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The DX lens range is very weak. The price of the D7500 is too close to the full frame D750. The D750 is a much better choice for most photographers. The APS-C market is shrinking. It doesn't do video right. There's a huge crop in 4K. The 1080p is 'meh' I just don't see the appeal in the D7500 when you can get a D750 for a bit more money.

First video monitored and mixed with the Focal Listen (multilayer sound effects toward end of video): These headphones are so well damped it's like they have active noise cancellation. The sound is detailed, clear, with smooth highs and a wonderful sound. Super comfortable too. The Focal Listens are a fantastic upgrade ($249) from the already excellent Audio Technica ATH-M50 ($149) which is a nice upgrade from the Sony 7506 ($89). If you like the sound of the 7506 and/or ATH-M50, the Listens are worth a demo. I had not heard of Focal before, and listened to the Listens at CanJam 2017, thanks again @HockeyFan12 for the tip! (my experiences here, including with many dynamic, planar magnetic, electrostatic, and the $55,000 Sennheiser HE-1 headphones: https://brightland.com/w/the-best-headphones/). More reviews here: https://www.amazon.com/Focal-Listen-Closed-Over-Ear-Headphones/dp/B01H2NDPZY/ Focal Listen page: https://www.focal.com/en/headphones/headphones/listen/listen. Their top of the line headphones, the Utopia is $4000: https://www.focal.com/en/headphones/headphones/utopia/utopia, https://www.headamp.com/order/focal-utopia-open-back-dynamic-headphones/ The Listen headphones are designed for mobile, and also have a mic and remote button. The supplied cable is a bit short for production work, so I ordered one of these: https://www.amazon.com/gp/product/B00LM4ON3I/ which works great. A longer cable can be used as the included cable is detachable (the UGreen brand will work as the connector housing is narrow enough). At CanJam I auditioned the Audeze LCD-X on my iPhone, then ran over and tried the Listens again on the same track- the Listens sounded much better! I'm sure the results will be different when using a high end amp, however the Listens will sound better too. The last headphones I listened to that got me this excited were Stax (which I finally ordered from Japan after the show). Written descriptions and a video mixed with them won't show you how they sound- you'll need to demo them in person. These are the kind of headphones that make you want to go through your music collection again, which I've been doing when not working on audio-related projects A+ bang for buck!

That's pretty funny when a guy like him uses the GH5 with all of the AF naysaying. It's also funny that the AF worked far better for him than it ever did for Max. In fact if you've seen some of his other videos, he's gotten far worse results with other cameras. I guess he's another guy that got a pretty good one.

Check out the test video of the Rapido Single Focus Solution, my setup is as follows: Camera: GH4 Taking Lens: Rokion 85mm T1.5 Cine Lens for CANON Anamorphic Lens: KOWA for Bell & Howell Anamorphic Clamp: Rapido V2 Clamp ISO setting: 1600 Shutter speed: 400 Aperture: T1.5 Video format: MOV, FHD Aspect ratio: 3.556:1 (1920:1080 with 2X anamorphic squeeze) The minimum focus is 1 meter. Different anamorphic lenses are used as focus targets, set between 1 meter and 2.5 meters from the camera. The video shows racking focusing from close focus to infinity. The aperture is kept wide open at T1.5. There is no sharpness drop comparing to the original Kowa & Rokinon combination, and there is no change of the original flare/bokeh character from the anamorphic lens. This is the main difference comparing to other Single Focus Solutions, like SLR Magics, FM Module, and Rectilux. More test videos will be uploaded soon. Youtube video is here: https://youtu.be/h96fqNsKpEI Vimeo video is here: https://vimeo.com/206798264 (better resolution) Music: Cloud by Ehrling, link: https://soundcloud.com/ehrling/ehrling-clouds

Trying the stress test now. I think about an hour actually recording with 5 to 10 minutes goofing off at the start. Will confirm in a few minutes. The battery charge indicator works pretty accurately, yes. I put the link in the other thread about tips. Let me find it... BATTERY CHARGER: the GH5 charger is 0.65A and takes a day to charge one battery so trying to charge 5 is impossible. A charger like https://goo.gl/EM1NyP charges 2 batteries at up to 2A each (3x faster each). It also charge checks very quickly in a matter of seconds, even when not connected to mains. It was a couple of dollars less on sale. I don't have my GH4 charger. It seemed to charge faster but maybe I just didn't get the opportunity to use it much on more than one battery. Ever! The GH4 can go forever. Yes, I got the dual charger as the GH5 stock charger is WAY too slow. Impossibly slow if you (now) have to charge 5 batteries. Also have one of these on the way https://www.aliexpress.com/item/DMWAC8-DMW-DCC12-DMW-AC8-DMW-DCC12-DC-Coupler-AC-Power-travel-Adapter-for-Panasonic-Lumix/32629658872.html

Compared to D7200: less mpx less DR SD card still does not support UHS-IImedia (like the D7200) re-positioned camera strap lugs still no Focus Peaking support in Live View no separate AF joystick (like the D500) $50 increase in list price (USD $1,250 vs $1,200) but twice the price of D7200 grey market single SD slot (compared to the D7200 twin SD slot) lower resolution for the rear screen (922k vs 1.2M dot LCD) what a joke lower number of shots per battery charge (950 vs 1110) no NFC feature (which the D7200 had) anyone spending more money to get less than D7200 is out of his mind.

I predict this will be a huge success for Nikon. The photo features are great... and I'm unsure how many times people on this forum needs to be reminded that we are the minority customers of these cameras. And spec vs spec, sure the NX1 and NX500 wins, but why is it I still prefer the Nikon image to the Samsung? I mean, minus AF points, for $750 less, you're getting a mini D500, which was reviewed as the best camera of 2016.

Auto. In MF you can't get that kind of error unless the subject distance changes...assuming you focused accurately in the first place. I've found tap to focus to be very accurate.

All I know is... my D5500's video looks more cinematic at 1080p than the G7 looks at 4K. The LX100 and it's 12MP sensor has more mojo than the G7 at 16MP. Now I'm not picking on the G7 or Panasonic or anyone else, but when a conversation arises about good, clean 1080p, the D5500 and the D750 always gets mentioned. And who cares about MPs? 21 MPs are more than enough. I am excited for the D7500. The 4K video I've seen from the D500 looks great. The 1080p I've seen from the D500 with it's IS looks great. @jhnkng recently posted a video from the D500... I thought it was shot in 4K but it was actually shot in 1080p. Yeah the crop could be better, but it's basically the same as the GH4 and IMO, the D500 has better 4K than the GH4. But I do wish it had peaking. In the end, the cream rises to the top. And any camera from Panasonic, Sony, Canon or Nikon, etc... can be used to make a fine film. A couple months ago, I told a story about how I was at the movie theatre over the holidays and the projector went haywire and the menu showed on the screen during the trailers. All of the trailers were being projected at 720p. Last week I worked a trade show and on their theatre sized screen, the video was being displayed at 720p video and it looked amazing. So we should probably stop worrying about this spec and that spec and instead work on making better films.

Honestly, I've had the same thing happen with every camera I've ever owned...PDAF or contrast. Nah, just playing. Sometimes we need to lighten things up. The GH5 overall imagery is so close to the G85 (only with better capabilities), I'd say if you gave Jon the GH5, he'd achieve the same or better results. As I've experienced it on the GH5, tap to focus in manual mode does not work. When in manual mode, there is a small AF box in the lower right. By touching that, you will get an AF execution within the relatively large rectangular area shown on the LCD. It will not refocus after that until you next hit the AF box in the lower right. Using tap to focus in AF mode, you will force the camera to focus on the area you select, but if you change your framing, the focus will continue to change within that box if you've selected continuous AF within the camera's menu.

I just watched your Saigon Central Post Office video and you are getting better images out of the g85 than anything I've seen from the gh5, especially the interior shots. I like that you don't try to change the fundamental imaging of the camera to make it something it's not, but work with the camera's inherent characteristics.

If it is in autofocus I can understand. In manual, much difficult to accept this behaviour of the camera. Tap to focus can't be wrong then, it should work fine.

Well, let me ask you this: remember the NX10, NX20 and NX30? Nah, of course you don't really. I bet those even sold less. Samsung is not the 1st thing that pops into mind when you think serious DSLR/mirrorless cameras (well, maybe now), let alone stores having the brand in stock and on display. Nah, people buy Canon/Nikon, because that's on the menu... that's the house recommendation, that's what they order. Doesn't get more simple than that. Everyone and their neigbour's dog shoots a Canon, so obviously it's being established as the 'go-to popular brand'. Doesn't mean that they should stop innovating and stop rivaling other cameras. Samsung's problem was not the hardware or features (that however is starting to get Nikon/Canon's problem now). It's was their image and marketing. But atleast they went out on a bang I guess (if anything, the NX1 put them on the map because of the hardware/features... atleast, just before falling off). Stop while you're ahead.

Is it helpful to the thread? Can I take it to private message? Does anyone care that I'm offended? All good questions. On the actual topic then, my new battery charger is 2A, not 0.6 A. For the GH5 the stock charger is not sufficient or quick enough.

Another non-starter for video, although as a stills camera I quite like it Nikon seem to have caught Canon-itis. A well known condition where you lose your memory and release the same camera every year with a different badge.

I have a small collection of cans; Sony DMR 7506, Sen HD25-2, AKG 701 and Grado SR80. If I want to listen to music I'll grab the Grado's as they are sweet sounding but not very accurate - classic Hi-Fi vs sound production choice. If I was forced into mixing with headphones I'd choose the 7506's - no they may not be the sweetest sounding or most detailed but like studio monitors if the mix sounds good on these it's a good mix. For recording in the field the HD25's are unbeatable but not particularly because of the sound but because the split headband means they don't slip off your head when you look down at the field recorder and they are tough and comfortable to wear for long periods. Bought the AKG's on a whim but the best thing I can say about them is they sound inoffensive. I know there are some fantastic sounding cans out there but for mixing and sound production this isn't actualy that useful. NX10 monitors became studio essentials not because they sounded good but because only a good sound mix worked on them and it ruthlessly revealed poor production - if your mix sounded good on these it would sound good on anything. I'd think you need the same from cans and the 7506's do this as well which is why 1000's of audio pro's still use and trust them.

I have the MS-1. The best thing about it is that its just about heavy enough to really give yourself an effective enough beating around the head to punish yourself for buying such a piece of shit without actually killing yourself. So, it's very well balanced. Unlike any camera that I've ever tried putting on it.

Bitrate is 144mb/s. D-light and stabilization is only available in HD. Limitations of electronic stabilization is understandable, but I don't know why they couldn't make D-light ready for 4k. Implemented correctly, it has potential to become a must have feature in video shooting. Maybe lifting shadows of every 4k frame is tough job for its still-optimized CPU.

Well, it does have zebras, but the D7200 had them as well, so there's no reason why the D7500 wouldn't have it either. I will definitely buy this camera next year after the price drop... maybe during a Christmas sale.

Update: Ricoh issued a statement denying the report, saying that they are focusing on expanding “high-value-added models” (Google translated from Japanese). http://www.itmedia.co.jp/news/articles/1704/12/news063.html I hope they stick with the GR and skip the rest Fuji I think hopes the absolute opposite. The x70 and gr are neck and neck.

I've ordered the Ninja Inferno. Expect some flog to be making an appearance here soon...

Jon, I can tell you first hand, owning both, the GH5 has much better AF than the G85. The funny thing is, what you experienced I've also had happen with both the Sony A6300 & A7Rii. It would absolutely amaze me that someones head could fill up 1/2 to 2/3rds of the frame, and the camera would still insist on focusing on the background. I guess all these cameras can do that at the most inopportune time...except maybe the Canons? Never used em. And hey, why were you readjusting WB after hitting record? Did the lighting change that much? Isn't there a law in Vietnam about adjusting WB and vlogging at the same time?

Hi! I've shot this film fully with GX80 (GX85) + ProColor. All shots handheld with 5axis stab on. I thought I will share the video, it shows this LUT capabilities: Footage during night with ProColor LUT without noise reduction in editing, mostly ISO800: https://youtu.be/E5nYXPcDk_g?list=PLY1xsQ047Gnh2maspLJuKMIUcv0KF_3Tu

Hi! What do you guys think , is it smart to buy XC10 now as I want to have an all round camcorder for my street scenes? Years ago I used to shoot with a Canon SX 1 IS in video mode and then I searched for a perfect frame in that particular video clip. What I really liked and I still like those skin tones in my old SX 1. This new XC10 reminds me of SX1: fixed zoom lens from wide to tele , articulated screen , Canon colours ) , no everheating. Sometimes I don't shoot video for video, it's a lot of fun to search for a frame that I wouldn't be able to capture using just a photocamera. And a question to Andrew, please, please, publish your XC10 review! Thanks in advance!

Yup. 5-10 minutes in menus, one 53.9GB file of 10bit vlog, 51:33 duration. LED screen on. Don't think any power saving things are turned on.

Daniel Peters fixes the live view problem during HFR. Use shutter speed, not shutter angle. Great summary! I think you hit the points I'm seeing exactly!! (Indeed, almost a word for word conversation I just had with a friend here) Especially the ones I've put in bold. I tried the gx85 ibis on my 7.5 rokinon fisheye and it spewed over it. So a bit hit and miss with the non-pana wide lenses. Something to be wary of. Nice video Just to clarify, if you look at what you're quoting, he is not talking about IBIS. That comment is about the additional electronic stabilisation which has a crop.

You're still looking at a lens which is likely tens of thousands of dollars, and needs rod support and probably can't be hand held by anything less than arnold schwarzenegger himself

XC10 is great, you just really need to test the limits of the camera. Obviously tricks like ETTR help a ton. C-LOG is clean and looked really good to me. I don't own the camera anymore but want to buy one again. It is just a really really fun camera to shoot with. Liberating coming from a very large camera. I would be curious what the new Wide DR profile looks like. Positives: Really light weight, Very small/compact and discrete, High bit rate 4k images, great zoom lens, really nice auto focus, deep depth of field making exterior shots, etc, really easy to focus, that excellent Canon color. Negative: 1080 codec is weak, most of the internal profiles look pretty bad, lots of noise reduction - kinda mushy, lowlight is pretty bad, hard to achieve shallow depth of field with wide shots, expensive C-FAST cards only. I would say for daylight shooting, this camera rules. Seems like a great stock footage camera, probably great on a Ronin or small SteadyCam.

I understand what you're saying. It's not really 6K, just like UHD isn't really 4K either. But sticking to aspect ratios, I guess you can say it's close enough. Most of it is marketing anyway. Red, Sony, etc all claim 5K, 6K or 8K and it's not really that size. To answer your question about recording, on a 64GB card: 8bit UHD 16:9 30P - 1hr 24min 8bit Anamorphic 4:3 30P - 1hr 24min 10bit UHD 16:9 30P - 54min 8bit UHD 16:9 60P - 54min 8bit Anamorphic 4:3 60P - 54min 8bit 6K Photo Mode 4:3 30P - 41min Continuous recording is possible with 6K Photo Mode. Again it's just like 4K Photo Mode on the GH4 - full video and audio recording. But it is HEVC H265, so transcoding is a must in order to edit. I would show you some of the longer shots of 4-5min, but it would be HUGE, around 60-80GB. Transcode, edit, and then the render time... Rendering just the small clips are something in the order of 30min. If I did 5 min it might be a couple of hours on my mac. Definitely something to consider with these large files. The GH5 really is an amazing camera. At one time I was really considering getting a Sony FS5 or FS7 just for the 4K 60P and the slomo. But I'm so glad that I waited. To have Anamorphic 4:3 modes means I don't have to do crazy cropping with 16:9. Plus with the added benefit of better codecs and larger anamorphic coming soon, it's almost like a mini RED or Alexa. As for all those people returning theirs or complaining about AF - well this isn't the camera for them. This camera really is for filmmakers. It has a lot of the tools that filmmakers need. The new Waveform tool, peaking is improved, etc etc. There's just so much value for the money.

Panasonic should think about a merger with Olympus if either of their camera divisions hit severe trouble. Focus on the high end models from now on only. Nikon I fear for more because they are not innovating and seem completely clueless about how to turn things around. They are also the most dependant just on cameras, whereas Panasonic and Olympus have other big presences in medical and consumer goods beyond cameras. Sony's stuff is selling well, no need to fear for them. They will soon over take Nikon and go into second place behind Canon. Fuji I am not sure about... on one hand they have a strong enthusiast following, on the other hand their sales aren't exactly Canon-like and they are quite dependant to the consumer photographic market. I think medium format isn't enough to save them if things keep on deteriorating. Out of everyone, Canon and Leica have the biggest share of the pro market and big big margins. They'll be around for a long time. Even if their products are obsolete in some ways... Canon don't understand apps and services, and Leica don't understand very much outside of their professional photography niche. Rioch seem to be mismanaging Pentax and I can see the Pentax brand being sold. They are definitely the next one in the danger zone, and far more likely to do a 'Samsung' than Panasonic or Olympus.

Exactly. It's almost like the Red vs Alexa debate. Do you want the power (and responsibility) to dig in and get your hands dirty with the image, and to whatever extent you choose supervise and control every step of the experience yourself (Red/PC... or Sony) or do you want to pay a little more for something with worse specs that holds your hand throughout so it's harder to screw up (Alexa/Mac... or Canon) but ultimately less powerful? I know my choice. Regarding your laptop breaking, you may be more of a power use than you think and end up burning out your graphics card. It's been a problem on every laptop I've bought, hence the Apple Care I consistently buy. I'm not a power user, myself, I have simple needs but still "pro" (Adobe Suite, mostly). I strongly recommend the retina MacBook pros (the 2013 generation refurbished if you're on a budget) despite this. Reliable and the pro res support makes a HUGE difference. And yeah if the computer doesn't turn on it doesn't mean your files are lost. You can get them recovered professionally even if the drive is corrupted pretty often, and if the computer is broken but the drive works you can just tear it out and plug it into a toaster/caddy/whatever and recover your work.

@nahua, indeed... But it doesn't make sense either to call it 6K photo or less than 5K video, that's what actually this camera and this mode both are too. I wonder on overheating not because I don't know both Sony and Panasonic. Man, you're speaking with someone who is customer of both brands for longer than your age very likely ; ) if you were born in 90s : D I wonder about, precisely, because they insist to these silly denominations such as 6K Photo or to present this camera only as 4K video capture device on film side. I thought this mode would only be available just for a few seconds. It seems you can have 3 hours out of it or until your battery or card will completely drain. Recording sound included. How come? Hence my fair try to detect where the catch is. People look like very crazy, very lately. Panasonic marketing doesn't escape to this remark. This camera is fully underrated. A shame.

I've just did some more testing and came to the following conclusions: (I shot all clips in 4k 50fps 8-bit 150mbps and a couple in 25 fps with the VFR on) - IBIS is working very well at 35mm, pretty good at 24mm and horrible / unusable at 18mm. This is with a 18-35mm on a Speed Booster XL. - The VFR mode on 1080p is a bit soft after looking at 4K clips for a while, but the worst thing is the horrible moiré and aliassing. Even small waves on water do it. Plants and grass in the background induces it also. The only way to shoot in this mode is filming people with the background out of focus in my opinion. Still a nice trick to use once in a while. - Battery life of the camera is heavily decreased compared to GH3 / GH4. - CineLike-D has more shadow-detail ánd highlight detail than any other profile except for V-LOG. It does however take away some color tonality. I like the colors of Natural the best, but I prefer the extra DR of Cinelike-D. So I'm going to stick with the latter. - This camera overexposes pretty quickly, but when shooting 1-2 stops underexposed, the image grades very nicely and there is a lot of detail in the shadows that can be brought back. So, similar to other GHx camera's actually. Last but not least, I've made an edit of some test footage and my computer is able to handle it all and provides playback in realtime and full resolution! I honestly didn't expect this as my specs aren't that great in 2017. CPU: I7 3770 / 12 GB mem / GPU: Nvidia GTX 1060 6GB / Premiere CC 2017. The montage was just 1:30 long but I added some effects (Warp Stabilizer, Filmconvert) and did some cuts and fade-ins. Sometimes it slightly hesitates but when I press spacebar again it's smooth as butter. Not having to transcode the footage is very convenient and I hope the playback will stay smooth on longer projects with more clips and effects. Does anyone else have similar experiences?

Ok, Helix Jr it is then. Thank you for your input.

Jon, I would never say you look better OOF than in focus...not me.

But tap to focus should behave in a different way if in manual mode, no?

And my point is... there was nothing that put Samsung on the map in the first place. Until the NX1 came along that DID do a lot of things right hardware/feature wise, which is why the Samsung NX1 is now known and GH5 AF basher Max uses a couple of them for example to shoot weddings with. So... I actually wholeheartedly disagree that putting awesome specs in your cameras is a bad move.

I see. So you tried to focus your face and the camera focused the background? Maybe in autofocus? Did you see if in manual mode the tap to focus behaves the same?

Does it work on both auto and manual focus?

@Andrew Reid Full ACK. BUT Canon can afford it - because Canon is by far market leader, is very profitable (even with their camera division) and Canon still owns the strongest "photography brand"...I don't know, if Nikon can afford the same illness - Nikon-itis. I don't believe that in the next five years all current manufacturers will survive...Not because of going bankrupt, but because of leaving the digital camera market because of continuous losts. Look, Samsung could afford the camera business, Samsung is an unbelievable big and profitable company. But they know about smartphones killing the digital camera mass market and they don't want to permanently loose money just for beeing "innovative". For a company even extremely innovative is not enough - you have to generate profit (either selling lower costs products in a mass market or very expensive products in a niche market), not innovative features and highest end devices for a micro-niche enthusiasts market looking for kind of cheap 16k 4.4.4 cameras...

The targeted audience of such a APS-C camera (pro sports photography, ambitionned enthusiasts, wedding photographers, passionned wildlife photographers in any weather conditions) care mostly about: dual card slots (reliability) - only 1 card slot in the D7500 buffer size: 19s/200 RAW with the D500 vs 5s/50 RAW with the D7500 99 cross sensors for maximum of focusing capabilities with the D500 weather sealing and a maximum of rugged built quality (D500) 10,3 photos/s (D500) vs 8/s (D7500) In my opinion, the targeted audience will NEVER EVER buy the D7500 instead of the D500 only for saving 400,- EUR (in Germany). Hobby photographers / other APSC-consumers will stay with the D7200 or buy another (much cheaper) camera. So, the D7500 will never cannibalize the D500... @gethin No peaking is a shame for people who want to film with nikon cameras and want to keep their gear portable (without addtional monitor). BTW: I know about 12 Nikon pro users (photo journalists / pro phographers making a living out of their profession) in Germany, NONE of them is using their Nikon camera for filming - mainly because of Nikon's disastrous video AF and no peaking when MF. That's why Canon has the journalism and documentary industry in his pockets, though some of their cameras are much more expensive (but not necessarly better) than Nikons...

Go for the new Nikon D7500! Even the name itself is a good match for the D750 ;-)

Yup. I have a few cameras that capably handle 90% of my work, but when I'm doing something more serious or particular, I'll rent what serves the need.

Maybe it's the GH5 CN-E (Casey Neistat Edition) with special C-AF profile Panasonic will be charging for as key feature update (like V-Log L).

I was just about to subscribe to you channel but you went wayyyy of base dude with that 'scripture late at night when i listen to tech channels i really don't want to hear Jesus or any religion staff its like you are pushing it on us like a hidden advertising. Stick to technology if its important to you but not to us and some of us are not christian or catholic. People get offended really easy when it comes to religion best thing is to keep in your home to your self.

Here's the breakdown : 12mm F2.8 18mm F3.2 25mm F3.5 40mm F3.9 50mm F3.9 60mm F4.0

I honestly think in 2-3 years time when we are all done to death with cobbling together different lenses and bodies and interfaces and all the other hooch looking for perfect systems then we'll all end up buying camcorders again. The XC10/15 has a lot going for it in this respect. Everyone I know who has been sceptical about it and tried it has found it quite liberating to just have a one box solution that - when you look beyond the specs - just makes decent images and makes them without fuss. Obviously they aren't without their issues as you'll find if you have a search on here so whether this iteration of the concept is the right one at the right time I don't know. Canon have the wherewithal to make a Super 35 version of it with L optics with a constant 2.8 with a FF equivalent (not that old chestnut) of 18 to 300mm, retail it for 5K and it would probably be the last camera most of us would need or buy. Which of course is precisely why they won't do it! I tell you who might though and that's JVC if they used the LS300 as a basis. I've been using a G7 effectively as a camcorder this week with just one small zoom lens on it and relishing the speed and simplicity of the restriction rather than fretting about it. So, yes, I think if you just want to get and shoot do what you've described then the XC10/15 is not going to get in your way. In that regard, it has to be a smart choice! But.... If you're in that area, I'd also take a good look at the Panasonic FZ2000. Its a lot cheaper, faster lens (at the long end), much longer reach, has NDs, LOG, 5 axis IS, 10 bit very good stills extraction, much cheaper media, 10 bit 4:2:2 HDMI out.... The downside is that in 4K, its cropped to about 35mm FF equivalent (here we go again) which may or may not be a deal breaker for your application.

So sometimes I do inside stuff and sometimes outside. If I go to the beach I don't want to be swapping lenses, and weather proof important, and before I'd have to swap to either the 42.5 (which I never did) or straight to the 100-400 which really is for different targets. For inside I use the 25 1.4 or 42.5 1.7. Sometimes I entertain the idea of getting the 42.5 1.2 but 1) price and 2) macro isn't as good and 3) weight difference :O It's not f/4 at 35. It would be just over half a stop at f/3.4 with a smooth aperture transition. The 12-35 was great within it's range for sure. The swapping lenses thing is a lot to me. Want to stop peering into lens bag while friends having fun around me.

Gotcha. Yeah, that's a pretty telling comparison pic. Thought if it was all tungsten, that might explain it. Color seems pretty bad on BM cameras with tungsten for whatever reason.

Fluorescent tubes on the foreground, 800W Redhead with 1/2 CTO on the background. Same phenomenon applies under all lighting conditions though, from daylight to full tungsten.