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I, for one, can say that I enjoy having internal raw available (even if I don't always use it) and that I have little or no use for 8kp120. I'd also say "Nikon won't enforce their new patent" and "they'll probably license it" are completely incompatible statements. If they don't enforce it, other companies would be stupid to pay for a license. Even if Nikon fought to invalidate the patent in the past, now that they own it, there's a decent chance that their opinions on the validity of the patent have evolved.

On my FS7 I set a ND filter that is reasonably correct then ride the aperture to fine-tune. A stop either way in aperture isn't going to significantly affect one's artistic intent.

I thought the same, until I tested a bit the 4.1 K (pixel skipping) of my z9 as I calculated that it was about 350 mb/s bitrate (I dont know if it is capital M or small m), compared to about 200 mb/s the h.265. Another surprise was that it played better using Resolve than H.265. For me this has been my defacto standard for higher end work. I must do some more test about DR etc. to know what loss compared to 8k. Which I think is just too much. If I could get a 4k or 6k raw camera, I would be super happy or with the likes of Redraw higher compression.

I'm not sure if it was brought up before in this thread, but apparently Yaroslav got some new old stock of the Z Cam E1. https://www.soltyscameras.com/product-page/z-cam-e1 I really didn't like mine at all when I had it (and I was so pleasantly surprised by the E2), but as far as I know, it is still the smallest 4K ILC camera ever produced. If you do get, avoid the log profile.

You can make a video shot on a 1980's VHS tube camcorder look pretty if you have elegant, soft, and nice lighting. When the light in a scene doesn't have a harsh spectrum, it'll look decent. Thats why exceptional shooters get up at 3am, get ready, and "chase the light". There's a very good reason they do a lot of their work during the so called magic hour. I could send you URL's of promo reels from camera products released 15, heck 20, years ago and it'll blow your mind. Cameras with 6 or 7 stops of DR looking freaking awesome . How? Pro cinematography with good light. I love playing with the tech side of cams, but i never accomolished great shots 'til i broke out of the teccentric mindset. Anyway, enough soap box. Will leave you be...

Yes, I saw a few videos regarding this. He's right- it's a fun camera and I wish Panasonic would update it. The best part of it is the flip-up screen. Unfortunately, the worst part about it is the moiré in 1080p and overheating in 4k at 5 minute or less. As a travel camera or B-cam, it's a great choice IMO. What I find amazing is the fact that many of the newer small cameras cannot be kept in-stock; yet, we see nothing from Panasonic who IMO is the leader in know-how for this category of camera. I'm not sure if their heads are stuck in the sand or just bad forward thinking. In any case, it isn't good. Hope they turn it around soon.

I don't know what's going on in your world, but I can tell you it doesn't matter how you fiddle the menu on a camera that leads to good shots. All the real work that happens with a good shot starts outside of the camera. The camera is honestly one of the LAST things you should fret about. I swear to God, you can be a better shooter by visiting a museum full of Romanticism Artistic movement paintings. Study how light affects a scene, and you'll become a more sophisticated videograper that way. If you can't train yourself to "see light" you're always gonna struggle. I'm not being flippant here. It's the cheat-code. Skip all the tech BS and learn light. Take a classic art appreciation class. Learn composition skills. These are the things that actually make a difference. Train your eye to be a shooter and a person that can paint with light. Sure, you can be a pixel nerd, but that has a low ceiling of accomplishment and, honestly, advanced tech makes those acomplishments not a big deal to begin with. And look, when you study art, you'll learn more about the human condition along the way, maybe even some philosophy. Win-win.

Gary W bought the GX850 when this thread was going strong, and he's just posted his 2 month review with it. He mostly takes stills so that's the focus of his review. TDLR; he really likes it and finds that it has an X-factor that he can't explain that makes him really enjoy using it. It's not going to replace his GX85, but it makes a great compliment to it.

Absolutely. They have a place though as not everybody can justify having a bunch of single density NDs and the trade-off (if you're not doing absolutely colour-critical work) is worth it. But definitely one has to be careful when using them to avoid the issues you mention.

The "X" vignette is basically inherent to variable ND filters - those that don't have it just have a hard stop before it becomes visible. I'd also say that in the real world, having accurate full stop measurements is not that important if you're shooting digital. You have plenty of tools available to dial in your exposure. Plus, in the real world, light rarely perfectly aligns to full stops anyway.

Hi Gems: Skip the variable ND filters as they are basically polarizing filters. It won't matter how much you pay, they will always end up looking bad. If your clip is static and using a longer lens then you might be OK. However, if you are using a wider lens and you pan, then the sky will vary in darkness as you pan--it looks awful. In fact, you might even see the darkened band of polarized light running across the sky even if you don't pan with a wider lens. To the fairest, Eris

I've also heard good things about K&F; I have the SLR Magic one that has a little locking tab for precise repeatability. The K&F and SLR Magic ones both seem to be able to successfully avoid the dreaded X vignette at higher strengths, but I know some users have complained of colour casts on the SLR Magic. I haven't especially noticed it on my OG BMPCC but the ProRes footage on the OG BMPCC tends to have a slight greenish colour cast to begin with; I'd have to test using raw but I rarely shoot CDNG raw on that camera as there's no need; ProRes HQ is very flexible in terms of adjusting white balance, exposure, etc. in post. With VNDs, the main concern is colour casts; the cheaper ones can do the X vignette although they should be okay at weaker strengths.

I think the closest that you're going to get with that will be the Sigma contemporary range. They are behemoths compared to what you can get in MFT but, actually, when you line it up against an MFT package of actual equivalence (or slightly less in this case) then the story changes. Its just that with MFT you have the option and thus far in L mount then you don't. Unless.... You don't mind sacrificing a daft amount of money and going APS-C and picking up the Leica range that they made for the TL and CL which are very compact indeed. Leica have abandoned APS-C and Panasonic seem content to sit either side of it with their MFT and L mount so it might be a place that Sigma could carve a niche for themselves with an APS-C body, particularly as they have an excellent set of fast primes and a zoom for it. With the trials and tribulations of them trying and thus far failing to make a full frame Foveon, it could well be that it would find a home for an interim APS-C version in a rehoused Fp. Realistically, though, the only current way to get pancake-ish full frame in L mount is to go for the manual focus route of using M mount on them like I've done on mine here with a 35mm f2. As @MrSMW has just posted, the E mount system is currently better served with compact FF lenses particularly in regard to 3rd party manufacturers like Samyang. The closed shop nature of the L mount alliance (in terms of electronic lenses at least) is definitely a hindrance in that regard.

None. Closest would be a 10bit Shlony apsc. So again, 10bit HLG GX camera with 4K from full sensor and perfect HD quality for the launch price of the GX85, 799 Usd, 699 Euro. Please 😊

10bit 150mbit and HLG please @John Matthews😊

The workflow I've found is either shoot in "4k Photo" at 30fps, which is fine most of the time. Everything will be manual in this mode when set to "M". Otherwise, do the following: Turn on flicker reduction to 1/50. Put it into 4k photo mode(you'll get the framing correct) with dial on Shutter priority (set it at 1/50). Adjust the exposure with exposure compensation. You can also use a grey card. Half-press the shutter button (this will be the ISO and aperture settings in "P Mode" if you hit the video record button). You can adjust a VND filter if necessary. Now, how do you get the camera to stop adjusting? Map a function button to AEL. This will lock in the exposure but only after you start recording. Your shutter, aperture, and ISO are now locked. Use manual focus with touch and lock. Personally, I've found that "4K Photo" mode works best and is the most usable, especially for 30fps if you need consistent exposure every time. Otherwise, set the desired fps and put it into "P Mode" and just not stress about it. It does a great job. Use the AEL to lock in the exposure so it doesn't change. Prior to the GX850, you couldn't use the AEL in video mode (exceptions?, maybe GF7).

This is the same for me, the good stuff is all personal. I make lots of little edits as camera tests, and put a reasonable amount of time into the edit, adding music etc, to keep as a momento. So by the time I've done that the last thing I want to do is another public edit and re-do the frame-level editing and music and sound design etc. One thing I did do, which is a little besides the point but might be useful, is I found that I wanted to repeatedly reference clips from various cameras and projects, typically to try new colour grading techniques, but sometimes for other stuff too. What I did was I got organised and found the best clips from each trip / shoot and copied them onto a folder on my SSD as reference clips. Under that I had two folders for each camera, one for clips I can share in public and the other for personal stuff. Then I made a timeline with all the personal clips from each camera first, then a gap, then all the publicly sharable clips from each camera after that. Then if I have an idea for trying out some technique I can quickly pull that up, maybe take a copy of the timeline, and experiment on footage from across all the cameras I've shot on over the years. I've found it really handy since I did it actually, and I refer to it quite a bit.