TheRenaissanceMan

If you know what you're doing and don't use SGamut, you'll get great results out of any SLog camera. If you're struggling, there are lots of LUT packages available from the people at SpeedLooks, VisionColor, etc.

Like crazy, yeah. LG's more modest OLED sets actually cost less than Sony's LCDs! It's unbelievable. Ming Thein's been doing some great stuff with it. http://blog.mingthein.com/2015/07/02/canon-5dsr-review-part-1/ Don't forget Nikon and Blackmagic. And unpopular opinion: I think Panasonic and Samsung have the best color science in the game right now. We're all just so used to the Canon look that we've adopted it as the gospel truth of camera color. But if hybrid video is driving these stocks as you seem to think, then where are the camera division numbers in these quarterly reports?

​Which, had you read the topic, you'd see we were discussing.

​Is it possible to adapt M4/3 and c-mount lenses to that mount? If so, it could make a nice little companion to my BMPCC for 4K and stills. You could even throw a Speed Booster on it!

​Sir, you would do well to be more courteous on this forum.

Except the completely different sensor size, extreme slo-mo, and amazing built in lens.

​How can you possibly tell how many stops of dynamic range in the scene just from looking at a raw still? Most high-end professional DPs can't even do that. ​Or instead of using ETTR, he could've exposed for his subject and let the window's exposure fall where it may. The BMPCC has a nice enough rolloff to just let it blow. I'll never understand why people prioritize the windows when they're shooting indoors.

Hey Andrew, how's the highlight rolloff on the RX10 II? The original clips fast, hard, and yellow.

​I would definitely stick with the Blackmagic Pocket. Despite its drawbacks, it's a far more capable music video camera. The RX100 IV is nice, but it's going to give you a more broadcast, consumer camera look, which is not what most artists want in their videos. Mine usually prefer a more "personal" aesthetic with some character.

SLR Magic 10mm t/2.1 would be my vote. Such an amazing lens.

Finally, a new Micro Four Thirds sensor! Holy shit! I too am very curious what the crop factor will be for 4K . I'm hopeful that they'll return to doing a pixel mix on the sensor, but for 4K this time. That way we can get lower noise and a lower crop factor. Noise will also depend on this 20MP sensor, though. If it is indeed Sony's, I'm pretty hopeful. Their 20MP 1" sensor is amazing, given its size, so this should be even better. Granted, some of us in the past haven't cared for the colors/motion cadence of Sony sensors (like the GH3), but time will tell with this one. I really doubt it will have VLOG, but I hope that stabilization actually works in video. Also, why did they move the focus mode selector so far away from the grip? Now I won't be able to reach it with my right thumb. Strap lug placement also looks like it might dig into the right palm, but we'll see when it comes out. If they do this anything like the GX7, initial price is going to be high. Over $1000 for sure.

Hey Andrew, any chance of getting an answer to my questions on the last page? Or does anyone else with a G7 have some insight?

Absolutely! I know several users who use the exact working style I described and get exquisite results. I'm away from home without my laptop, but a casual search should bring up some samples. If you're smart about your picture profile and settings, you can get stunning 10-bit 4:2:2 footage out of that HDMI port.

But we can say, because we've already seen it in the C300 II launch film!

Of course, but external recorders are getting cheap and most people just downscale their 4K anyway. I'd record everything externally, but have the internal 4K going as a backup in case there's a shot that needs cropping or stabilization.

​No, but having the exact same gamma, color, processing, CFA, and sensor tech means it'll intercut pretty well with its bigger brothers. I don't have the link on hand, but the C300 II launch film had a couple XC10 shots in it that looked just fine. It'll stick out less than GoPro footage in Hollywood flicks--I couldn't believe the pov shots in the second Hobbit flick actually made the cut. I still don't think the XC10 has a lot of appeal for people in our price bracket, but YMMV.

What I find really cool about all these grades is that despite being completely different, they all look good in their own way. That's really encouraging. Some cameras can only pull off one or two looks successfully; one advantage of LOG (and good color science) should be the flexibility to successfully pull off many different kinds of looks.

​But neither one's really a low-light camera, is it? It's a good image in decent light, but that 1-inch sensor and slow lens aren't helping the XC10. I think the 10-bit 1080p from the X70 makes it more compelling from a narrative/corporate standpoint, but that's just me.

​Is that in AVCHD or XAVC-S?

​The GH4 is exactly the same. 1080p from the full sensor has much less rolling shutter than the 4K crop. Shame about the rolling shutter. Usually when something looks too good to be true, I assume it is. We'll have to see whether there's any meaningful difference in detail rendering or dynamic range vs the A7S.

​The theory that one can get 10-bit HD from 8-bit 4K has been disproven. The bit depth increase is paltry--something like 8.67 bits instead of 8. If you want more robust footage to grade, hook up an external recorder. Otherwise, just downscale the 4K normally and revel in the detail.

​Indeed! I really love my RX10. It goes anywhere, does anything, and the addition of XAVC-S fixed its only major flaw. If anyone wants to see any tests from the camera, let me know. I have yet to seriously put it through its paces. Weddings are slow this year. :/

I think the idea is that the camera will use two different ISO values for each alternating line of pixels, like Canon and Arri, not different exposure times blended together like RED's HDRX.

If an RX10 Mark II doesn't break the budget, I think it's a better balance of compromises than anything on your list. The LX100, A6000, and RX100 IV don't have mic or headphone jacks. The FZ1000 has a slower lens and much less wide angle coverage in 4K. The LX100 has even less range--it could be limiting depending what kind of work you do and what kind of shots you like. The RX100 IV even more so. The A6000 requires investing in a bunch of lenses, which I think is a distraction when you're just starting out. Better to have a great zoom and have any focal length you want. That way, you can figure out what you like before you go investing in lenses. It's weather-sealed, offers great stills for location scouting and such, and has all the focus and exposure aids you could want. It records in SLOG, so you can record as much dynamic range as the sensor can deliver. And since you mentioned slow motion, it offers higher frame rates than any of its competition. Couple that with the outstanding lens (hands down the best I've used) and its 4K capabilities, and it might be the only camera you need for a while.

​Hey Andrew! Couple questions from your brief tests with the camera. 1. Does the G7 offer clean 8-bit 4:2:2 HDMI output? 2. How does the 1080p quality compare to the GH4 and GX7? I like using it now and then to get a lightly different field of view when running and gunning. 3. The G7 offers 4K photo mode, but does it have the same anamorphic support as the GH4? 4. How long exactly IS the battery life in 4K? This is a critical question for most of us, as the main appeal of shooting Panasonic is the ergonomics. 5. The Camera Store guys noted a difference in exposure between the GH4 and G7 on identical settings. Did you notice anything like that? 6. Are the AF and manual focus aids identical to the GH4? Hitting precise focus is critical in 4K. Thanks!