapter at the moment, don't have my NDs or Fuji glass with me but at night I'll be shooting wide open at 1/50 anyway. What this thing offers over the Samsung NX1 appears to be a few advantages - - Fuji glass - Not discontinued - Better at high ISOs - Better EVF - Smaller - Speed Booster compatible (although a third party one is in the making for NX I've yet to see what the performance is like) That last point is very important as it turns the X-T1's 1.74x crop factor to 1.23x - similar to the Canon 1D C, with a huge range of full frame glass - A Mount, Nikon, Contax Zeiss, Canon FD, etc. So if we consider the X-T2 as a near-full frame A7R II replacement with the colour science and ergonomics fixed, for half the price, I think it's looking like a front runner. I'm off to shoot and find out!

Thanks man, that means a lot! Hehe, I don't know about lessons but I can tell how I grade with Color Finale. I'm still learning too. I guess you have you seen Denver's tutorials? I didn't use any LUT as I was going for a natural look and I think most LUT's are too stylized. Some LUT's can be good for a base grade though. I used Standard 0, -5, -5, 0 with WB set to Sunny, which was to blue for my taste. I didn't set A3G3 as in my test it made a white wall yellow. I have to test more in different settings, but for now I prefer to fine tune WB in post. Most shots were f/1.4 btw. In Color Finale I first add Color Wheels and adjust exposure looking at the RGB parade. Then I add another Color Wheels and set saturation, in this case 1,1. Mostly I raise it between 1,0 and 1,1 or don't touch it at all, and a few rare times I lower it a bit. Then I add a third Color Wheels and adjust gain to set WB, which is a little tricky as you probably know. Usually it is enough to adjust the gain, but sometimes I also adjust gamma and lift, although not in this video. The last thing I did was to add Curves and pull down the shadows in the blue channel. This really helped getting that warm feeling. So basically I adjust exposure and WB using 3 x Color Wheels, and fine tune with curves and vectors if needed. The reason I use 3 Color Wheels is to see what every little adjustment does so It's easier to go back and forth. Here's before and after:

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.

It is video

It seems that they are making an effort to keep artifacts and banding in check. Here is a saturation map of XT2 compared to a clip buy fuzzynormal from the original files thread of the GX85. I could not fine the same amount of contrast/punch tho, so comparison is a little stretched. To make a saturation map you shift hue by 180*(0.5 in fusion) with the color corrector node, then combine with difference node to the original. You then desaturate the result to grayscale. I gained it by 2 here to make it more visible. The XT2 clip appears to be dithered and a bit smoother compared to the GX85 which is showing a bit more blocks. It is not without blocks as something have to go when compressing. But how these artifacts behave and how much effort goes in to handle them determines how much the file can be pushed around before it breaks up. This is also why flat profiles are not always a good thing. btw saturation map works great as a mask for things.

Its funny you put 'color' in capitals. What about a monocrome bitmap image? You do know that there are different types of resolution than display or image resolution right? Take this list from wikipedia. I know it cant match your six exlamation marks, but it's at least a start: Display resolution, the number of distinct pixels in each dimension that can be displayed on a display device Graphic display resolutions, a list of particular display resolutions Resolution (audio), a measure of digital audio quality Temporal resolution, the sampling frequency of a digital audio device Optical resolution, the capability of an optical system to distinguish, find, or record details Angular resolution, the capability of an optical or other sensor to discern small objects Spectral resolution, the capability of an optical system to distinguish different frequencies Sensor resolution, the smallest change a sensor can detect in the quantity that it is measuring Resolution (electron density), the quality of an X-ray crystallography or cryo-electron microscopy data set Resolution of a spectrometer, the ability to distinguish two close-lying energies (or wavelengths, or frequencies, or masses) Resolution (mass spectrometry), the ability to distinguish peaks in a mass spectrum Image resolution, a measure of the amount of detail in an image Printing resolution, the number of individual dots a printer can produce within a unit of distance (e.g., dots per inch) In number storage, the resolution is the reciprocal of the unit in the last place What we are arguing here is merely a question of nomenclature. We can call it anything, Its still a discrete concept from dynamic range. If 'dynamic range' is acceptable to denote the maximum range of light intensity recordable, then then number of discrete values with which we can sample this range would clearly be described as a resolution. And if the word dynamic is good for one, why not the other.

Based on current prices, this looks like the situation for 4k shooters in this form-factor... £509 - GX80 - nice 4k, IBIS, no overheating, BUT bad rolling shutter, no mic input, crop £930 - A6300 - nice 4k, AF in video, mic input BUT overheats (lottery), horrible rolling shutter £1399 - X-T2 - nice 4k, mic input, no overheating(?), who knows? BUT Rolling shutter (how bad?), aliasing (know for this?), bad moiré (known for this?), who knows?

I respectfuly disagree. Resolution and sharpness are not the same thing. As for dynamic range, the codec defines the dynamic resolution (how many steps) but it has nothing to do with the dynamic range. An image with a 4 stop range and an image with a 15 stop range could both be recorded in the same 8 bit codec. Having said that, Its great that people are using the NX1 and finding it to their needs. It just isn't the be all and end all, otherwise people wouldn't still be looking at new cameras.

Nice camera. Though the only thong weird for me is moving from one system to another. I like Panasonic best. Better than Nikon and Canon. The Olympus systems look quite confusing too. I feel the VLog in thr GH4 still has a long way to go. Also, if Fuji the video really right in this one, and theGH5 doesn't have far better VLog (than now) and atleast 1.5 stops improvement in Low Light (from ISO1600 to about ISO5000), then a lot of other people might eat into its share. Also the burst rate on the GH5 needs to be better for continuous shooting. Maybe Panasonic pushes the GH5 prices to $2000+, considering the demands of users.

Yes, this is a beautiful camera indeed. A friend of mine has the T1. I like everything about Fuji, except that their lenses are big and expensive... Will wait for the GH5 because of the whole ecosystem. For studio work this is no problem, but I do not go back to bulky systems when outdoors.