IronFilm

First Nikon with it! (but with limitations, not in 4K for instance) About bloody time! Gives me hope that they'll improve it, and include it in their lower end cameras too which I can actually afford. Better than the 10bit flexibility of the GH5?

Crazy! What kind of mad hybrid of Sony and Panasic's mount is this?? :-o But at a pre order price of USD $1,099 that is a little steep, rather have a Panasonic G85 and still have a few hundreds of dollars of cash left over to spare. Unless... you want that slow motion! But just remember all those Sony RX series are doing hefty upscaling with their more extreme slow motion modes.

Making porn with your daughter? Awkward! Well, as my ex would say:

Is the same artist I see! Good when they love what you're doing and keep on coming back.

Soooooooo............ are you going to the wedding? We better not dare sell our own products! :-o Where did you find these pics? Reverse image searched turned up nothing

In a future GHx it might not make sense to have a built in ND, but in a GHxS model which is almost exclusively targeted at video shooters? Would be excellent!

Physics says..... there is no difference. (assuming all other factors are held constantly in proportion)

The artistic choice made was multi camera for a deserted area. Thus budget/time forced them to not use S35 I think you're very much misinterpreting that sentence, and missing the context around it.

Cheap though compared to the competition!

Well I will agree that those cine zooms from Fuji are doing better than Panasonic is for lenses. But as Panasonic put out the EVA1 with an EF mount, I sadly won't hold my breath that Panasonic will fix this any time soon.

X-H1 isn't pushing forward the whole industry, but it is however pushing forward Fuji! For that I am pleased to see. Ditto if Canon released a camera which wasn't say the "best ever", but if (it won't happen) it at least caught up with the GH5 then I'd be happy to see them finally do that too, as it would go a long way to bringing the company forwards.

Almost the same could be said about Fuji's new cine zooms.

For street shooters (a big target market / branding for Fujifilm) then tilting is better. But for many filmmakers the flip out screen is better I reckon. (personal opinion here though)

Note that some people feel variable NDs tend to harm the image more than high quality NDs would. I think I recall watching an interview at an expo after the FS5 came out, with an engineer explaining how it wasn't an easy feat and the struggles they had.

I wonder if next Fuji will bring out a set of cine prime lenses for MFT / E / FZ / X mount.

Have you shot with a camera that has this? I sometimes shoot with my GF's D90 and I appreciate the extra info I get at a glance over my D5200 instead. Ohhh... internal + external mic is a handy feature! I've used this before on cameras such as the Sony FS7, which can do four track recording. I'll assign the internal mic to a track, as a handy failsafe back up insurance just in case something goes horrible wrong with the wireless feed. Would see it being useful for a FujiFilm X-H1 too for a number of uses to send in a wireless mic while having the internal mics as well as a scratch track (a back up resort for syncing. Or for very small shoots where you're interviewing one person straight to camera, but the editor might still want to be able to hear more clearly the interviewer's questions from them sitting next to the camera itself rather than being far away from where the lav is, you could just have a stereo splitter but this is simpler for many people).

So bold! But that is why we have these:

Is silly though, as shooting say 30fps can give a nice subtle slow motion effect to some shots once slowed down to the base frame rate. If the camera was capable of higher frame rates, it would be nice to have it.

Where did we discuss pancake lenses?!?! Don't see that mentioned anywhere in this thread.

I see this is your first post here..... I have to ask, is your surname "Paul"? Not fair to compare non-stills cameras which are priced waaaaaay over $2K with a sub $2K stills camera. In that category, only one camera (not just one brand, ONE CAMERA! That is just how few) stands alone: Panasonic GH5

Is of course what everyone does (or 1/60th if in the other half of the world). As who the hell lives in a country with 48hz electricity? :-P

I worked (doing sound for some of the days) on a feature film a few years back shot entirely on a C100, looks pretty good:

Sure there are always more expensive options, but I reckon it is smarter to put that spare cash elsewhere such as into getting a Panasonic 42.5mm f1.7 as well? Depends on your needs/wants It is a unique lens. Not even in Nikon or Canon mounts (the two most popular mounts in the world!) is there an equivalent lens to itself!

Yes, this film fits in a unique little niche where this look works in its favor. The filmmakers are smart to make that pairing. But for most other films it would be greatly annoying indeed!

The Sigma 18-35mm f1.8 is a unique lens, if that is what you want, get it! But if you want lower weight / native lenses, then it means compromises. Here is one path I might take, a simple two lens kit: 1) a mid range zoom which is f4 (or f2.8), I use this when I need to R&G and don't need that super lowlight 2) Panasonic 25mm f1.7, for those times when I need that extra speed! (but lose the flexibility of a zoom) Between those two lenses you could do a lot (for instance the zoom for daytime, the prime for night shoots!).