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I just shot a wedding with the Panasonic 42.5 f/1.7 and the 20mm f/1.7 with a GH4 and a GX85. Let me say a few things about these lenses: The speed saved my life! The electronic focus ruined my life! The weight savings saved my life! If you are going to do narrative work where there is no focus pulling, these lenses are hard to beat. The 20mm f/1.7 is waaaaay sharper than the sharp 42.5 f/1.7. Even if the camera was capable of autofocus worth a damn, you can't do it with the 20mm, the camera simply won't let you use CAF in video or photos. So if the GH5 comes out with Sony A6500 like video autofocus, the 20mm would not cut it. I've used the Sigma 18-35 speedbooster combo, and I simply love it for shots on sticks or a slider. But when used as a shoulder mount, that rig weight makes a long day indeed.

around 1:18 in this video show the transition of AF.

Luca: Don't tease us man, are you declaring victory, progress, or extremely early prototyping code that's been tested with only a handful of lenses? In my own case I managed to get electronic control of the aperture on a Canon lens today, the 40mm. IS.... seems to want to run all the time the camera is receiving commands on my lenses (e.g. 28-135) that have it, even when the switch is off on the lens. Probably the lens passes the switch state to the camera but the camera makes the ultimate decision, is my guess so far. Progress has been slower than I hoped in part because i was too cheap to buy the logic analyzer.. hard to debug early stages here. My colleague is working on getting the nano to act as a logic analyzer, probably going to be faster than waiting for one to ship from China. Anyway, give us the gritty details! On a side note, this video is super cool:

Some photos of current construction. Beautiful body for single focus in progress.

Hear ye, hear ye! I love the sensoric results of the D5300... but man, I come from an interchangeable lens background that started with the GH2. I just don't get OVFs and I like to work in liveview. That makes the D5300 just a horrid experience to be quite honest. That slapping around of the mirror. Geez. I mean, especially when shooting stills in liveview; I like the spirit, applauding yourself and all, but just 'no'... atleast the higher-end bodies have some tripod mode or something, that only uses contrast based AF detection and keep the mirror from slapping around. And indeed, with EVFs and liveview you get that what-you-see-is-what-you-get experience and all the aids that we're used to from all these mirrorless cameras making shooting a breeze. Why can't they include that? Why do DSLRs remain to be so traditional? Ideally, I'd be shooting a mirrorless D5500, because that 24MP APS-C sensor and those colors right off the bat... ooh la la. That's where it's at. I don't need fullframe. Big bodies, big lenses. No chance of keeping things small and light. But APS-C... a great combination of compact and performance (& price). And closest to S35. Yet, when needed with mirrorless systems, you could boost it towards fullframe if so desired. With a mirrorless APS-C Nikon, finally people would give fighting over the Samsung NX1 a rest already. I've been wanting to go mirrorless APS-C from the M4/3 system now... but Sony's not going to be it. Fujifilm is kinda close, but things like no vari-angle display and no sensor stabilization, still put some of the M4/3 cameras in front for me personally. Samsung NX1 and EOS M5 are not going to work for me. It would just be great if Nikon made some efforts there. Tell you what, they could give Sony and Panasonic a real challenge, 'cause I'd be all over it like *finger snap* that. But you know... it is what it is. Purely based on quality of the results... it's pretty spectacular; I guess that's why we just put up with quirks like that...

From my experience the Flat profile has similar DR to clog on the c100 ii. I personally preferred the colours too. It's a nice camera but every time you go to live view it seems to make a loud double mirror slap sound and it's hard to focus without any aids.

Some frame grabs from a recent shoot with the Rectilux CoreDNA, Schneider ES Cinelux, Contax Zeiss, & Ursa Mini 4.6K. More frame grabs here: https://www.flickr.com/photos/seekingheartwood/albums/72157673728625850/with/29553327104/

One of these days you'll be interested to take a look on this one...

A camera comparison here: It seems that the Mavic files are less cooked, less sharpening and less noise reduction and it is a good thing assuming that this is a valid test (same settings, etc...)

Why can't everything have an interface like the Blackmagic cameras?

the camera offers about 16 minutes of continuous shooting time and, as a new feature for this model, also includes a special power mode designed for tripod recording. As explained by the Sony rep, this mode allows the camera temp to get a little hotter, offering around 29 minutes of uninterrupted recording time. http://www.steves-digicams.com/blog/hands_on_sony_rx100_mark5_a6500/

Wow. This is a killer.

13:20 he uses a $20 shoulder mount that works.

The info out there is a bit contradictory, but I've not found a way to directly enter a Kelvin value on my D5300. The cool white fluorescent WB setting should be a Kelvin value of about 4200 and that can be fine tuned either way.

Congratulations! I've never used it for anything narrative (hardly ever do that kind of stuff). But I did use it for some corporate freelance and it turned out nice. The client seemed very happy. Regarding the WB. I mostly used it in auto with preserved warm tones. Worked great for me and was very suitable for my grading style.

Hi Liszon, thanks for reminding me to change my privacy settings on Flickr. Those stills are from an unreleased project and I should try to prevent quite so many stills from being downloadable. There's some FPN in some of the images from the Ursa Mini 4.6K where I pushed the sensor pretty hard. I can clean it up, but I just did a super quick grade for those stills until the director sits down with the colorist. Shooting in 4:1 compressed raw. No images of the camera build, but it's pretty standard, rails, lens supports and lenses.

Good job Luca!!!!

"sharpened and edited version":

Drag the video into PS, convert the video into a smart object, apply adober camera filter and do your thing. Courtesy of @jcs

I take sharpening all the way down on the D750 and add it back in post, but otherwise just leave it as it is. To my eyes it isn't a super flat profile like Cinestyle or C-Log but yep, it does give you a bit more in the shadows. At reasonable ISOs it just really easy to push it around to create a nice look. If you don't have the time or inclination to grade what you are shooting I've also noticed that a slightly desaturated STANDARD profile is really useful. Its pretty vivid but realistic enough colour-wise that it looks bright and cheerful, rather than wacky and artificial.

Yes... But I have not enough money at the moment Yes, but here there are a lot of skilled people that I can trust more then an online review...

Call it what it is. 4K autofocus is shit!

@kidzrevil I would have to agree with that. It has its quirks, but once I figured out it is a hybrid auto/manual camera I started appreciating those little quirks. Do you still have your NX1?

You're still thinking about getting the C100ii?

hahaha... who are you? I like people challenging this idea because it makes me think deeper to see if there are hole in my reasoning and what makes more sense. I quite neutral when it comes to logic because I disregard my personal wishes and try to tackle it simply by what makes more sense or what could be a reasonable proposal. In this case, if you read the press release, in summary it says that Photo 6K is a more advanced Photo 4K and it's basically the same thing but with higher resolution. And most ideas outside of that always fall into complicated plots and compromises when I think that multi-aspect sensor can easily solve everything. And more often than not, the simpler solution is usually the more likely scenario. If you think about it, Photo 4K in the LX100, which uses a sensor acting like multi-aspect sensor, it gives you the max resolution of each aspect ratio. If you apply that to this possible GH5, then you get 20+MP for 4:3, 19-20MP for 3:2 and 18-19MP for 16:9. If you assume Panasonic will make improvements over tracking AF, then you basically get a full sensor readout 30 fps burst with tracking AF, which is more than the E-M1 II offer with C-AF at 18fps, the difference is that the GH5 will output JPEG and the E-M1 II will output RAW as well, oh and that supposedly 30fps of JPEGs can be sustained for longer, like mentioned in the press "long-time burst shooting capability". I'm speculating that in a Panasonic and Olympus deal, Panasonic got 10-bit 422 and 4K 60fps while Olympus got full sensor readout RAW output and one can't have the exclusive the other has. Photo 6K comes from video, so it's like a workaround to get the full sensor readout burst without getting too close to Olympus' exclusive feat. I also think that Olympus helped Panasonic with IBIS and Panasonic helped Olympus with video encoding technology, because I find very weird that Olympus will all of sudden offer this 200mbps All-I 1080p codec that only Panasonic has been using until now. I wrote all of that in all these articles but I wrote too much, most people don't read it! hahaha... I just wanted to get it out of my head and put somewhere and hopefully get into some discussions and think different stuff, see some new perspective and keep learning.

If you get a good alternative (Zhongyi!), rather than the cheapest (brandless), you're fine. Maybe it's 87% of the performance at 25% of the price? The cheapest might be 45% performance at 20% the price? (*just pulling numbers out of my ass for illustrative purposes) Means, *ting ting ting*, the Zhongyi Lens Turbo II would be best bang for buck. Though... I do agree on the 'going handheld' part. Not sure about the 18-35mm as a handheld lens... add a cage... a rig... maybe a lens support, follow focus, mattebox with filter trays, flag/barndoors, put it on a tripod and yeah, foh realz. Sure. But you've got to realize it's a huge and heavy lens indeed. The benefit of course, is what it's known for, it's like multiple prime lenses in one lens. So... it's good optical quality and you don't need to switch out lenses. But everything at a price. So purely handheld in reality you might feel a little cumbersome. It's not something I'd just do with the Nikon 28-70mm & 80-200mm either. But if you can handle it and know what you're getting yourself into... no problemo! Different people... different styles!

@jonpais thanks for your input, obviously I don't want to destroy the image... as @Chris Oh says my budget is very limited and I can only afford the lens and a cheaper adaptor. From there I can always upgrade the adaptor but the investment on the lens will be there. But is it really that big of a difference betwen one and the other to consider the image destroyed? If so, I would look at different options and yeah maybe wait until I can afford the whole package. I'm considering that zoom particularly as it covers the range I normally use, with a fast aperture and it costs less than the 25 panaleica + 12mm + 45 1.8 all together. I know is big and kinda goes against the m43 philosophy, but if I can use it handheld with the 5 axis and covers everything I need I thought was a good idea. Plus for the money I think they're the best cameras, 4k, light, sharp, etc.. I could also get a 12-32 or 20mm for when I want to go light. But I dunno, I'm open to suggestions. I'm currently selling my RX10 mk2 will I see a big difference with the other setup? If not I could just get a GX85 and a couple of primes and keep both cameras...

Nothing amusing with that. Just...seeing the worshippers of sony finally opening their eyes in front of hard realty.

Hey, everybody is different with different needs. I, personally, don't know why someone would buy that beast of a lens for a m4/3 camera... Especially since it will be used as a set of primes. The OP could get a set of great primes that work natively with m4/3 for about the same cost as the Sigma and a focal reducer... But different strokes for different folks. In my opinion focal reducers are great for vintage, full frame lenses and in most instances the Turbo ii is perfectly fine. In fact, vintage lenses for video did a comparison test between the two and they were basically indistinguishable. Personally, if I wanted a good zoom lens used in conjunction with a focal reducer, I would look at the Tokina 28-70mm f2.6 angenieux designed lens... What I'd lose on the short end, against the Sigma, would be gained on the long end and open up the iris right around the perfectly cinematic f/2 range... with a manual aperture, on the Nikon version, that can be declicked... But that's just me... Everybody has different needs.

Still from DJI's Lisbon event...

Hehe, owners of a6300 will be happy for this, especially if no fw update gets released for their camera to match the 6500.

Google worked closely with Qualcomm on the pixel. The EIS uses the gyroscopes to adjust for shake. It is supposed to be very good indeed and is said to be free of the artifacts that are common in other EIS systems. I believe this Tech is similar to what we see from SteadXP. Below is the first footage from the pixel using this technology: Also notice that HDR is enabled by default so we have the blacks of the tires exposed correctly while the sky also retains detail.

Yes, indeed. One of the lighthouse shots (at 1:14) is pretty representative of such feature. Actually, the add-on is evident for that particular shot, comparing to the previous ones immediately before. Finer narrative tool.

Actually this is the best footage i have seen so far from the mavic pro. These images have the right amount of sharpness to my eyes. Also in the statue shot we can finally see the advantage of bigger focal length / shallower depth of field, as selective focus is not an option for a P4 owner. This is an example of how an experienced user can show the true potential of a product.

You know, this might actually be an advantage for me. Shooting in 0° Wisconsin weather? No more overheating, plus a free hand warmer!

"In an interesting update, there's a new menu option which changes when the over-heating warning icon appears: there's Standard or High options, the latter simply allowing the camera to keep operating even when it's getting hot, although protection will still kick-in to prevent any damage. When shooting with the earlier A6300, I found the body could get quite hot to touch, and revealingly Sony's engineers recommended using the A6500 on a tripod when the temperature warning had been adjusted - not to do with stabilisation, but because the body may become uncomfortably hot." http://www.cameralabs.com/reviews/Sony_Alpha_A6500/

To be expected, really. It's just an a6300 with extra heat inducing features.

My perspective as well :-) This one seems legit too: BTW, here's already accessories offer:

Haha still the old chips getting hot...wow...

I also believe it will have PDAF and impressive AF in video. Just a strong gut feeling (clairvoyance, perhaps). I hope they improve the quality of their RAW on their photos. The greatest advantage Panasonic has over Sony is price and reliability. Now it needs even better sensor (atleast .5-1 stop better), PDAF, atleast 1 stop better lowlight than the G7/ GX85/ G85, and good Video Autofocus features. I should get off online camera forums. They just cause GAS. Technology doesn't make good filmmakers. Working does. Technology is inspiring and encouraging at best.

This time from my native country... BTW, that Roman temple seen on DJI video presentation is also a Portuguese location [ LINK ]

Here you can find the original MP4 file so you can rule out the YouTube compressions..... https://www.dropbox.com/s/k62sd0cqrjauyfc/DJI_0028.MP4?dl=0

Too soft, here and there. Enough balance in some others. That's the business of the shooter. To balance the elements. Mushy outcome both from low bitrate codec and youtube encoding don't help, not even to evaluate either, the miracles a good colorist can achieve from.

Thanks for your post. Interesting soft 4K, sharp enough for cinematic inserts to be used if justified. I am sure it'll happen to be in the middle of a few professional productions worldwide. My beef with GoPro is also the sharp edges.

LOL Definitely, quote of this thread! My vote is on Mavic. Purchase, as well :-) GoPro is the most horrid camera even before the Lumière brothers did their presentation! No Protune saves the grace or its absence in pallid colors all the same from one side of spectrum to the other extreme. No idea why people dare to shoot on it other than personal stuff and a few shots as inserts when the magical hour cheats all of us...

+1 Emanuel! Plus, just to conclude my thinking, when I started working, late 90's, everyone was concentraded on his trade, be it sound, be it camera, whatever, and we were investing accordingly. Today, things are getting cheaper, but the market requires, for even a very low budget production, a 800$ wedding let's say, or a 700$ small shop FB video, an interchangable lens camera, couple of lens, few OK led lights, whatever can do for sound, an action cam, a drone, a slider, a few more things (tripod/monopod/bags/batteries/cables/hard drives/computational power/editing amd pp software/memory cards/monitor/etch) and the budget is not adequate for another person to come help. Sorry for ranting, just some thoughts while preparing my bags for such a project!