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Whoever that was is going to be apoplectic when I post my upcoming essay "Canon and Nikon as viewed through the prism of the template for competing Japanese technology duopolies established during the transition from analogue to digital synthesisers in the period 1979-1987" Well, pentaprism at least. Anyhoo.... If you want to monitor audio from your camera but it doesn't have a headphone jack then a little lateral thought will get you here. https://www.amazon.co.uk/gp/aw/d/B016I34422/ref=mp_s_a_1_13?ie=UTF8&qid=1499264817&sr=8-13&pi=AC_SX236_SY340_FMwebp_QL65&keywords=hdmi+audio+extractor Plug this into the HDMI socket and it will extract the audio to a 3.5mm jack socket at which point you can then use a similarly cheap and small battery headphone amp to monitor it with or if you want to be all fancy and wireless you could use a Bluetooth transmitter like this which are all over amazon for about £12 https://www.amazon.co.uk/gp/aw/d/B018YU3VVC/ref=mp_s_a_1_4?ie=UTF8&qid=1499265402&sr=8-4&pi=AC_SX236_SY340_FMwebp_QL65&keywords=battery+powered+bluetooth+transmitter&dpPl=1&dpID=41aHuVS8uuL&ref=plSrch Good thing about this - apart from sticking it to the man and not having to buy the next model up to get such a fundamental feature - is that you are listening post the camera taking it in. External pre-amps are good by offering you headphone monitoring but its before the camera has taken it in so can give you a false sense of security.

Consider that the OP is right on target when he states that the AF100 is pretty much a glorified GH1. You can probably get a GH1 on Craigslist by battering a used pair of shoes. Seems to me camera geeks will ALWAYS debate specs. (nothing wrong with that) Creatives will go do interesting stuff. (nothing wrong with that) The wonderful thing about 2017 is that anyone that really wants to do something, well, the door is wide open. There's absolutely no technology barrier anymore.

Unbelievably, the shop had an actual Panasonic rep in who was eager to help me evaluate the G80 so I had to think on my feet. "Can I just see how the focus tracking works when its being controlled by the app compared to my GX80?" "Of course" "OK, you go over the other side of the shop and I'll put the app on and then you walk towards me. Slowly". " OK....Is this far enough? " "No. Further away". (Faintly) " How about now?" "Yes. Now walk back really slowly" (pretend to study app screen while sending commands) "How did it do?" "Its the same as the GX80 so I'll stick with that for now" What's also the same on the G80 and the the GX80 is that VLOG doesn't work on it either. I have an idea about a clue in the GH4 that might shed some light but don't hold your breath.

What, you think I'm just going to wander into a camera shop in London tomorrow asking for a demo of a G80 and casually try and put VLOG on it? Because of course thats precisely what I'm going to do !

While watching one of their BTS videos (which they'd linked to as part of their advert for a new flatmate) of a local kiwi filmmaking duo: I realised from watching their BTS of the film, that their feature film (which is a damn decently good one for a person's first feature and done on a very low budget, absolutely worth a watch!) was shot on the Panasonic AF100 (for those who are somehow not familiar with this camera, think of it as like a hacked Panasonic GH1 but in a camcorder body): I think (?) that their second feature film (disclosure: I was involved myself in its shooting for a very tiny part of it! As the sound recordist for a few pick up shoot days) was primarily shot with a Canon 1D C and a 5Dmk3 ML raw, thus this film when it is released should also be of great interest to members of this forum:

I sing it from the rooftops so you may have read... I've been shooting with the 5D3 and ML Raw for the past two months. While I've been shooting my film, I've realized how much storage I need, so I've been deleting a lot of old test footage from my hard drives. Of course, I get nostalgic, so I've been watching a lot of the footage before I delete it. The only stuff I feel remotely attached to is the footage from my D5500. So much so, I'll probably end up buying a D7500 for some Nikon Flat 4K. Or if I really want to save some money, I'll sell my D5500 and make the small upgrade to a D5600 for the video timelapse. The IBIS is nice with the GX85, but with a simple monopod or shoulder stock, I can get just as good stabilization with a more organic feel to the video than I have ever gotten with a Panasonic. Also, adapters are annoying and the affordable micro 4/3 glass feels like they may break just by looking at them cross and the expensive glass, like the Voigtlanders, are awesome but they're a lot of money for a micro 4/3 system, IMO. Of course, that's just me. The GX85 is a fine camera that has proven to be a reliable tool. I just like the Nikon image better.

Wish there were more posts like these. With all of the arguing over specs and brands, I think we can learn a lot from this post. With a humble AF100, which can be bought for less than $700 on the used market, a great looking film can be made. With a couple grand more, an amazing looking film can be made. In the end, I didn't care what camera those movies were shot with. I was engaged with the story. I want to see both finished films now.

Well, it's nothing to celebrate. Canon and Nikon had to start innovating but I feel the boat has sailed a bit now... Is it too late? For online services, social media, smartphone cameras and the like, it probably is. If Canon had bought Instagram, etc. when they had the chance, different story. They didn't see it coming, they didn't see a future in that particular industry or the benefit of it to their core products. This may be over-simplifying it a bit but it gives you the general idea of the problem, of having 75 year old management guys in charge in Japan. Canon may end up being more of a business-to-business company than a consumer facing one. They won't mind because it is whatever makes money, but the cultural loss to photography of their poor form will be felt. Look at how quickly analogue sales dropped in just 5 years to practically nothing with the advent of affordable digital cameras between 2001-2005.

No way you're realistically getting a Micro up and running for a grand. It needs a monitor at the verrrry least. More likely a speedbooster, cage, and lots of batteries/media too.

Panasonic G80 is the clear top #1 option with 4K in your price range. The next two contenders I'd suggest are: BMMCC (if you don't care that the Micro lacks 4K and IBIS, and has max slow motion of 60fps FHD) Nikon D7500 / secondhand D500 (if you'd like to keep on using your D530 as a very easy to match B can)

The Panasonics are probably your main choice on that budget. GX85- very good 4K30, good 1080p60. 4K has an additional crop compared to 1080p (2.3X instead of 2X, compared to fullframe. Your D5300 is 1.5x). Very small body. No mic or headphone jacks. Very good IBIS. Screen tilts but doesn't flip out. Doesn't come with Panasonic's flat profile, Cine-D, but user BTM_Pix just figured out how to add it. HDMI output stays on while recording. Good to very good rolling shutter performance. G85- Same as GX85, except in a more DSLR-ish shape. Half-metal build is nice and solid. Has a mic jack but still no headphone jack. Has a flip-out screen instead of tilt. Comes with Cine-D. G7- Same shape as G85 but plastic build. Otherwise pretty much the same except it doesn't have IBIS. HDMI shuts off if recording internally. GH4- Bigger metal body. No IBIS. Has Cine-D and can be upgraded to V-Log. Slightly worse ISO performance than the GX85 and G85. Color science is also a tiny bit "worse" than the newer cams. HDMI stays on when recording, unless in 10-bit mode, then it's HDMI only. Much better bitrates for 1080p modes and has a VFR mode for up to 96fps, but it's pretty soft. LCD screen is nicer than the G cams. Battery life is phenomenal. Rolling shutter is a step better than the G cams, especially in 1080p. With the Panasonics I would recommend going the Speedbooster route. You could keep your Tamron and then expand on it with some old AI or AI-S glass, for fairly cheap. Your Olympus 50mm won't adapt to a Nikon booster though, you'd have to use a plain adapter. Or just sell it and get a Nikon 50mm. Photos with the Panasonics will be on par or a bit weaker than the D5300. The Speedbooster will help close the gap but you won't have autofocus. You can also look at the A6300, but as said above, its 1080 modes are soft, no IBIS, battery life and rolling shutter sucks, dim screen, etc. But for some people the tradeoffs are worth it for the great DR and detail in 4K, and superb photos.

I think you mentioned this earlier @Oliver Daniel but if you like going handheld the IBIS in the GH5 is so great paired with fast primes and lenses like your Sigma Arts.

Here are some pictures of the Rapido Front Metal Jacket with CoreDNA front mounted. Front Metal Jackets for Bolex 16/32, and Kowa C35/1.5X are coming very soon.

If there is any company that will have a massive standoff amongst its users about adding anything video related (even an optional larger grip for more battery life and XLRs etc which you wouldn't be obliged to buy) its Fuji. The poor man's/smart man's Leica purist vibe is strong in that community! If they produced what I think they should (basically a video oriented mini RED) there would be skinny latte spat out over beards in Starbucks the world over when the news broke.

Oliver Daniel i truly understand you... i know what you're meaning with the FS5. 5DIII Raw files are way too heavy for me and difficult to manage on some big movies. Good to shoot sometimes with but not a camera i like to carry with me now since i got my A7SII. Here is a great camera... A7SII. With a powerbank and a good lightmeter with you this camera makes such fantastic things. 8 bits ok... we all know this... What i like is the Slog and its great latitude in contrasty situations and its 24x36mm size... Big shots with this cam. And the slomos are great when light is enough. Great 120 fps even with a 2X coefficient. A 16-35 2.8 does the job well for me with this 2x high fps mode. What we can expect from an A7SIII will disappoint us i think... i think this won't be 10 bits... And a 10 bits hdmi output will disappoint me also as what i like from this camera is shooting ultra light, gimbal or zacuto shoulder rig and that's all... I've shot with 7" screens on the rig etc etc and i really don't like it... Too much equipment ruins creativity... Personal point of view of course. The GH5 looks great to my eyes too... And this little beast has made some charms to me... I used to shoot with a GH2 and have been blown away with its inner qualities. The GH5 has a v-log mode and high frame rates... tempting features. But, micro 4 thirds with native electronic lenses i don't like it, and metabones adapter with EF or other mounts that's what i used on the GH2 and sometimes had problems... Why don't you use that fantastic A7SII ? have it from its exit right now and still have no problems with a cheap commlite adapter, damped with black cloth inside it... My advice in your case would be stay with an A7SII till an A9S comes out !!!!! ;-) As you know the tool is secondary and that A7SII ticks a lot of what i need to make it my A-cam on most of my projects. Why would i need to upgrade or change this lil baby ?!!!!!! My A-cam for little projects like this : Trailer for a drama company. My 0.02 euros. :-)

Inspired by QuickHitRecord's excellent post, and this post here, I just acquired a Bell & Howell anamorphic projection lens like this one in very good condition. Does anyone out there own/use this lens? If so, which taking lenses do you find work best? Are you able to zoom through? I'm hoping to find details on how to modify to the front element to reduce the focus throw, and really any details to get the most out of this lens. Any pointers are greatly appreciated! If I can collect enough info to make modifications safely, I'd like to document the process and post it back to the forum in case anyone else may find it useful. Cheers, |. . | .|

The following conversation gave me pause and I am hoping to get a few questions answered by more knowledgeable individuals: One of the topics discussed was how these DPs feel that are sort of forced to use digital and many long for the days of film. In addition they seem to acknowledge the necessity to keep up with the 4K, 6K, and 8K race but that sometimes the preferable image is of a much lower resolution and they spend time trying to achieve that by softening the image up etc. as they (maybe Deakins) feel that the audience finds the optimal image to not be so "realistic". I'm curious on what everyone's opinions are. If one isn't doing paid work and 4K+ aren't demanded then you still get away with investing in a new product that is 1080P if the image is currently seen as not only acceptable but desirable?

The SLR Anamorphot-40 1.33x, mounted on a very cheap Panasonic 25mm f/1.7 looks pretty sharp for the money That this is all hanheld is testimony to Panasonics implimentation of IBIS

Mercer is annoying to debate with because he keeps switching the subject when somebody tries to take his point on. At the least, stick with one line of argument for longer than 10 minutes, to reduce the frustration factor. So what if Canon had a lot of firsts with the 1D C? It was also the first DSLR priced $12,000!! The first with an MJPEG codec for 4K instead of a much better suited one like ProRes! And since that vintage year, 2012 to be precise, we've had Dual Pixel AF and fuck all else. By the way, the real smoking gun is what Magic Lantern reveals about features being intentionally switched off... The 5D Mark III came out as a 1080/24p camera, maximum 30p, with 720p over HDMI. It was actually a 1080/60p camera with 1080p HDMI. So explain that.

Kodak was the first to use digital sensor Nokia had the first touch screen display GM was the first to offer electric vehicles What does it matter being first. The problem with canon is the same as your argument. It's more than five years old, they have not moved since. Is is so much to ask for a competing product from canon ?! others can do it, why can't canon?! it's as if BMW, mercedes, toyota and Renault were all offering flying cars but Audi refuses to do so, even though customers want to. And no, no matter what argument you bring, canon 6d ii is not on par with competition (as long as video is concerned, photo side it's nothing special, nothing to wait 4 years for).

Thanks for the update Nick! Bummer that the Helder didn't work out, but it opens the door for experimentation with other glass element to perhaps get a sharper, wider field of view. Keep on tinkering! Thanks! Would love to see pics of your setup once you get your collar back from the machinist! I am extremely pleased with my final product, and will be making it available for purchase to those that are interested :-) Cheers, |. . | .|

Looking forward to it! Man I was looking at my footage this morning... if my 5300 had ibis and 120fps hd I would be so satisfied.

Unfortunately, the helder ended up being a bust. While I loved the added width, corner sharpness was awful, extending ridiculously too far into the middle of the frame. It would be useable for close ups, but I wanted it for landscape : /. Your aluminum ring looks great @Bold! Again, I am still waiting on mine.... In other news, I was able to get infinity focus with the original optics. I will post images once I'm home. I also found that the Helder adapter can be used as a range finder, it's optics are strong enough! Could be a viable solution for smaller anamorphics to avoid those corners, just gotta house them in a helicoid. Now if I could only crack open this Sony adapter...I am still so impressed by the quality of the glass in that thing....

The problem with this rationale is the false notion that 4K video will save Canon. And that is simply not true. And this false narrative that Canon hasn't innovated in the past ten years, with video, is absurd. I could easily argue they've been more innovative than every other company... • 1st camera to offer manual video • 1st camera to offer 4K video • 1st camera with a LOG Profile. • 1st camera(s) to offer usable Touch/Tracking AF • 1st camera to offer 4K 60p In this arena, Canon will always cater to their stills customers. The 6D2 is a stills camera with plenty of upgrades for a stills shooter. Look at their promotional videos that highlight their cameras video capabilities... they hire stills shooters to video them.

@DBounceThe IBIS on this camera is an incredible plus...if you have a camera strap around your neck, for some resistance and a quick release, you have a "rig"...you can do a panning shot or even a small slider shot, that looks locked off...period...the speed with which you can shots with this camera, that would otherwise require 30 min to an hour setup cannot be stated enough...as you shoot professionally, this will be hugely relevant to you...you see an interesting cutaway shot...there's sufficient light on it and you grab it...in seconds...and it will cut together with your 1DX...since the HVX200, this is my first use of a hybrid style camera with IBIS...color...bitrate...image quality aside...this almost instantly became the strongest feature for me in this camera! PS...this is no camera for a beginner, but I would also add that you could make the autofocus work for you, exactly as it is...it does not approach Canon's, but then you're no beginner, and would quickly figure out where and how to use it and when not....I don't use AF, but did some rudimentary tests out of curiosity, and it works much better than the internet videos suggest...I would say that it would not be an issue for you.

I have both GX85 and BMPCC since slightly more than a month, so no so extensive experience and still studying how to use them at best. I opted for both as useful for shooting multicam on low budget (BMPCC is today a second hand bargain). I use to work out 1080 as to me is best balance today for quality & handling. I must say with cinelog D the GX85 is much better now, I always shoot 4K and the quality is really high and the camera with IBIS and VF is a pleasure to use. On the other hand BMPCC feels much more consistent as video camera, easier to set and operate and the IQ, even if not detailed as GX85 4K is more organic and cinematic, it has something that impress and capture watching the screen. The real plus is the raw capture: it opens up to whatever change/mod in postpro. Both need external recording solution for audio. If I'd have to keep one? I think today it would be BMPCC, but if you think to work in 4K and need for still photos, GX85 is a bargain and you'll not be disappointed. And in the future if you'll buy GH5 it will compliment it very well as B cam.

For those who love Canon colors I'd highly recommend using @hyalinejim V Log to ML Color LUT.

I have largely kept out of this one. But as I patiently wait for the Canon C200 my thoughts have also turned to the GH5. With the pending 400Mbps codec and 10bit, this camera looks to offer compelling features for a nice low price. I could easily snag two of these little beast and some lenses for the same money. But perhaps even more compelling is the mobility that the GH5 affords when striped down. Even my 1DXMkII becomes heavy in normal use. Granted it is worth the weight for stills, and I love the images I get from it. But for video I have to wonder if the GH5 is not the better of the two. 10bit makes a real difference. One that is apparent after editing some V-Log footage from the GH5. Those file can be pushed further than my 1DXMkII files. And we are talking less than a third the size. I am impressed with this camera. Also it would seem the GH5 represents the easiest path to anamorphic filming. Granted, most of the lenses I have seen that are "cough" affordable, look like garbage. I will give you that the Orion Series by Atlas looks pretty nice, but at $18k for the set... let's just say it's doable, but not without some thought. I guess the point is, I can see real benefits to the GH5. Frankly, save for lowlight performance, Panasonic have in many ways surpassed the competition. If Panasonic can get their act together with better AF (maybe int the new firmware?) they will be unstoppable.

This is a sad reality when working for some clients. You could rig up a small camera to look all big and pro, but you are back to square one again, in terms of mobility.

I certainly see chromatic aberration on some of my old s16 - zeiss 12-120(10-110) and Angenieux 150-150 - but I'm not fussed by it. I shoot with them to get a particular 'classic' look, not to get a super clean and pristine image.

Will do but I probably won't get around to it until early next week.

As every year passes by, it seems that Canon falls another 11 and a half months behind. This is why I encourage other people not to buy Canon lenses, as (even if you're "OK" with Canon's current state of development vs the competition... Seriously??) do you in six year time want to feel "stuck with" system than has only inched forward with quarter of a year's worth of progress?

I recently did a handheld test between the GX85 in 4K and 1080p vs. the D5500 in 1080p. I used the Nikkor 35mm f/1.4 with both cameras. I do not have a speedbooster for the GX85, so I used a simple adapter. The FOV was obviously different. I have yet to look at the footage, but I have a feeling there will be little difference between the two images in terms of visible quality. I will post the results here when I finish. You may be better off keeping what you have. There is some fine work done with the Nikon Flat Profile, so maybe a simple upgrade to the D5600 would suffice. Otherwise, if you can raise the money, the D7500 should drop a little by the holidays or you can do what I am considering, either the a6500 or the Fuji X-T20 if you want/need 4K.

You probably realized that you are asking for a lot of camera for not that much money... Most likely anything you want with 4K (or even just really good 1080p at 120fps) is going to be somewhat north of one grand. The a6300 has quite detailed 4K. With the latest firmware update (2), it shouldn't overheat as much (in theory). There aren't really any adapters with FUNTIONAL AF or image stabilization support for adapting your Tamron Nikon mount lens to a Sony a6300. However, you could possibly get the Sigma (for Canon) mount 17-50 OS and put it on an MC-11 adapter and then you would have the same 17-50 crop sensor focal range and functioning optical stabilization. But.... you better double check how well the sigma 17-50 f/2.8 will AF with the MC-11 adapter on an a6300. On the other hand, the 1080p on the a6300 falls behind some of the other cameras out there, and the screen is really not that good (compared to the swivel screen of D5X00 series or even the tilt screen of the D750). Oh, and the screen dims in 4K when shooting with the a6300... and it is already really reflective. I ain't going to lie; I find it a PITA to shoot 4K video with my a6300. Much easier to shoot video with my D750, just that the 1080p resolution of the D750 is so soft... A lot of people like the Panasonic cameras (l don't know all their models, but things like the G7 and G85 or something like that??? As well as the GH4 cameras). If you are looking for IBIS, then Panasonic IBIS with stabilized Panasonic lenses are supposed to be great. Then again, I have no idea on the pricing of Panasonic lenses, The new D7500 is supposed to cost around $1,260 so that is out of your budget. I would imagine that image quality would be good (on par with the D500) but autofocus in LiveView with MOST Nikon cameras is painful. Did they improve liveview AF with the D7500??? If so, might be worth getting. Heck, I am thinking of getting one anyway. Who knows. Also, maybe the Canon 80D ??? I have no idea if it is any GOOD or not, but it seems like everyone and their dog uses one. No 4K but at least you should be able to find one used for under a grand.

Completed a shoot today with the FS5, Inferno and A6500. The client loved the FS5 - the slo-no and the HDR screen. I could tell it's presence made them feel confident. I shot most of it on the A6500 though on the Zhiyun Crane. The autofocus really is invaluable. I hope the A7SIII gets this level of AF performance. Convinced the GH5 BTS shooter to shoot some 4K 10 bit b-roll for me. So.... very much undecided on this camera change until I actually borrow the GH5 for a full shoot. The FS5 and A6500 combo blitzed it though today, can't ignore that.

I hope so. It really pisses me off that my phone, Samsung's Galaxy S8, doesn't work with their own company's camera line, defunct though it may be.

I'm back in the world of Magic Lantern again! Alex is a genius. Can't wait to test the new builds. 1920x1920 is just perfect for my (very unique) needs. Gone from 5D iii to Sony A7s to NX1 and back full circle. The 5Diii has really held it's value... I sold mine for £1500 with 24/105mm lens for £1500 2 years ago and they are going for more than that now!

Atomos retweeting this - don't know the details:

It's only the 3rd or 4th option from the top, so I just scroll down quick and change it. Not a big deal; never really inconvenienced me. Also... There's plenty of information out there on a camera this old. Why buy it if you know it doesn't have the controls you want? I've never used the auto exposure modes, so I couldn't tell you. Sounds like maybe you should've gotten an EX3 instead.

If you get a GH5 I'd highly recommend getting a Tiffen Digital Diffusion 2 filter if you want a slightly softer look. It doesn't haze out the highlights or anything like that, but ever so-slightly softens the edges while keeping resolution.

180 minute final program length, 12TB storage and two GX85s using a 100 megabit/sec codec implies an approximate 60:1 shooting ratio, which is typical for a documentary, or even a bit low by today's standards. Your hardware shows it is possible to do quality professional work on a "shoestring" budget and with fairly low cost equipment. However I think most people who previously did large documentary projects on DV and H264 1080 (which did not require transcoding for performance on FCPX or Premiere) have been or will be shocked at the huge IT and workflow burden imposed by large-scale H264 4k. This has three components (1) Camera native material can no longer be smoothly edited but requires time-consuming transcoding, and (2) Camera file sizes are much larger (3) Even at 1/4 size, proxy files themselves take considerable size. I edited a documentary in 2010 shot on DV by multiple DVX100 cameras. The whole thing was about 500 gigabytes, about 40 hr of material. Initial post processing was trivial -- just capture the tapes, import and edit directly in CS4. By contrast I'm now working on an all-4k documentary which will ultimately be about 20 terabytes. Just to transcode the material of each shooting location to proxy takes days. It cannot be handed off to downstream editors on a portable hard drive -- we must use a complex FCPX proxy-only workflow, all the while testing and verifying the final relink will work. Right now I have 96 terabytes of Thunderbolt 2 RAID arrays connected to my iMac, and another 200 TB of off-line storage (part for other concurrent projects). I tested a 12-core Mac Pro last week and it was no faster for the time-consuming transcode phase. In the old days -- esp. after Premiere's Mercury Playback Engine -- things were very simple. We'd just import and edit. Part of this was the ability to edit camera native, and part was the lower volume of material. We didn't even need an assistant editor. Today (whether on Premiere or FCPX) H264 4k requires time-consuming transcoding to proxy, and the higher shooting ratios require even more time-consuming organizational steps to tag and log. It takes two assistant editors continuously busy handling this, and our storage capacity rivals some datacenters from the 1990s. If we shot the same footage in all 1080p H264, it would still require major logging and tagging but the IT issues in transcoding, proxy management, storage management and media distribution for collaborative work would be vastly easier. Thus the thread title is very valid -- is 4k really necessary? As an editor I like 4k. As an assistant editor, DIT and Data Wrangler I hate 4k. Good quality 1080 is so good I don't think most people on most viewing devices will spontaneously notice a difference. But 4k is the mandated future and content producers must eventually figure out how to handle that. As of today virtually no computers or editing software are fast enough to smoothly edit H264 4k without transcoding. That is a big adjustment for people coming from 1080.

I agree with many of your statements. One of the statements that you made that I don't agree with is not from this article. First, I am not talking in an adversarial way, so don't raise your shields You made a statement that Canon listens to their customers or photographers or something to that effect. I find from the D30/D60 on forward that isn't true at all. i chuckle when I read Denis Reggie or Jeff Ascough say to me that Canon is listening to them. In my opinion Canon listens to their internal minds, their own game plan, and in a very small very unique window of opportunity, I saw Canon very VERY eager to see what Nikon had up their sleeve at the announcement of the original Nikon D3 camera. At that time, the Canon people were scared sh#tless on what Nikon was launching - I saw it with my own eyes. Never saw that happen again. Leads me to the conclusion that we can add that Canon listens to ONE competitor's actions and products, and that is Nikon. Not Sony or Panasonic, and NOT their customers. The pattern for Nikon these past few years has been that Nikon has become a sleeping cow. And Canon advancement has tracked Nikon's performance to a the letter. They have been sleepy and lazy because the competition they watch has slumbered off. It is history repeating itself. Pure video people are not going to understand this point of view (with exceptions). But i feel things are going to change. I think Nikon is going to spring out with DPF cameras in a sudden surprise move and start the Nikon Canon machine marching forward again. This isn't pie in the sky there is evidence. Canon will react to money (sales) and Nikon. That is it - end of story. Nikon is asleep - and therefore so is Canon. Canon will advance with 4K in their cameras when it doesn't matter anymore. probably in about 3 year you will see 4K trickle down to the little cameras and the little people. The only thing to change this track would be Nikon jerking Canon's chain with a Dual Pixel Focus type camera somewhere in their product chain. My guess will be the D810 series with 4K and other goodies this year. Or another camera higher or similar in price next year. Then you will see Canon react. Canon doesn't give a crap about anything else, they have the sales and they have "their" competitor in a choke hold. Sony, Panasonic and Olympus are not competitors - to Canon. When I see comments like Sony is sweeping the market with their products, how many see Canon even blinking lol? Nikon, on the other hand is what moves Canon, can't say it any plainer than that. If Canon sales were going down the toilet, they would react to that too. Neither has budged, and Canon continues to report good sales to their board. The only buy I can see for active use is the 1DX II. It too leaves a lot to be desired, but there is no other camera I see that can be a workhorse to deliver is a well rounded way. It lacks IS, movie controls, lightness and small size. But it delivers an amazing army of people behind it to keep you up and running (another thing movie people don't put enough sock in - try and get a Panasonic or Sony fixed, yes I know about the new NY and LA centers lol. Chocolate bars for the kids basically. Go to a world event and Canon and Nikon have 18 wheelers full of bodies and lenses and techs to keep everyone up and running, this is more major than most people admit or recognize. Panasonic, Sony and company are "just" starting to make any noise in this area. I read in this article something that caught my eye. Are you saying that the 1080 feed thru the HDMI is better than most would expect? i would like to know that, it is is true or not. Recording to a $400 Atomos to ProRes on an SSD at a great 1080 and getting pro level results would be a really appealing thing to read! Also, got the new 2017 iMac i7 580 8GB GPU 40GB Ram yesterday. A 1 minute 5D4 MJPEG 4GB file transcoded to ProRes LT is 35 seconds. Straight from that file, color corrected and to H264 in 36 seconds (no pre-rendering). Color corrected and add a few plug-ins out in 55 seconds. MJPG jail has been cracked. Can work straight from the files, or transcode out to ProRes. Please say more about the 1DX2 1080 HDMI output and quality. Peter

It's pretty disingenuous to use Panasonic as an example considering their sensor sizes are literally half that of the Canon. Use Sony's A7 series (which only the most recent iteration of included internal 4k, by the way - though sure they at least offered 4k externally before that), and a6000 series - sure. They've been able to make 4k internal happen in a much smaller body, though they still took longer than Panasonic. There's significantly more data to process on a full frame sensor in 4k vs an m4/3 sensor. I've said it before and I'll say it again. Video shooters are not a huge market for Canon DSLRs and mirrorless. That's why the compromise you talk about has come at the costs of video. That's why they're attempting to develop better photo feartures first. Does that mean they couldn't have developed the technology to do everything you want? Course not. But obviously their focus is and always has been still shooters in the DSLR line-up. That's why they have a Cinema EOS line-up to cater for video shooters. Sony and Panasonic don't/didn't have the established customer base and were/are much more able to be nimble and take bigger risks. That's why they were able to make such a dent.

@jonpais Well said...before enjoying a great IQ, one has to shoot and do some post first. Many people simply forget to consider some practical, daily usage aspects when using cameras. Noone shoots with a spec sheet.

While the pocket has a great image, it was not exactly wonderful to work with. I would choose the GH5 hands down and never look back.

It's not a thesis, and these are real people's votes you're so glibly dismissive of.

This will all be fixed soon .... with the Sony A7s mark III

Not even, Canon will only release proper 4k (ie not 1.74 crop..) when all the industry will be at 8k60, then we will have 4k24p with moire on Canon DSLR. - New sensor, That the least they can do on a new $2k camera. Nice that they haven't used the one from the original 6D... - Digic 7 and extended ISO range: what does it bring in real life ? Faster processor and then old UHS-1. What is the real usable ISO ? Max ISO doesn't really matter 32 000 what not usable on the 6D anyway - DPAF: again what's the point ? This is mainly a video feature and video quality is going to be poor - 45 cross type AF: yeah that's nice actually but the original 6D was very bad on AF - Touch screen and Swivel: nice but nothing revolutionary here neither. It's on many entry level camera - Weather resistant: yes good point - Wifi, NFC, bluetooth, GPS: the wifi and GPS are already on the first 6D, a bluetooth and NFC chip is not very ground breaking, they cost a few dollars and many devices have that nowadays. Actually that would be more important to develop a real ecosytems around that because the current Canon App isn't exactly great. Hopefully the Wifi connection will be easier to setup on the mk2 because that's a huge un-user friendly mess on the 6Dmk1 (the GH5 app is even worst to be fair). Sure the 6Dmk2 will be an ok camera but 5 years and $2000 for that ? The D750 come very close or better (dual slot) and was released 3 years ago. It's available at almost half the price brand new on ebay. Personally I love my 6D but I can't justify $2k for the mk2.

Good to know. The 35mm F2 IS by the way is a gem.

I traded in my GH4+Odyssey combo for a Blackmagic Micro and couldn't be happier. My days of wrestling with a camera to do what I want are behind me.