Cinegain

Think they showed us focus peaking when talking about 'waveforms'. Think they have little idea what they're talking about. They also called the 4/3" sensor inside slightly bigger than the Micro Four Thirds sensor... which... is not a thing. xD

Would an A6500 successor still make sense in this day and age? There hasn't been active development of dedicated compact APS-C lenses for years now, if you want new native lenses, you'll probably be adapting the fullframe Sony E-mounts. There's only been 1 model each generation, each significantly increasing in price. The A6300/A6500 has a lot of issues as a camera body due to the fact they're focusing on keeping the body tiny. Tiny battery/pretty bad battery life. Only one cardslot and it's co-located at the battery compartment. There's no headphone port. The screen doesn't face forwards. There's touchscreen sensitivity, but it's implementation is really limited. The screen dims because the camera suffers from overheating and that should keep it down somewhat. You can raise the threshold of overheat protection kicking in by enabling a tripod mode... 'tripod' because it renders the camera so uncomfortably hot you can't handhold it. Ergonomics are pretty poor. There's nauseating rolling shutter. Menus are awful. Colors are iffy. It's just not a very attractive camera. If they bring out say a $1699 A6700... wouldn't people rather spend the $1999 for an A7III? Just makes more sense. I can only imagine continuing their APS-C line-up making sense bringing a successor not to the A6500 but the A5100. A sub-$1000 entry level with a couple of new compact lenses dedicated to APS-C. Which they surely will not do.

If I'm running a somewhat legit production... a small fiddly hybrid camera is the wrong tool for the job. I need a camera that's up to the task. A robust camera taking robust footage. A sensor in a box. With a bunch of ports to connect industry type power, monitors, XLRs, rosettes for extended grips with triggers and whatnot. Not too mention all the external factors such as lighting, audio and stuff, probably hiring a bunch of crew. Renting all the gear, including a solid camera and fancy lenses. Now... if you're a one man's band operator... you can't be arsed with all of that... not to mention the costs. That would be the wrong approach for the job. So here things focus more on the camera's capability and approachability for a single operator. I don't see either how these two necessarily threaten eachother. Canon's just being a scared little biatch... or maybe they are so high on power they enjoy to just spit in the little guys' face and find them begging for more.

And... nobody ordered one I take it.

Yeah, but like RedBull Racing isn't sitting back and watch Mercedes and Ferrari dominate without putting up a fight. So they're changing engine manufacturers... because if it ain't bringing victories home, you gotta change up something to get it up on that #1 podium spot. Feel like Canon's just happy to sit back and see where it goes... (which is downhill)

Actually bought one like 3 months ago. Still haven't tried using it with that Viltrox EF-M2. Might as well sell it for a profit now. lol

So... it's a camera for AF-snobs and vloggers... mmkai. Not for me then. Couldn't afford those lenses anyways, lol. They're on some kind of premo schtuff there at Canon. Not sure if weed, crack or a combination of exotic substances. 'In-camera Digital Lens Optimizer'... that 4K crop... but hey, it will probably still sell like hotcakes. Blame the people that keep buying their shit. Flippin' enablers. Maybe we should organize an intervention, ey? > https://www.canon-europe.com/pro/stories/eos-r-nicolai-brix-video/ ... lol So full of it. ?

Don't know why I'm bellylaughing so much about that right now, but I am. ?

And those fanatic people would be right, so who cares about how they're being viewed. Specs and value wise Sony do leap the traditional approach from the likes of Canon and Nikon (mind you I don't own a Sony and probably won't be getting one in the foreseeable future). Even Fujifilm is getting ahead in the game. Panasonic fans can still make some great cases for the specs and handling of their cameras... but know FF is a different audience or perhaps people respect the points they make about the MFT system being awesome. ?

I think you'd be suprised how many Canon and Nikon fanboys are glad with these new cameras that aren't that radically different so they can ease into it. They've always been 'no matter what'-sheeple (I can't believe people kept buying them throughout the years, they kept doing the basics right, but failed to innovate in any significant way just giving it their minimum effort). That's the only thing they've ever known. So I think Sony still needs to worry regarding the whole Game of Thrones. It's gonna get messy. Now it's all damage control with the announcements. But they might feel cornered and start swinging. Better get my popcorn out and keep shooting with Panasonic and Blackmagic cameras.

Specific recommendations given are usually based on one's individual needs... or for a general type of crowd (or general positive feedback about certain products must be taken into relation to that person's use and experience). In regard to that I have in fact given you a personalized recommendation that goes against the BMPCC4K as I honestly think the GH5 would better suits your needs. Of course, needs differ from wants... and ultimately you're unobstructed going about things you see them fit surely. But... if I want a nice car to bring my kids to school with, I'm wrong to think that Ducati motorcycle people are raving about on forums is something I should be getting... if you know what I'm trying to say here. Of course we have a bias here towards the production side of things... more so than funny ideas that might go viral on YouTube along with cat and dog videos. A cinema camera is ideally used in a production environment where it's just a small part of a much bigger equation. Where perhaps even more attention goes towards lighting, audio and all things that go on behind and in front of the camera, rather than just the camera itself. With much time and energy put into pre- and post-production. And for the latter you want a very good base quality. Because with thick gradable footage, you can create mood and looks that enhance your storytelling. But that takes time. As you point out 'ten hours in post production to make a 1 hour video look spectacular'... that is exactly what cinema cameras are about (not restricted to the BMPCC4K... any RED, ARRI etc as well). No, that doesn't mean they're doing anything wrong. Wrong would be looking at this camera and take it for something it is not. I am just trying to make you aware of this. A cinema camera is no point-n-shoot mind you (neither is a GH5 meant to by the way). That it's affordable yet professional doesn't mean you necessarily should get one unless you can argue WHY you need it. And I haven't seen any arguments coming from you why YOU should get one other than picking that one seems like a popular pick and it would mean you wouldn't have to do any further research... I'm also not saying you shouldn't get it. Filmmaking has become more accessible than ever and a one-man-band approach with such a camera is absolutely doable. But it's just not aligning very well with the whole story you had put up.

Who's talking about landing jobs or getting a certain camera to look the part on set? And why couldn't you use a GH5 for narrative work? Anyways, distilled: Seems the least of this person's worry is landing jobs shooting video unless they've had a revelation about carreer changes and aren't afraid to put in some time and effort to learn new knowledge and skills (nothing is pointing to this, seems more of a hobby-thing). Think this person hasn't got much clue and figured that if it's getting so much attention and anticipation from us folks, it must be a good one. Well, picking a camera is not a popularity contest. As I always keep on saying over and over again: get the right tool for the job. And the GH5 is more versatile and no0b-friendly... would sure make things easier and the 5-axis IBIS would work a charm adapting those vintage lenses.

Sounds like a BMPCC4K is a bit too hardcore for what you'll be using it for (it's a cinema camera that thrives in production environments and for people that need thicc footage and are capable and willing to do a lot of post-production on it)... why not just get a GH5 already? Also think you're expectations/critique of the image from the camera is a bit harsh for someone used to a Canon 60D and GoPros that certainly can't keep up at all. Did you even check the Vimeo-footage by say John Brawley posted earlier here?

Gotta work that YouTube-algorithm tho amirite? Believe there's thumbnail-etiquette, videos need to be regular and 10mins+, shouty titles with ALLCAPS, exclamation marks and clickbait... ? That sounds more like the realm of expectation yeah... don't forget: no IBIS... no 10-bit, no 4K60p, no DPAF in 4K etc either.

That or... he did say 'this price was offered to me a few weeks ago'... so probably requires some inquiring/haggling. Oh the days that people bought full retail...

-> Also not sure where you get $2k+ from. As indeed they run $1500-1600 converted (you might've either looked at the kit with Leica zoom or GH5S rather than GH5 Body only). Quite possible they accept better deals. For some reason electronics depreciate like crazy there, guess they earn so much, everyone's always repping the latest and greatest and the old stuff gets passed on to peasants at bargain prices or something. ?

Dang. Could be a winner. Wonder about sensor stabilization, 4K crop + further specs (60p/10-bit/...) and audio-interface though. What is that image supposed to say? There's an electronic focus rocker on the back? Sounds interesting. Is that 2 focus rings then though? Olympus does the de-clutch thingie... they do both hard stop and fly-by-wire? Or is that just a grippy bit to hold the lens steady while you screw a filter on?

I know, but something with 'unconfirmed rumor'... 'might'... ?

People that want a budget hybrid expect a higher MP sensor than that. One of the supposed issues with the GH5S also was that there wasn't any physical space to make it work inside basically the same shell as the GH5. I doubt a G80/85 somehow would be able. From a perspective of those 'professional requirements' it might not be that much of a worry. Just the GH4 was used a lot on shows like Top Gear/The Grand Tour and the GH5 proved to have some difficulties counteracting vibrations such of a car, also, the sensor would move around the image circle and when using a lens that vignets slighty for instance, you'd see the vignet wander around. They might've fixed that or that might not be a worry for a consumer oriented camerabody... but I think the scenario of GH5S with IBIS is a bit unlikely. But we'll see.

I wish for it to print money. In the end though... it's a cinema camera. One of the reasons the GH5S supposedly has no IBIS is due to professional requirements (which only partly is a bull$hit argument). Same goes for operation of any other cinema camera on the market, e.g. an ARRI Alexa Mini (which as well lacks a vlogging screen and DualPixel AF rivalling C-AF). And if you want to stabilize a camera you get a handheld gimbal stabilizer. There have been too many discussions about IBIS and C-AF in production environments and being a dealbreaker: YES/NO? that it has become a bit old... nothing to downvote for though, I even thought that feature got disabled recently, guess it's back.

Yeah, I guess the original produced somewhat footage that I'd call 'flat with character'. That gave it a very organic and filmic look, which people took to heart and embraced even further in post. This new one seems to have more bite, more contrast and seems to lend itself nicely for a natural clean look. Would be interesting to see something more in the blockbuster direction. How things look when you give it more of a mood and look. I'm sure it will handle that like a champ as well. This puppy is probably very well-rounded and versatile.

Sweden doesn't count as general concensus. ? It is one of the most expensive countries to roam around in, yet one of the best for getting electronics at a bargain price. Still can't grasp how that's a thing. ? Maybe people there buy the latest and greatest and consider there previous gear 'old worthless junk'.

Yeah, even seemed glitchy at one point... bunch of noise and smudginess as well as a purple sploosh in the shadows of that overhang... ^click YouTube compression? Who knows. -- hum, it's also on the Vimeo one ... still, impressive enough up to that point. But I was starting to wonder if it really trumps the GH5S... that has more practicality. But then I get back to its price, codec and fact it's bundled with DaVinci Resolve Studio and that's still sick value over the GH5S.

Nice, way to go DJI! Gotta say, wasn't really all that impressed with the original. But I think the zoom adds a nice touch. I like the longer focal length and zoom function possible with this. Never much of a fan of the wide angle, unless it's top-down view. Too actioncammy. The 1" certainly seems to up the quality without having to rely on radical oversharpening, but I think I'd prefer the zoom. Obviously ideally you'd get a 1" zoom; that might be Mavic 3 series right there for ya. ?

Hum, seems one store has updated that to the 24th of September.?