TheRenaissanceMan

The GH4 has a newer, Panasonic-sourced sensor over the old Sony chip in the GH3. Nicer colors (imo), a stop better in low light, better slow motion, less RS in 1080p. In 4K, the gap increases quite a bit more.

Really? I see a distinct difference. The V is practically a global shutter, whereas the IV definitely has some skew.

Are any of the crop modes on the D750 and D5500/D7200 good enough to use?

To be completely honest, I didn't check. It was a rental though, so I'm guessing they're fully updated.

I shot a wedding a few weeks ago with a full Sony kit, including one A6300. 20 minutes into the ceremony, overheating warning. I immediately switched to 1080p and continued rolling. It cooled down in a few minutes, but we were hoping to have the option to punch in on that angle later. This was in a church I'd peg at around 65 degrees. So yes, in my experience, the overheating is an active problem in some shooting situations. That said, I'm strongly considering the A6500 to supplement my BMPCC and serve as my primary stills camera. Barring anything deal-breaking in the early reviews, the lure of IBIS, crazy ISO performance, excellent resolution, very usable touchscreen AF, solid DR, and APS-C is too much to ignore--especially considering the 40% off I get by ordering through my company.

I mean...it's free information. Seems weird to get upset at the okay video quality. Plus, the advantage of Facebook streaming is that people could ask questions during the video. If not for that, we wouldn't have known about the RS, room temp, firmware, etc.

Because it's on a mobile device? Facebook streaming from anything but a phone/tablet is really difficult and annoying. I applaud them for getting the information out there.

No shutdown for a full 29:59 is great news. No improvement in rolling shutter...less great. Even with IBIS, that severely limits its versatility.

I'd go for the G85 over the G7. Better build, battery grip option, IBIS, no record limit, and live HDMI out while recording. Then either pick up a G7 as your B-camera, or wait until the GH5 comes out and bump the G85 to B-cam.

Well, glad you managed to get a slightly more reasonable price. Let us know how you like the T7! I'm in the market for a more serious tripod myself, and the Wild Bull may just fit the bill. @Michael Ma, that's too bad about the noise on the Edelkrone. Has anyone tried the Konova with motor attachment? Is it any good?

Shoot...that means it won't work properly with the BMVA, which can't do 3:2 pull down.

The relevant question is whether there's less NR and sharpening over the HDMI, or when using F-LOG (like Canon turns off sharpening in C-LOG). If it's the latter, we could potentially get that more natural image from the internal recording. It'd still be nice to record externally for the beefier file to grade, but having the option to use it stealthily would come in handy.

I.E, less NR and less sharpening. Perfect. And less flat than SLOG 3 is good. That means probably none of the same banding problems. I'm fine with slightly less DR/more noise than the A6300, as that's still solid. I'm willing to trade it for color science, ergonomics, and better native lenses.

For a basic monitor, the Aputure FineHD VS-2 can't be beat for the price.

Guys, the article is fake. It doesn't matter.

You know, this might actually be an advantage for me. Shooting in 0° Wisconsin weather? No more overheating, plus a free hand warmer!

Actually, only STM lenses work with Canon's face tracking DPAF mode. You may want to pick up a cheap secondhand one for gimbal/dolly/run and gun stuff.

Red One MX: used price, $3000 Kinemini 4K: battle-tested with high speed upgrade, $2800 Ursa Major V2: used price, $3000 I'd put all of them above the hybrids for 120fps. If you're not looking for a cinema camera, NX1 or RX10 II(I). For 60fps, the D750 and Blackmagic Micro Cinema Camera are both excellent, as are the Canon 1DX2 (4K) and 5D IV (1080p).

Better ergos is debatable. The X-T2 has a LOG profile. And the Fuji color profiles are like having filmconvert built into your camera. I'm not saying it beats the E-M1 II-- it's way to early to say one way or the other-- but the Fuji is incredibly underrated, imo.

That's why I've sold all my Oly primes besides the 45. Partnered with the 12-40, I don't think I'd want for anything more. Maybe a 17 for lightweight street/travel.

They sure do! In fact, they remember your manual focus clutch position if you switch back to AF, too, so if you set your Mf ring to one point, switch to AF, then focus to a different point, simply moving the focus back to MF will snap your focus straight to that second point. Kind of interesting for when you need a quick pull.

Yeah, which is basically just a spec sheet. My guess is they're having supply chain problems after Kumamoto and it delayed the release a fair bit.

What you've seen of what? They aren't even out yet. And they share presumably the same 20MP 1" sensor as everything else on the market and feature full readout 4K, so I see very little reason not to be optimistic. Nikon tend to squeeze the best stills performance out of every sensor they use, and the video quality on their recent cameras has been quite excellent. These are being sold as weather sealed and robust, which leads me to believe they'll be more rugged than the comparable Sony/Canon compacts. I understand that that's not a guarantee, but I'm definitely looking forward to reviewers actually getting their hands on them.

Yes, because it has hard stops, but they're still not as good as real manual lenses. Here's the deal: The Olympus primes have a distance scale and a very nice tactile feel, but the focus ring actually causes your focus point to jump between many discrete distances, not the smooth infinite spectrum of a proper manual focus lens. Therefore, you'll see your focus point "stutter" a bit as you turn it. This was improved from the 12mm to the 17mm, and again to the 12-40, but I haven't used any of them enough to say for sure whether or not it's noticeable in practical shooting situations.

Interesting. Thanks! I just finished another shooting day on my BMPCC and SLR Magic set, and I'm still so in love with that kit. It renders very 3D, flares beautifully, produces great skintones, does lovely things to highlights, and has rock solid build/handling. I'd like to give the Voigts a proper workout, but I've been happy enough with my current setup to avoid the temptation of yet more glass. ...for now.