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Actually I am selling my F65 as well. I'm putting the money into my wife's film I'm shooting. Yes, it's not universal what one person would like vs another person. Rent a bunch, do a test, and get the one that you like the most, and you find the most valuable for your needs.

I bought it new but from Texas Media Systems where there is a 20% restocking fee, so that would tank me like $1000. VS just selling it. And plus , after the initial fiasco of the ursa mini 4.6k sensors, I don't 'think I would buy the pro right away - I would still wait like 3 months for them to "beta test" it. Motion cadence is fine - I'm used to that. Still the BM pocket is silky smooth but but I like the super35mm FOV and I don't have to frankenstein a rig together. The fixed pattern noise is ugly - but this is a $6k camera. The imagery with enough light is a tiny alexa. It has beautiful color and skintones and sharpness. It blows the dirt out of the fs7 image and the c300 ii image. It's all in 6k- well you get a battery mount and top handle and it's like $6500, and boom, you are off. But compare that to the FS7 which - you are forced to shoot everything at 2000 ISO right? And just has that Sony ugly weird orange skintone thingy. The sensor on the one I have has no issues that I can find - haven't seen a magneta cast. I think they solved that. Customer support - for a small company in Australia - you get what you pay for. You basically can buy 2 for the price of one c300 ii. that should solve any in the field tech support issues

I think GX80 has come a far way color wise. To me first Lumix with pleasing color ooc. Here is a nice example of color and camerawork with this little gem. Other than the fragile monitor it has a beautiful solid feel. I don´t know, maybe someone can chim in and tell me, if stabilization is better with new firmware. Beautiful little cam so far. Kinda torn if I gonna keep it though because to me the real weakness is the monitor, kinda fragile and pretty small, evf is bad but for filming i´m using monitor anyway. Here some work I must say showing the GX mojo pretty well. Not my work though:)

I was wrong. I was a fool. I bought a Ursa Mini 4.6k EF mount. A week before the Ursa Mini Pro came out. Opps. But, still, this camera is incredible. I was an idiot for criticizing them. And now with the pro, they have delivered an ideal camera - capable of Raw or log for only $6000. That looks like an alexa. That is built well. That is small. That seems to not overheat. A really amazing camera. Blackmagic has done what Red had dreamed of.

@Andrew Reid I registered here in 2012, and was lurking around here since before that. I used to read a lot of the other people & sites like Nofilmschool, Philip Bloom's & Dave Dugdale's blogs. Been reading most of them for years and have since abandoned them, but I've stayed on this site not just because of the excellent forum, but also because I've loved reading your articles. I get that it takes motivation, time and effort to write your articles. But I for one would be happy if you didn't stop! My own favourite articles and what gets me really interested is when you review cameras in the 500-3000 euro range. I've learnt a lot about the video quality from those cameras from your articles. I visit the other video related sites max once a month these days. EosHD is the only weekly video-related site I can bother with (no click-baity headlines, proper articles instead of the copy-paste type of content that exists on nofilmschool today...).

I don't really understand why you ask me that question as I have never questioned it's capabilities. To answer the question you should however define what a filmmaker is first, but I'll give it try I don't consider myself a filmmaker for instance, and there are reasons why I haven't bought the Sigma yet, even if it's fairly cheap. I would probably have come to the same conclusion as @jase if I bought one. The slightly/much? better performance just isn't worth it due to the size and weight. Didn't you also somewhat come to that conclusion? I know it's a fantastic lens and I would probably bought it if I was making narratives, ads, etc on low budget for a living, but I'm not. I primarily make food videos and yoga videos for youtube with native lenses and even then I usually stop down to preferably f/2.5 or more to get what I want in focus. I only shoot on wider apertures if I don't have enough light, and when I do I usually regret it later (instead of pushing the ISO) because I wanted to have more of the subject in focus. A huge f/1.2 lens isn't going to make my videos any better, and if I would use the Sigma at f/3.5 the resolution/sharpness benefit wouldn't be big enough to justify it for me. I'm totally with you that it's a great lens, but I don't think it's the best lens for everyone. I would much rather have a kit with a nice slowish zoom (PL 12-60mm), and high quality primes for low light that I can carry everywhere and use for all of my projects; food, yoga, travel, stills, portraits, short films etc. When I started to do photography in 2012 I chose the m43 system exactly for that reason, it's not the best out there but it's the best allrounder in my opinion.

to me : - Aspect ratio - 24 fps with motion blur associated - Shallow depth of field - camera movements - Music used - colors and lights and the most of it : Actors and story. Here's a little joke i've made with friends that uses some codes of what i call a cinematic video : Slow motions here to be a bit parodic... And you'll notice a hommage to Marion Cotillard somewhere in the video... That couldn't be more cinematic with this !!!!! lol

The young guy in the video makes a lot of sense - you have to give him credit for being uber-sensible. My mantra is: If there's noise in my shot, so be it. I got the shot. And it works. Light, composition, lens choice, perspective, location, filming style, people.... all these things have way more impact than filming with a better camera. It's easy to kid yourself that you need a better camera, but SO MANY forget the bigger picture of having a camera in the first place. A better camera will have very little influence on making your stuff "cinematic" if you don't apply the key principles around it. Right now - I have the FS5 and the A6500. I have the FS5 to cover all my jobs as a great all-rounder - plus due to many requests for HFR, it does that too. The A6500 is used for gimbal work, B-roll and stills shots. For every job i do, I'm covered. New GH5? Ursa Mini Pro? Nice, but not needed. A waste of money. Have these Sony cameras had a dramatic impact on my overall content quality? No. It's the artistic choices like lighting, lens choice, grading and style. It's the casting choices (spending more on talent). It's using a location in creative ways. It's editing and rhythm. It's getting everything synchronised. It's publishing work to be proud of. The cameras are now at a point where we don't need to be concerned with them, or have to jump through hoops to work properly. We're in a content age where video is the biggest type of media on the planet, and to stand out, you have to wake up from the merry-go-round of camera obsessions and make some really engaging stuff. I really couldn't think of any big reasons that I'd part with my cameras just now. There would be little benefit to upgrading them, just another hole in the wallet. Frankly, I'm done with the gear acquisition illness many of us have. It's incredibly distracting, time-wasting and not creative at all. Of course, it's part of my job to keep up to date with it. But losing time due to thinking about new cameras, not anymore. There's a lot of camera gear blogs now. Many of them are sponsored because people have to make a living. They are a good source of news. Opinion pieces are subjective. BUT...there is a gap in these blogs. There's barely a focus on the craft, experimentation and artistry of film making. Maybe because these topics are less hyped, monetised and clickable.

I changed my mind about getting a Sony A7s, Im going back to Leica instead (fingers crossed on finding a cheap SL). Therefor there was a risk that review would just fade away and never get done (don't have much time for YT anymore). So I decided to just finish it with what I have so far and when I do get the Leica version and have tested all my lenses and such I will make a revisit review. Do I think you should you buy it? Well that depends. Im certainly very glad I have it. I love it. Like seriously, Love It! For others I say: YES if you are an analog MF shooter that has lenses. YES if you are an A7/Leica shooter that want to get into analog MF as well. YES if you are an A7/Leica shooter that loves vintage glass and experimentation. MAYBE if you are primarily a digital shooter that wants some fast portrait lenses or just happen to have $500 burning a hole in your pocket. NO if you think DOF is everything. NO if you think megapixels is tha shit! Pros: The awesome MF lenses! $500 isn’t much to give another dimension to your camera. Quality is great. 80mm f1.9 at x0.7 crop is awesome. Its the Medium Format Experience on the cheap. Cons: If you don’t have an interest in MF film it becomes niche. No AF. Some MF lenses are quite big. Not all MF lenses focus to infinity (according to rumor, all of mine does). $500 is still $500 and used once aren’t gonna be very common.

thanks, NX1 with 16-50 premium lens, the sharpness is -10 but since I prefer more of a flat look I use a Tiffen black satin filter to reduce 4k sharpness, pilotfly gimball, I use 0-255 because I find better skintones with it somehow redness in cheeks shows more with this mode for me but I add -15 contrast and -3 brightness as suggested in this forum to work with premiere. gamma DR with -3 con -4 saturation and 15 MBL, I tend to expose for the sky because It brings more drama to the scene but you'll need extra lighting on your subject because he would be underexposed otherwise. This was done all in one day! it was very cold in january so we shot mostly inside places but it's run and gun situation.

For me its all about the lenses and the lighting , lens focal length choose for the scene and also they type of lenses you use gives the cinematic look I run 24p and as flat a color profile as I can , but the camera is not making it cinematic it's the lenses - using selective focus and depth of field to draw your eyes to the subject in the fame is standard cinematic style film making , just get any 4 back issues of American Cinematographer from the past five years read them and you will see a pattern emerging of lens choice and lighting that define the cinematic look and you will see its the cinematographers craft that make it cinematic not the camera .

I wouldn't buy a FS700 even for 1600$, the two I was using the last few years are -literally- fallen apart, the build quality is terrible, there is NO handling whatsoever, ergonomics are Sony's best (worst) job. I do still use it from time to time for slow mo, ok, but I would never buy this camera with my money. The one we use most was given to us (to the production company, not me) when we started a motor show a few years ago (together with some lenses, much obliged!), but they never stick. One of the reasons (and some other terrible Sony experiences I had through the years) I am so disrespectful to Sony, and not sold 100% yet to FS5. You do not have to have an easy ride, you should have a constructive and productive career; our job is enough complicated and "difficult" as it is, without added burdens.

I did. Like I said, the 4k image is spellbinding, but so is the 1080p image. And since no one sits like 1 meter away from his 65" TV, why even bothering? Heck, my audience doesnt see it, so why should I care? These are questions I am asking myself.

I saw a Sony F65 for sale on DVXUSER today $22k complete kit minus lens, batteries, and tripod, seems like a good deal! I wonder if Ed David still has his F65? Ed did love his old F35 and produced some great images with that. Tools, we do love our tools. F65 kit INCLUDED: -Sony F65 brain, with SRR4 recorder & control panel -Sony OLED EVF -1x 1TB SRMemory card (blue) -1x 256GB SRMemory card (black) -Gold Mount battery plate -Extended length power cable for use with DC power block -SRPC4 high-speed card reader -Set of 19mm carbon fiber rods (12" & 8") -Travel case $22K

Don't forget, the moire. That's still there too. Yeah, all the issues of my EM5II, 'cept the new Oly shoots 4K. Weird thing is, even with all those flaws on my EM5II, I still use that camera the most; learned to work with the video limitations. Luckily, I've found the pre-amps to be decent enough and acceptable when combined with a sennheiser ew100 wireless kit. I think I'll be in the market for the EM1MII a few months down the road as my next doc starts...if/when the price drops. Not because it's the best, but because Olympus models seem to appeal to me for ergos. If the IQ was wildly inferior I wouldn't consider it, but I do find the image acceptable. And that IBIS is crazy. So we'll see. Oly or Pany at this point.

Thanks Jon The plan is to upgrade from 80D to GH5!!! Things am looking forward is vector scope focus peaking slowmotion 180fps 4k log now the downside ? Am gona miss PDAF cant say much about rest

Yeah, I think a lot of people will be interested in that, myself included. Take care of your back, you only have one you know. Feel better!

Yesterday I watched my more recent videos on my brothers 65" 4K TV, obviously starting with my latest 4k project. I was really blown away about the detail and the resolution. However, then I watched a 1080p (60p) video and I was suprised how good it looked on that same TV. I dont really know whether I would be able to spot the 4k content vs 1080p content from the GX80. Makes me think how great the Blackmagic cams are... must resist.

True. The shots where i hold still are breathtaking. Yet, I want the moving, so I am better of with 4k than 1080p anyway However I really would love sth with a high bitrate codec to avoid the compression artifacts on water surfaces, etc..

Have you filmed anything with it yet... would be cool to see a NYC through the eyes of EdDavid and an Ursa.

Definitely. This is one of the things I dont really like on my GX80, even when using the LCD the video looks sooo much better later in post on my computer. Would trade for better screen / EVF any day.

The 25 / .095 is my favourite lens - although for practicality I almost always have the 12-35 and 35-100 lenses on my GH4. Every time i use the 25 i just want to lick the screen - it looks so good - and i could recognise the look in your excellent little video. Using 1 focal length and lens delvers a really nice consistent look. You did a great job of keeping the jitters out of a lot of shots -considering how hard this lens is to use handheld - i always have at least a monopod on mine- the pana 12-35 works great handheld though Funnily enough the voigt focuses backwards compared to my panas. I usually stop it down to at least 1.2 unless i am in a desperate low light situation. Weirdly enough i find it easier to get focus below f2 on this lens as the extra depth of field blur allows me to locate my sharps / focal plane more easily. Its ironic actually... i have got into trouble shooting at f5 on my 7-14 Oly because its hard to pick if you have just missed critical focus slightly. The Voigt 25/ .095 lens is going to SHINE on my GH5 though, and see a lot more use- the IBIS is going to be a godsend!

No amount of shiny adverts will cause me to part with any money until such time the vast majority of users over a period of many months are delighted both with the product and with after sales care. The 4000 was incredibly tempting when Dave Dugdale first got his hands on it, as were the Beholders when Darren Miles reviewed the MS1 and DS1. The Crane seems to be the best of the bunch but there are a sizeable minority that are vocal about various issues. Having blown a lot of money on the DS1 - which is unusable - I have returned to using an old fashioned type stabiliser (cost £35) until such time the gimbal market is ruled by reliability and accountability.

Fantastic job! What strength/grade black satin filter did you use? I just got the zhiyun crane with my nx1 and it handles the 16-50s very well. Its a little heavy though and makes me want to buy the 2 handed grip option.

"What rolling shutter?" - Chantal Akerman

+1 for a static camera. If you can make a good composition it's hard to go wrong with this tried and tested approach with a rich pedigree. See Chantal Akermann, Tacita Dean, James Benning.

I concur with everyone here. It's not worth quitting over it. I don't post much here, but I enjoy coming here and other sites dedicated to indy and enthusiasts in video/filmmaking. The Panny GHx years intrigued me in the early 2010s and it was you that made it possible for me to try out videography. Opinions are just that... opinions; everybody has them. Creativity trumps all of that.

Awesome footage, Juxx. I love the Monochrome B/W opening -- very film-like. I love how the Pocket can pop out colors never thought possible. With all the talk of GH5, the BM camera rocks in my opinion. Excellent grading.

Don`t worry, it was just a ad for a very expensive training course!!!

Please don't quit Andrew! I love your reviews and honest approach to informing your readership. I have over 10 years of experience in Hollywood, I have a GH3 and have bought your GH3 shooters guide. I saw the Cinema5Ds review and was also puzzled a bit as to their conclusions. Please keep up the good work on here. I am looking to upgrade from my GH3 in the near future and will be relying heavily on your thoughtful critiques and reviews. Thank you again for this post about identifying industry fakers. Best of luck to you good sir!

Hi thanks for the input no IR filter I just got this cam about a month ago its just naked FD lens with ND no Speed booster and I did the edit and grade in resolve!

Maybe saying something obvious, known for a century now... But what makes an image cinematic is the image before it and the image after it. It's the arrangement of those moving parts that works in our brains and eyes... and souls.

Set, lighting, post grading etc is probably most important. But with fuck all budget, a more cinematic camera helps a lot too.

Not a big fan of moving a camera, but if you must, see below for inspiration! Just because you can, does not mean you should...unless you can do this!!

Thanks for all the posts asking me not to quit EOSHD. It's been a long time running this blog by myself - 7 years now! I am completely disillusioned with the industry, the direction it is headed in, the lack of creativity, the focus on pros, the lack of quality online rivals, the bitterness that exists in the blogging community and the amount of clickbate out there. It's going to take a miracle for me to get my passion back.

That article wasn't a review. It was more of a news announcement and an opinion piece. As far as EVFs go it's best in class. That is a fact! Nothing controversial about that. Zacuto never gave me a loan unit. Count the number of Zacuto articles on EOSHD - what is it - something like 1 or 2 in 5 years. Hardly shill like behaviour. And for internal recording I'd much prefer to use the Zacuto Eye on a small camera than a whopping big field monitor. The SDI input isn't a problem. You can get tiny HDMI to SDI converters for $70. Blackmagic do one. https://www.bpm-media.de/Studiotechnik/Konverter/Mini-Konverter/HDMI-=/X/Blackmagic-Design-Micro-Converter-HDMI-to-SDI::372209.html?language=de&gclid=CLa706XAztICFQIL0wodRvkFEg The irony is you critisise me for criticising C5D then call me a shill! But I'm willing to let it go as you were a great mod over at the Cinema 5D forums... You put a lot of passion into that place. Surely, were you not just a bit pissed off at Seb and Nino when they decided to offload the entire forum to Planet5D on the condition the idiot over there would monetise it? That community sold into the gutter for a penny. And I would never sell my members to anyone - they are not mine to sell. Like I say, you can use the Zacuto Eye on DSLRs with a $70 HDMI -> SDI I don't know why Seb thought he could trade people's forum activity for money... That's the crux of that little matter. Yes I do have a chip on my shoulder but in this instance mainly because they slated the GH5 without understanding the technical reasons behind the macro blocking in 10bit. Yet they are in direct contact with Panasonic about this and leading them down the garden path to announcements, firmware updates and god knows what else. Quality feedback is extremely important. I advised Panasonic not to put a statement out about it because it would only draw attention to a negative from a flawed test, which basically claimed the GH5 was unusable for professional work, when the truth is the opposite and it is actually an incredible piece of engineering with a few normal compression artefacts in VLOG if you grade it wrong. Facts bro. If you need the broader picture about my supposed 'chip on shoulder' then you need to consider the full history of what Cinema5D has done for the DSLR video community. Here's a brief outline - 1. Nino and the other Seb plucked out of obscurity by Philip Bloom to intern on the infamous Red Tails shoot. Nino and Phil have remained friends 2. The point being he did not get noticed out of the quality of his work, rather by association with who he knew. 3. Cinema5D started with Jared Abrams in L.A. covering DSLR video, hence "5D" in the domain name 4. Nino instigated the shift to professional cameras and a professional standpoint on everything, completely jettisoning the fun aspect and alienating enthusiasts, as well as damaging the democratic aspect of the whole community at that time. Meanwhile Jared was dumped out in the cold. 5. Nino gives seminars and talks for money at trade shows every year and has been at almost every one I've ever been to in some kind of manufacturer or dealer sponsored capacity... BVE, Photokina, etc. Nothing wrong with making a living of course but to then turn around and claim you're giving unbiased advice on Cinema5D is a bit rich in my view. You can't do both. 6. The forum was offloaded to Mitch at Planet5D, the most clickbate resource in the whole community, he of course made a huge fuck up and it haemorrhaged users. Seb I believe did this because he couldn't be bothered to maintain it despite the fact he had a team of mods to help him, and he wanted to off load it for cash. Disgusting. 7. The general content there is just so bland. Yet because of all their manufacturer associations it floats the public's attention like sponsored content. 8. Even during the years when we were on good terms, in the past Cinema5D rarely if ever mentioned my articles in their coverage... mean spirited. 9. Rather they saw me as a bitter rival to be crushed. 10. Way before my first ever article criticising their actions, they have been extremely rude to me behind closed doors... dismissive and argumentative.

Cinema5D has a history, this is just another chapter.

You have been the only one that gave us the help we really needed. Your way of thinking is so rare, you are one of a kind. I have been reading almost all of your posts since the Panasonic GH2 and no other one could do the same job as you did. We grow as you did. Don't read other blogs, focus on you and your community. We love your work. Please don't feel bad about what's happening around you. I hope to read your next article soon. Valentin.

Adding my voice to the don't quit chorus. More voices are always better, especially when they add to the discussion. What's weird to me about all of these discussions about a technical issue is basically, who cares? I'm not trying to be flip about it, but ask yourselves, who cares? If it informs your choice of cameras and when to use them and how, then great, but other than that... the GH5 10 bit unusable? Hardly! I regularly see cases of aliasing and other more obvious problems on shows I dearly love that are very successful, but it doesn't matter. The writing, the directing, the acting, everything else (god even the cinematography in these shows the rest of the time) are fucking great! So I don't care, nor do the millions of other viewers who also love these shows. Focus on writing, focus on directing, focus on creative shots and impactful story based cinematography, focus on finding other creative people to collaborate with and make something that you give a shit about with whatever camera you can get! Rant done, thanks.

Don't URSA Mini 4.6K EF owners get a hefty discount on the new camera, bringing it down to something like $3500 so I heard and you get to keep your existing camera.... bargain. 4.6K sensor looks nice, it's a custom design and not off the shelf scientific. And the old Mini 4.6K is still nice.... Pro is just the same camera with NDs and more buttons!

I like the Pana much more. Better focus ring, even when the Oly is in manual mode and the color has something special. Really looking forward to my next project with that lens.

I like Johnnie Behiri's mini-docs a lot when he tests new camera's and I wish more sites that do reviews would follow his example instead of only talk about a camera, pixelpeep and use blown up framegrabs. Ideally it should be a combination of both, a detailed test like Gordon Laing at cameralabs does but geared towards videofunctionality only and then add a nicely shot short documentary. Until that happens our only choice is to look at as many reviews and uservideos, try to filter out the crap and try to make a informed decision before buying to eventually find out the camera has flaws that have not been mentioned by anyone so far.

I've never really re-visited his blog much because of this. Valuable info there, just wasn't really attracted to the style or content.

So far in all of this lively discussion the link below has been the best information on the GH5's potential. All these "lab" tests mean little to me compared to seeing footage used in a edited film. While I do conduct tests all the time to find a camera's limits and give me direction to its potential, nothing beats a shoot. Despite liking what I see in the link, I do wish I'd see more tests or sample footage would involve flesh and bone humans in front of the camera and a little camera movement rather than the usual Phillip Bloom style "moving stills" approach. I've nothing against that style of shooting but it seems to overwhelm the sample footage these days. We all don't make landscape films to easy listening tunes. I'd love to see some stories, docs, etc shot on this camera because at the end of the day, we don't shoot to make tests. Andrew, there was a Thai filmmaker you once featured that made an amazing short on perhaps a 5D (not sure) about a kick boxer I believe. I wish Panasonic would put the camera in his hands. That's the type of shooting that would tell me a lot about the camera - how flesh tone, movement, contrast, etc play into the drama. But I guess Panasonic (and Sony, and Canon, and....) rather give it to safe bets, blog presence or pretty ladies in Japanese gardens and other cinematic pablum.

Cinema5D is sending some bad juju.

Here's a video I shot with the GX80. The interview was shot with a Pentax Tokina 28mm f2.8. Exteriors were mostly shot with the kit 12-32mm kit lens. I was planning on using my old Pentax 28mm, 50mm and 135mm lenses with a newly bought Camdiox/Roxsen focal reducer, but found the middle of the image was cloudy. I ended up using the kit 12-32mm without an ND filter, so have a lot of overexposed footage. Edit - A small error near the end of the video. I'll need to reupload a fixed version.

I'm sure they will , the Arri became industry standard due to the look , work flow and ease of use , with Codex Vault you are a great work flow from set to edit , so a 2.5 K camera with less resolution than some of the cameras here on this forum produced cinematic images in the right cinematographers hands , so resolution and 4k are not essential , its the lenses lighting composition and story ...is it entertaining ! That makes it cinematic . anyone on this forum can produce wonderful cinematic images with a bit of care and thought

Well to me, that guy lost all credibility, when he sold the BMPCC and bought a freaking Canon T3. If you can't make damn near a feature film with a BMPCC you need to find a new hobby! Blackmagic gave us poor folk a gift of a lifetime with both the BMPCC and the BMCC. And this guy sells it and buys a God Damn cheap ass Canon!! What the Hell! We are talking ProRes HQ, and Raw! That is what the big boys use. And you can also do it for maybe 650 bucks for the BMPCC, to a grand for the BMCC. And have a beautiful, creamy output. Jesus what does this guy want?? Now he has a GH2, Oh boy that ought to work. Mpeg output.

Here is my first 4K-based adventure with the GX80. I am suprised I didnt really miss the slow-mo at all. Although rendering takes ages on my Macbook Pro 2011 (3min video took 3:45h for rendering!), editing with proxy files works without any hickup. I am amazed by the quality and I think I will continue using 4K from now on. Lenses used: Sigma 18-35, but mostly the Panasonic 20mm. I already sold the Speedbooster XL and the Sigma, it is just too huge and even with the 4K crop one sees the vignette when the stabilization kicks in.

So I decided to look at 1080p a bit since that question has come up. I shot a boring subject - the contents of a cabinet - because its raining outside. Everything was shot at ISO 6400, same shutter speeds, same aperture, STD profile 0,0,0 and AWB because this crap takes time and I didn't feel like messing with it. I have three images of combined screen caps. The first is 1080p from the A7rII in s35, FF and 1080p from the A5100 to compare. The second is 1080p quickly downsized from 4k on the A7rII in s35 and FF. The third is the full rez 4k frames. Note - all the 4k was shot at 60mbps because I took the day off and I left my U3 card at the office. I used the FE 70-200 to try and match framing as close as possible. I left it at f/8, despite the differences when moving between FF and crop modes. S35 is the cleanest in either 4k or 1080p, and downsized its clearly better than the others. Its a push between the s35 1080p on the A7rII and the A5100. FF is the worst at high ISO's, its much better at 1600 and below. 4k to 1080p really pops compared to 1080p in cam. Its not the best scenario, but it gives you an idea of what it looks like. I don't have anything else to test it against. Right now the A5100 and A7rII are all that's in the bag.