TheRenaissanceMan

The definition of parfocal is that the focus point remains the same while zooming. Therefore, it doesn't apply to primes; they can breathe, but they can't be parfocal.

Minolta Rokkor 35-70 Canon FD 35-105

Another popular way to prevent moire is with very high resolution. Art Adams once wrote an article about choosing a RED for his commercial shoot because it wouldn't show moire on the tablet screens they'd be shooting.

The 1DC crop mode is pretty good 1080p, as is (apparently) the 5DS(R). Other than that, yeah: pretty uniformly garbage.

I think the most likely possibility is 10-bit 4:2:2 1080p and 8-bit 4:2:0 4K internal, with 10-bit 4:2:2 4K external recording. 120/1080, LOG, IBIS, and improved noise/DR. I'd love if they kept the same body design and just improved the guts/display/EVF. It's ergonomically wonderful and that battery has spoiled me for anything else.

Kinemini?

To me, that describes the BMPC to a T. That would make sense, because an external recorder offers intra-frame compression, but I haven't used it myself.

Then the Blackmagic Production Camera or Ursa (Mini) 4K would work perfectly, provided you can light for ISO 400. Some of the best motion cadence on the market, and meets your resolution needs.

The only Blackmagic that shoots DCI is the Ursa (Mini) 4.6K. It's a very nice cinema-style camera, but nothing at all like a GH4.

Canon 1DC. I've always been very impressed with its motion cadence. Have you tried using a 1/40 shutter speed? Many of us find it smooths out the GH4 motion a bit.

Do you have a link to any such test? Because the ones I've seen show no meaningful improvement in DR.

We were discussing its stills capabilities. My understanding was that DR was identical for photos, and the 1DC had the edge in video because of C-LOG.

Every hands on test I've seen shows no meaningful DR improvement from the 1DX to the Mark II, regardless of Canon's intent. If I've missed one that shows otherwise, I'd be pleasantly surprised to be wrong.

We were discussing stills features. Haven't heard much if any difference in battery life, and the new sensor doesn't appear to have any DR advantage over the old one.

The 1DC already had 12FPS stills with 14 in live view, so...groundbreaking new features? More of a slight refinement. Can't say I'd particularly need or notice the upgrade for my work. YMMV.

4K/60 and Dual Pixel, yes. Great features. But the 1DX II's better DR has not been confirmed by any test I can find, especially for video, and I'm not aware of any groundbreaking stills features it brings to the table.

I wonder if this will drive used prices below $3000. If so, I can see a lot of people jumping on them...including me!

If you want something small, light, and inconspicuous, or if (like me) you find the look a little sterile. Otherwise, yeah...it's stunning to think how much these two lenses replace in the average shooter's bag. Mind-blowing value and versatility.

Nothing weird about the SLR Magic that I've encountered. No weird flare, no color cast, no cross-shaped pattern, very minor hit to sharpness. It does its job and gets out of the way.

Ming Thein was impressed with it, which is saying something.

No worries.

I believe the mark I. I think Parker thought you meant click stops.

My SLR Magic has hard stops.

Another vote for the SLR Magic. Wonderful filter. I use it on every project.

C100 II. DPAF, 60p, and significantly improved low light performance make it pretty boss for doc work.