Davey

Maybe - I think that one of them might have been, having skimmed through the reviews briefly again. I know that one was moaning that it was so heavy that you just could not run and gun with it unless on steroids.

As above, enjoy in moderation. All camera movements are designed to evoke an emotional response - gliding should never be used to reflect grit (unless being pretentiously stylised) any more than over the shoulder shake should be used for a tender moment between a bride and groom (unless being pretentiously stylised). I saw a terrible wedding showreel the other week that was three minutes of zooming and sliders. It made me ill.

I gave this lens serious consideration for months but kept coming across sporadic reviews that slaughtered it for various reasons. Last time I looked it got an average of 7/10 on B&H, which is worrying for a £2,000 lens.

I bought the following (though I am just a hobbiest at present that does the odd wedding and party): FE 28mm f2.0 FE 16-35mm f4.0 FE 55mm f1.8 FE 70-200 f4.0 The only lens I have barely used as yet in the six months I have had the a7sii is the 16-35mm, but that is because it isn't fast enough for indoor shooting at night under disco lights. The other three lenses have been used equally and I love them all. I guess if money had been a bigger stumbling block at the time of purchase I would not have paid the Sony premium and instead gone down the adapter route, though the 28 and 55 are (in my opinion) worth the money. If I'd had more money, I would have waited and gone for the following: Sony Zeiss 35mm f1.4 Zeiss Batis 85mm f1.8 Sony 90mm f2.8 macro Sony 24-70 f2.8 (g-master) Sony 70-200 f2.8 (g-master)

Great idea for a film. Though at what point did the idea come about?

How do the same projects work with FCPX?

Only lasted a few seconds and switched off. Abysmal. You want to see some of the rubbish that passes for Professional Wedding Videography in the UK. Yet many have hundreds of clients and have to turn people away. They charge £650 to £750 and you would be just as well off using the footage from the CCTV. Everything on sticks, except a few slider shots of flowers and champagne glasses, no emotion, no storyline, crap music, yet they are raking in £35k a year. I can't even get a gig for free.

He was given a pre-production unit and is an honest man. As soon as the problems with overheating became apparent he took his video down.

Annoying, isn't it.

It's like a conspiracy of cooperation.

Many were assuming that it would be unveiled at Photokina for an October release - I know that I was - so I think the timing of and the reasons for this press release is as you say.

Yeah, I think you are probably right. If Panasonic can deliver as they did with the GH4 then that will push others, who in turn will push the GH6 until we end up with a Godlike all-seeing prosumer unit for £200 come 2025.

Sony will be on to this already and will be looking to trump it with the a7r3 before the GH5 is released. They won't hang about.

The head is detachable - they are sold separately.

I want the camera now. You know what, I can see somebody nicking that - might want to copyright that catchphrase. There are millions of ways that slogan can be used; not unlike "If Carlsberg did...."

Would take the Yank over plummy, pretentious, disingenuous Nitsan any day. Had a run in with Nitsan a few years ago as I caught him out in his lies concerning a particular product. Makes my skin crawl.

Best review I've seen in ages. Cannot stand dishonest, fawning reviews that beg for you to click the product link - this was anything but lol.

As yet to see anything that good from anybody using any camera. This is a guy who cares not for anything but art - and the a7s2 delivers. Though I suspect that if you gave him a pineapple with a hole in the end he would come up with something better than most. Absolutely brilliant.

Just stick a mini phone on the GH5 and be done with it

I use it on the a7sii - saw a tip on YouTube when I bought it.

I would expect that Adobe and FCPX are on the ball this time. Most of those converters for h.265 when the NX1 came out were software variants of a Chinese spam company.

That's what it is all about at the end of the day - great post. Whilst the world spins with millions of spec freaks head deep on forums waiting for the next best thing, there are videographers out there producing art on cameras they have held on to for years.

Always the case. Sony and Panasonic hire the worst people imaginable. The real sellers will be the paid reviewers with the huge subscriber lists.

That's exactly what I do. Have enough cheap 2tb and 4tb externals for storage. For my projects, the least internal storage I had before exporting a finished version from FCPX was about 450gb - that was a wedding with two hours or so of XAVCS 1080 footage from my A7sii in events and a 40 minute film on my timeline all graded. Biggest 4k projects are all under twenty minutes, so not a problem either. I nearly fell for the need for an external array set-up (which would have cost over £1000), when I noticed that the 2015 iMac came with a possible 1tb SSD inside. The main reason I went for the iMac over a Mac Pro was the screen. Researched loads of monitors and they all had their issues when paired with the Mac Pro. Turned out that for most of what I would be using it for, the iMac was faster as per Max Yuryev's much viewed comparison.