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The Olympus might not be available before Christmas from what I am hearing. A6500 at least is out now. I have the G85. That review is coming soon!

I'm a low budget event shooter so I shoot lots of stills and video. Shooting with the a6x000's can be a chore with only one top dial, so you have to use the goofy d-pad wheel on the back to adjust two of your exposure parameters since you can assign ISO, SS and Aperture to the one top dial. Fuji has physical controls for all three right on the camera, plus exposure compensation and front/rear control wheels that are clickable for more functionality. You can adjust everything while looking through the bigger/sharper/brighter EVF - which is how I shoot almost all of my stills. The grip adds extra battery capacity and slightly improved camera performance, along with some killer ergonomics. The joystick makes moving the AF point a breeze. They both have great IQ in 4k, HD is better on the XT2. But the shooting experience is worlds apart. I just sold my a7rII and a6300 - was considering getting twin a6500's, but since Sony ignored overheating (manual override of the shutdown is not a fix), ignored awful rolling shutter, hasn't released a new APS-c lens in a few years, didn't add UHS-II support or fix any of the other issues the a6300 had outside of adding IBIS and a half baked touchscreen, I decided screw it - I'm not giving Sony any more of my cash. I now own two XT2's and a slew of Fuji lenses.

That goes without saying for everything, always test new stuff before a shoot. There are some bugs in Sony's colour handling. The different behaviour of colour depth from A7S II to A6300 shouldn't be happening. I have made a second profile with a wider sweet spot, it delivers closer results across the different cameras, and you will all be getting it for free if you bought the original. I am also working on something else completely new and an A6500 review. I am now mega happy with Sony's colour after all this work. I might sell my 1D X Mark II.

I would hope you're aware that the reasons why your video isn't good has almost nothing to do with the camera or the settings. Based on your OP, I'm not sure you're the type of person that understands that. Is that honest enough for you? Basically, you have no shooting or editing chops. Luckily, learning how to have a foundation of shooting and editing skills is easy. Who the hell cares about skin tone, color, or slightly underexposed footage when there's no watchable content to begin with? Would you rather hear a novice play "chopsticks" on a Stienway grand piano or hear Franz Liszt do something with a Casio? First, don't give a damn about the nuances of what your camera can do. Put it on one setting and forget about it. You need to concentrate on composition and montage shooting. Heres the shortcut to learn how to do that: Basically, find a video of the exact same subject matter that you like. Now, watch it shot by shot. Storyboard what you see on a bunch of paper. Take these pieces of paper to your next shoot. Get the shots you've drawn on those pages. Think about what the original shooter had to do to get the shots in the first place. Where he had to be, why he got low, or high, or close to capture those shots. Try to think like he did. Emulate that. Once you've captured all the shots on the paper, start over and shoot all the shots again. Once you've captured all the shots on the paper, start over and shoot all the shots yet again. Okay. Now go into your editor. Lay down the example video you liked on your timeline. Put your "copy" shots right above the shots from that video. There you go. After you do that (and probably fail at it) you might start to see what's actually required to craft a watchable video. Learn. Enjoy the process of shooting interesting frames and building an edit. Once you know that, start worrying about the other stuff. Cameras are just a damn tool. It's like a hammer. If you're not skilled enough to drive a nail, it doesn't matter a bit what kind of hammer you're using.

So all I got to do is get a BlackMagic recorder/screen and Im in 4:2:2 SD VIDEO Heaven!? Samsung is out the window!! Retro is in these days... This won video of the year...

I'm going to critic this by being very honest - Be aware, it might be an hard pill to swallow. I'm quite difficult to please when it come to video edit but... you've ask for it. /// The first shot look very amateur or bad, try to cut it out. Or at least cut it in 2 different angles. After 10sec, I didn't even wanted to watch the video any further... Second shot should be out of the edit, nothing is in focus and it goes everywhere / nowhere, Third is ok but cut the first few blurry frames and then at the girl at 0:18 ...skip to 0:21sec. Try to stabilise the shot until 0:23 then cut again to the smile boy at 0:25 - Make those to shot match with the smile, it's going to be a smooth cut. Trim a bit the shaky end too of this. Stabilise the shot #4 or remove it #5 ... no need to go past 0:39, the action is done, the few last second are not getting anything positive for the story. #6 is ok but try to get it a bit more stable of a pan, try wrap stabiliser #7 follow the same as the shot numero 6 #8 would be ok if you had the girl landing on the mat - now it's kind of pointless for the edit, teasing #9 stabilize the pan a bit and cut around 0:52 #10 keep only the middle where it's stable #11 could be cut out of the edit - it's way to blue for now and clash with the rest 12 - 13 are good, they fit in #14 should be cut, pointless for the edit The streching is ok but cut the last part or let the shot breath a bit with more frame in at the end #16 - 17 are ok but could be trim a bit #18 should be cut off the edit ...or get the 17 out....or insert a different angle inbetween... it's kinda jumpcut 19-20-21 is ok ... could be trim a bit maybe /// So i've survive until 1:33 so far....and I don't believe I need to keep going for 6min .... try to re-edit all of this in 2min maximum, then repost here. I will be happy to critic further after that...keep only your best shots for the final cut except if you need to include every single athletes in the edit, then you could think about sacrifice quality to please the "client" You're shots seems to get a bit better after that. But I far as I can see you don't have enough good material for a 6min edit. It certainly doesn't add up to your story to stretch it that long, it's just painful for the viewer... Your color correct ...if any was even done look like a log profile. It's getting quite accepted by the general public to digest a log these days ..it's have a vintage/hipster feeling to it....I still think you should do something about it. Push saturation and contrast a bit, Overall you shots are underexpose too

You really don't need long zooms when doing Video unless you are going to shoot Lions in Africa! Panasonic, Olympus cameras have a 2x crop factor on the lens you use. You Have to go really wide to use one well for video. And manual focus usually works better than auto most of the time. Low light is MFT weakness, so you need fast lenses to make them work. That is why most use a Speed Booster to help with that. There is Nothing really wrong with a GH4. Tons of great stuff have been made on them, and will continue to be made on them. But right now a ton of new stuff is coming out fast from every manufacture now that video has "caught on" LoL. Just having the latest and greatest really doesn't make anyone a great filmmaker, skill does that, and skill can be used on just about any camera made in this day and age to produce an acclaimed film. It is a fun hobby, an expensive one, but well worth it. You might even make a living doing it! Best advise is to is to shoot, shoot, shoot, and edit, edit, edit.

People tend to forget that around 6300k or cloudy is very often dial as a WB in the industry to get some of those warm tone back in the skin tone or for a sunset/sunrise. On a sony camera 8 bit 4:2:0 cam it should pretty much always be used when skin tones are part of the scene. Same as 4900k if you want a colder look. The canon standard profile would look a bit more neutral dialed down a bit, the first one seems to be shot under a cuban sun to my eyes.

I voted for the EM1.2 since its the first serious entry into the video world from Olympus, being a new player like the XT2, that's most interesting to me. The a6500 video is identical to the a6300, there's no difference from an imaging standpoint, and we've seen the IBIS in the a7rII for a year and a half. The Panasonic is a known commodity as well since the GX80/85 has been around for awhile. M5 is a mirrorless 80d, yawn. 5d4 is only meh. Just my opinion.

XL1 with a DOF adaptor can look pretty unique these days...has a slight telecine feel:

Yey! I got my GX80 today. I've never had a camera with IBIS, so I wonder if it's normal that there's always some sort of wobble going on inside the camera body. It feels like a rather big component has come loose... :D

I'd be curious to see a GH4 vs. G85 shootout on moire/aliasing, and IQ in 1080p modes (because of the G85's much lower bitrate), especially for shots with lots of motion. The reports of the EM1II being soft in every mode other than C4K has killed my interest in that camera.

Send the XL-1 to Liam.

Lenses are a big deal IMO, as Sony has completely ignored APS-c for years. So you're stuck with 2 good primes that are f/1.8, the 35/50. The rest are nothing special. Most of the crop zooms are average to mediocre, and slow. The best FE/GM glass is excessively large on APS-c since it has to cover a FF sensor. GM/Zeiss lenses are not cheap, and if you shoot crop, you're essentially paying for a lot of lens you're not using. You can adapt, but to take full advantage of the AF, you have to use E-mount lenses. To cover a full range of FL's, you're almost forced to adapt or overpay for FF lenses. Fuji's OIS doesn't give up much to Sony's IBIS, because quite frankly, Sony hasn't completely figured it out yet. You don't get Olympus levels of stabilization, but you do get some serious rolling shutter and tons of heat. Sony has great 4k IQ, but its wrapped in a terrible body, has soft HD, and has some serious warts that Sony doesn't seem to care about as new generations suffer from the same problems. Colors can be finicky too, this site and many others are full of discussions about trying to get rid of color casts and funky skin tones. But people keep buying Sony bodies, so they'll keep cranking them out with new headline grabbing features and price hikes, while ignoring basic usability issues that people have been complaining about for years. I've owned a ton of Sony cameras, but the churn is a big put-off for me when the same issues persist. After using various combinations of Sony camera and others, I need more than a great sensor. As always YMMV.

I also notice that you can control the colour depth on the A7S II with S-Gamut selected, but on the A6300 you can't. I'll be doing an updated EOSHD Pro Color soon and a few other tweaks. No need to email me yourself - I'll be emailing all EOSHD Pro Color customers once it's ready. Ah yes but if you want to apply a LUT it's better not to shoot with a profile designed for baked in straight out of camera colour. SLOG2 is for LUTs.

My first video review, shot on the X-T2

Hey guys, I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF. The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight. For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738 I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35. It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now. However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely. As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this Anyway, here are some pictures for those that are interested

Panasonic GH5 is coming soon but until then... What should get my attention?

Just bought a Sony A6500. I don't care about polls.

Well I must admit that it got somewhat better the further it went but WAY to much camera movement. Try a Monopod at the least. Just Slow down a Lot on camera movements. But I like how you have come on here and hung it out as they say LoL! You picked one of the hardest types of content to shoot, sports. It Ain't easy as you can tell. But some of it you did was not that bad. It is very hard not to get excited at those type of events, especially if they are friends of yours! I think you could edit this down to about a 90 second video and it might come off pretty good if you really think it out.

Yes, it's me trying to hold the GH3 as still as possible. The weight is definitely a factor, and the shake is definitely the result of my struggling arms to hold it very still. I just tried with the GX85 as well. It was much harder to balance because of an additional base plate as a spacer, but to my surprise the IBIS although it seemed better on the 12mm only improved it slightly. The 42.5mm....it felt like it did worse as I started seeing very rapid micro tremors at times...might be because it's so front heavy. Anyway, my tests were relatively short and not thorough but something I'm gonna have to keep in mind if I ever put the GX85 on the gimbal with the Nocticron. As for the GH3 in my original tests, I had no problems balancing the Nocticron on the Crane. I'm on the old firmware as well (much before the Canon firmwares were released. I haven't updated since). The edge of the barrel does hit the base plate of the gimbal just a little bit, so it might not be completely flush, although, it mostly looks like it is. Thanks for asking at the lens. I looked at the first images that I took before the fall from the desk did not change the lens at all. It was not sharp at the very center from the first day. The funny thing is the lens is so much sharper at the extreme edges than it is at the very center at 1.2. I'm actually very pleased just how well this lens performs at the very edges (on all 4 corners) at 1.2, and disappointed at how it is not sharp at the very center. Off center, it's fine. I think it could benefit from some adjustment. I'm still planning to take it in, but not in a rush to do it. BTW, if you're wondering about the spacer plate, here's what I use: http://copter-rc.com/en/accessories/69-pilotfly-balance-plate.html It's not perfect, but gets the job done. I'm sure you can find better though.

bioskop is one of the most helpful and friendly posters on this site. full of good solid information. if this german seller is so good and friendly and the price for this fixed focus masterpiece worth it why does mr racer not simply buy the lot? instead of promotional activities via linkage i have some of these mr racer it is worth 600 -700 tops you can have mine for 800 since you like a bargain but i suppose if you purchased mine you would then have 4 to sell from germany. they are nice yes sir and good not reaally rare rare i had 4 once upon a time mr bioskop is correct in these pricing matters and regardings here hare here

The XL2 was my favorite camera in film school. So ergonomic and fun to use. I wish that Canon had stuck with this form factor. And the motion cadence was excellent. Despite the tiny chip, it looked much more filmic to me than the DSLRs we replaced it with. One of my sophomore exercises:

Are you sure it really is exposure shift not the lcd automatically adjusting it's brightness? Do you see the exposure changing also when viewing videos on a computer? I thought I had this issue, but it was just lcd set to auto. Have to use manual brightness.

There's some interesting footage from the oly shot by a Finnish guy, Janne Amunét: Looks pretty good to me but he looks like he really knows what he's doing! I'd like to see how the camera compares to the GX85 and G80 and whether the Olympus is better overall for video.

I just fired up my Crane with my 12mm and 42.5mm on the GH3 and I my footage looks the same, but I can also confirm that at least for my footage, it's me shaking it. A 3-axis gimbal is not stabilizing the vertical and lateral movements and as much as I think I'm holding it still, I am not. It is also a fairly heavy setup which is harder for me to hold so that's why it shakes more. At least for my case. If you put the gimbal on a tripod, I'm sure it would be rock steady. If it's not, then it'd say it's definitely a hardware/firmware issue. If you want, I can put it on the GX85 which has IBIS.

In this article Tony Northrup discusses how to manually use a proxy workflow in previous versions of Premiere: http://www.rangefinderonline.com/features/how-to/Getting-Acquainted-with-Offline-Video-Editing-to-Ease-You-Into-4K-8988.shtml As already stated, I'm not sure that would help with Lumetri performance, but maybe it would free up CPU cycles from constantly decoding H264. The new Premiere CC update for built-in proxy support is really nice -- it is vastly better than manually transcoding and linking up files.

There are Fuji run tests on YT with the grip hitting ~2.5 hours of recording before all three batteries are extinguished. Camera Labs recorded over an hour of consecutive 10 min clips before the single battery was out of juice. No overheating at all. Same sensor. I have the a6300 and I can't get three consecutive 10 min clips without the camera shutting down. I did a run test indoors, with A/C and a fan on the cam, got 43 min before the battery was empty. The Fuji grip gets you a headphone jack too, something Sony won't put in the a6x000's. IMO some of the missing features are a deliberate effort to push people into FF and the a7 series. That's why they waited two full years to put IBIS in the APS-c line, and that's why they're letting the APS-c lens lineup collect dust. If you want headphones, a grip for better ergos/more batteries, two control dials (not putting a front dial on the a6500 grip was dumb) and so on you're SOL. Plus you're stuck with that goofy 16:9 screen that Sony has been using since the first Nex3, so when you're shooting 3:2 stills, you have a smaller view with black bars on the side. AF is excellent and the buffer finally solves (sort of, not UHS-II so its still slow to write) one of the many complaints, but they didn't do enough to get me to fork over another $1400 a fe months after plunking down $900 for the a6300. Again, my opinon.

Silly me, I know better. Canon was 5Dm3 and Sony A7s2

From your short description, video invitation makes the most sense to me. I think using film or movie confuses things, because if I'm reading things correctly, its not a film or movie. Keep it simple and to the point, you can use other terms for SEO, but if you're offering to shoot video invitations for people, that's what I would call it. Good luck.

Invitevids.com ?

No lie, if one fell into my hands I'd start writing up a project just for the camera. It was like a holy grail of cameras for me before the HD(V) days. I got to shoot a few projects with its little brother XM2 and that thing was bliss. Those old pro/prosumer Canons were so easy and so much fun to use my producing partner actually dropped out of cinematography when they became obsolete and we moved to HDSLR:s and Cinema cameras.

A6xxx ergonomics are terrible and the rolling shutter makes it virtually unusable for my type of shooting.. One other thing to consider however for video is that A6500 has super35 (1.5x) mode in 24p/25p 4K whereas XT2 has that odd 1.7x crop factor in 4K which can be a bummer for prime shooters and of course lack of internal Log. Fuji's done an amazing leap but still has a few tweaks to perform to be serious contender in the video field imo. Right now it's more of a great SOOC unit (which is what a lot of still shooters like about Fuji in the first place)

It's a wonderful camera! Easily my fav DV cam and the HDV version (XL-H1) is great as well and there is an adapter for EF glass but... the circa 7x crop is not so fun haha. I would love to use it again with a modern external recorder and wish a focal reducer was made for it xD

Yesplease!

Get that 24p "HD" (24F mode with the 2:3 pulldown) out of the SDI port to an external recorder for a project and honor this beauty ! The motion cadence looks good on this and I don't even need to talk about the colors. 3ccd was awesome and it's a 4:2:2 camera! It's a great tool - I had a lots of fun project in school with that one, Dynamic range and low light is limited a bit that's all or even that 24p "SD" if you still have some tape around - "Records in 24 fps progressive mode like movie cameras, creating a true cinematic feel to the picture" according to Canon pdf

Here's a bunch of skin tone shots in direct sun with zero post. What I did here was keep the exact same settings and Canon 70-200 f/2.8 between the Canon shot and the Sony EOS PRO shots. The Canon Standard shot is just there for reference. These are frame grabs from video. I shot some extra shots with Color Phase at 0 and I think when the WB is at 6600K (even though the Canon is at 5600K) those 2 shots match closest. Basically, the profile wants higher Kelvin numbers it appears to match with Canon SOOC.

X-T2 has better lens selection, menus, build quality, and SOOC color, as well as less RS and overheating. It also has a battery grip option that nets you 3 batteries, an AC adapter, and a headphone jack. A6500 has IBIS, sharper 4K, 120fps 1080p, internal LOG, more powered adapter options, and is smaller/cheaper. Sony also makes an XLR adapter for the hotshoe so you can get professional quality audio inputs on board. Both have terrific high ISO performance, killer DR, great overall IQ, adaptable lens mounts, and big EVFs. Pick what matters to you.

I like the longer side of things, so my old 55mm FD @f1.2 on a speedbooster would be a lot of fun --and it would be around a f.08 equivalent, which ain't shabby. I've pushed 4K video on my GX85 to the limit by shooting 24fps, 25 shutter, f.08, and 6400iso. That's the realm of useable exposure with a single candle type of stuff. The glow from a drag off a cigarette can illuminate a face. 6400 is a little noisy, but when you downconvert to 1080 and clean it up with some post processing, it holds together quite well. Not ideal video, but when you're shooting doc stuff a nighttime, it's helpful to know you can push things that far. Honestly, the aberration from the lens wide open looks worse than the grain of 6400. But, yes, a set of voigtlander lenses for doc work would be pretty great.

You've just outlined a very compelling reason to buy an A6500. Based on your cherry picked list, you essentially need to buy 4 camera systems to get all the features offered by the A6500. While the Sony may need be perfect, it sure beats investing in and lugging around 4 camera systems.

There's definitely a big difference/improvement in the mkii from the a7s. Sony added a new color gamut which, I believe, is supposed to be more accurate with colors and better in general. I'm assuming these settings definitely perform better from the get-go in the a7sii, but we've got to alter them a bit for the original a7s.

Thanks @PepperJay! @Dr. Verbel', like I mentioned in my post, it was shot with a spherical lens. To be more precise: GH4 + Lens Turbo + Tokina 11-16 set to f2.8 (x0,72 = f2.0 &), shot in 4K (so 11mm x 2.2 crop x 0.72 lens turbo = 17mm FOV). I did not bother to add anamorphic lens flare to it in the post. Everybody can feel the difference between the shots so why fake it? The camera was mounted to a glidecam, the operator was sitting in a trolley, therefore we eliminated the Y axis but it was still a bit shaky, so I stabilised it in premiere, you can see some artifacts, but hey, like we care :D

slightly on topic. It's currently on sale at BH! $697.99 https://www.bhphotovideo.com/c/product/1302079-REG/panasonic_dmc_gx85kk_lk_dmc_gx85_digital_camera_black.html GX85 with Kit lens Panny 45-150mm $100 gift card

Just noticed that Magix added "10-bit HEVC support Movie Edit Pro now supports import of 10-Bit HEVC recordings from modern camcorders." What modern camcorders might that be mmmm?

Some nice D16 colour.....

I think he should spend it on a green and yellow spinach & mozzarella. Tomatoes probably too magenta for him.

Jesus christ, some people are so cheap. When Sony first introduced S-LOG they charged something like $5000 for it. And you think $10 is too much. Go spend it on a pizza instead fat boy!!

I just bought a Sony PXW-X70 as my main video camera. DSLRs become too bulky and unwieldy for flexible video work. I've tried for a long time to make them work, can't do it. Without moving my hands I now have instance access to record, focus peaking, iris, shutter, gain (ISO), AF/MF, zoom. Better audio controls. Aggressive image stabilization if I need it. 10-bit CODEC. So whatever you get for a main cam, I recommend a C100 or something like it. You can use your other cameras on tripods for long-shots, or other POVs. I too, love a great image (especially RAW-based video), but any image out of focus, with shakes, or at a bad angle, or with bad audio is unusable. In short, what worked for me having fun, standing around, with my DSLR or mirror-less, didn't work when I needed move around.

Actually it's the opposite. The c100 was whitebalanced with a card whilst the GX7 I just tweaked one of the presets. The c100 has the most accurate colour but not necessarily the most pleasing. Strangely, the LUTs I made to make Panasonic colours look more like Canon colours works very well on the C100 footage.