Arikhan

@Andrew Reid I never said, it crashed because of heat...It crashed (freezed up) on this very hot day...I hadn't it on same usage (very hot, long day of permanent shooting) since then. Latest (last) firmware, NO hack, 45mm 1.8 lens in usage.... BTW: I had my cheap FZ1000 in permanent usage (wide, documentary 1080p 50p video shots) the whole day on a tripod in plain sun...Sometimes switching it on to record, then in sleep mode. The little Pana never had a problem.... Nope, no adapter...Just the native E-Mount 70-200 for testing the A7R ii...LCD going black sometimes, it took 10-15 seconds to recover and shutdowns - and I missed shots... Hehe, yeah...But I wouldn't ever buy a "Ferrari", uncapable to bring me to a supermarket...A car, unable to do a normal drive, is NOT a Ferrari...At most a self proclaimed Ferrari...A defective Ferrari will never win a race, it will stay half the time in a garage for repair... Who buys a Ferrari which overheats on a sunny day and has some other problems on rainy days? And be "undisposed" on a frosty day?

@jonpais We should try to stay fair (saying this after finally selling almost all my Canon gear): Mess / imbecilic The 6D ii doesn't have a dual card slot (some years ago that was NOT a problem, but NOW IS NOW ) - such a mes... The 6D ii doesn't have a headphone jack - such a mess... The 6D ii doesn't have a clean 1080p - kind of imbecilic decision Debatable: All available AF points positionned in center - hard pill for off-centered compositions (sure, you can focus and recompose, but same with the "old" 6D, so why buy a new camera?) No 4K - Who (gear heads and 4k "enthusiasts" excepted) does really require this? Perception of a loud minority doesn't mean, a vast majority of possible buyers require this Please don't compare the FF 6D (II) with an APSC device like the 80D. There is no APSC device in Canon's portfolio coming close to the photographic quality of a 6D...It's more than fair to subsume, what the 6D is / was: a very affordable and great FF camera, especially for low light photography with nice high ISO-images in the dark - even better than the 5D m3 very poor AF system, but...with a dead-on center focus point - dead on in the dark, even better than the 5D m3 --> very reliable (happy event, concert, and wedding shooters) poor DR, but hey that doesn't really count in the dark at ISO 6.400 or more it never counted as a really good / powerful video device, but footage was (full of moire without mounting an addtional LPF) OK for 2012 The 6D was "the special one" (for photography purposes) - completely underrated by the 5d m3 fanboys and mainstream brigade...I had my 5d m3 min. once a year in service for AF justage (permanent issues with inconsistency and accuracy - and I was ONE of many, working around this issues). Not so the 6D..."The special one" had only ONE (center) point reliable AF point, but this one was dead-on, even in the dark... That said, it will be interesting to see, if the 6D ii does continue the tradition of the 6D: Does the 6D ii focus as good as or better in the dark as its predecessor? As the 6D ii has now many more cross points, will that give the photographer more composition freedom, even in low light? What about the DR of the new 6D ii compared with the old 6D? Finally a link to a "6D artist" shooting SPORTS with a camera, pampered wannabes and lazy armchair experts say, it's impossible to do this with a 6D: --> http://gaszynski.pl/ (please scroll down and watch carefully...?

@jonpais Exactly this. The thing is - from my experience with many journalists and occasional video shooters - that for a vast majority of users, a clean 1080p (like C100 ii) would be absolutely sufficient. Please consider, that we all move within a parallel universe, completely overrating 4K. In "real live" there are only a few guys owning a laptop/computer for editing 4K. My POV: IF the Canonistas would offer a clean 1080p, only a few "enthusiasts" would complain. Just because (eg C100 ii) 1080p footage on a 4K television looks great - only if you put your nose very near to a TV, you will notice the difference to 4K (most TVs own great upscaling technology). And...there are no 3 percent of users owning a 4K display on their computer/laptop... It's time to face reality: We all like 4K...But for 99% of productions there is no market demand for this. Just try to google some current statistics on this, you will be very surprized...Even "enthusiasts" don't can "talk away" the reality...The reality is: As long as mobile media consumption (small smartphones and tablets) will predominate, the 4K content delivery is absolutely obsolete - excepting you are producing IMAX Hollywood blockbusters or very good paid, HQ advertising films... The only remaining arguments FOR 4K are surely many advantages in post (cropping, grading, VFX, etc.) but the question is: does this pay off for general camera users? The most fair way would be to say: "Personally, I like 4K" (But do I need it?) or (for people who make a living out of filming) "My clients require 4K" --> But how many clients require this really? A last one: Let's take a look at the C100 ii 1080p footage...only AVCHD 28 Mbps codec. Sounds poor? It isn't...It's far better by results than many current, purely overhyped 4k DSLR/DSLM cameras. By repeating 4k-enthusiasts smug, facts don't get true...It's not better than unsubstancial talk from manufacturers marketing morons...

@tomekk I need reliable devices NOW. Not in one year or two, or five...Capture the moment NOW...No need to use unreliable junk, there are enough good photography cameras on the market you can use in EVERY condition. BTW: Focusing moving subjects in low light / difficult back lit scenes (eg. fast moving musicians on stage or in a dark club atmosphere) with a Sony E (excepting the new A9) is a joke...Simply not possible. That's where a D5/D500/D750 excels. With a D5/D500 you can even focus fast moving black holes in dark caves...

@Andrew Reid I doubt it...I'm shooting Open Air and Club Concerts. Sometimes 6-10 hours (Open Air) continuously. Last summer I shot a concert at about 39 degrees Celsius with a buddy - 4 cameras for photography (Canon 7D, 2 5d m3 plus 1 Sony A7R ii for testing purposes) and 2 cameras for filming (NX1 + Nikon D750). We hadn't all cameras all time with us, some were for hours in the car...And in the car there were about 72 degrees Celsius... The NX1 freezed during filming about three times, the A7R ii during taking photos about 8 freezings with shutdown...NOT one problem with a Canon or the D750. Just working.... Sony E-Mount cameras - I shoot with the A6500 (my mom's cam) too... - I hold in my hands have an exceptional image quality, the eye AF is insane, there are many aspects I love...Very good technology, BUT: As cameras, they are unreliable PURE GARBAGE. Who needs cameras overheating, freezing and shutting down? NOONE who does serious work, other people have to rely on...Not to discuss on usability and BS ergonomis of the Sony brigade... My POV: Sony needs probably another decade to learn manufacturing cameras (not gadgets) and after sales service. Cameras are much more than "innovative technology" - which impredictably overheats and shuts down....Their "throw away-gadget" attitude is probably acceptable for people who never seriously need their cameras longer than 60 minutes. On the other side, CanoNikon will need another decade to move their fat cat ass aout of their ultraconservative chair... Reliability means: You can beat it to death. In any conditions...And it keeps working... BTW: After testing the A7R ii for three days, I sent it back. My conclusion: An exceptional piece of technology with amazing IQ - but as reliable camera JUST JUNK. Pure junk...The A6500 is not much better. A little bit, but not much...

@jonpais Well said...before enjoying a great IQ, one has to shoot and do some post first. Many people simply forget to consider some practical, daily usage aspects when using cameras. Noone shoots with a spec sheet.

@mercer I know, you are right. The problem is, this is a déjà vu. Nokia was the same arrogant company, being cocksure of itself - and 10 years later they are dead. And their death is hard-earned. Primarly beaten by a company, formerly known as computer and laptop manufacturer...Would you have thought this 10 years ago? For sure, not... The Canon ultras are not far away from this. The way from Hero to Zero could be a very fast one nowadays - not for Canon as a global company with many divisions, but for their camera business....

@Andrew Reid Hmm...From own experience, I doubt it. Most of the "pros" (doing a "normal" photography business) who use Canon are usually "sheep" who can not ascertain what's right. Similar to their "Canon God", they don't care about contemporary customer demands and requirements. They take photographs the same way as 40 years ago and complain about customers not willing to pay them adequate rates - many of them in my region closing their business/studios. Helpless crybabes, without any creative/innovative answer to nowadays "smartphone revolution"...Their logic is nostalgy and self-pity - but the "good old days" are gone... Their photography is not bad - but not good enough (by contemporary requirements) to make a living out of it, measured with creative and adaptive guys of the industry...They keep using Canon because of their reluctance to move their lazy/ignorant ass out of the comfort zone and change their own attitude...Instead of doing this and facing today's reality and their own failure, they complain all day about the downturn of the photographing industry...

@Andrew Reid That's it, Andrew: It's all about the choice...When shooting in 4K, you have nowadays all possibilities in post...You don't have to keep it sharp, you can crop, you can edit it even on a 720p line if you want....you can work with masking in post and soften your footage. That's the main point: The user has the choice...And not a post WW2 manufacturer out of touch with reality, aiming to press his buyers in a mushy 720p timeline. That's all about my criticism on Canon's ultraconservative and ignorant attitude: Canon believes, that it's them who makes the choice, that THEY define users needs...They treat progressive demands for clean 1080p/4K in their consumer cameras as enemy troops. But the Canon bastion is falling within younger generation. Not because they would make bad cameras or wouldn't offer first class ergonomics, usability and a nearly perfect after sales and repair service...But because Canon gives the impression to put users under tutelage. No Canon, it's not you who does the choice - it's me and my decision.... Thanks Andrew for pointing this out. In fact, photographers and filmers are the majors - manufacturers should be the slaves. And not contrariwise...

It's not all about 4K @Andrew Reid. The sad aspect is, Canon doesn't even want buyers to get an acceptable/clean 1080p in 2017. Instead of this, the mushy 720p again and again. The 5d m4 is the most overrated AND overprized Canon - even the 1DX II might be expensive, but it''s not overprized. The 6D is - from photographic point of view - a real bargain, even nowadays. I think, this will be similar to the 6D II, it will turn out as a great photographic offer at FF level. I (my whole family) leaved Canon last year, selling dozens of lenses and cameras, keeping only 12 Canon lenses. I've separated photography from film/video, now heavily buying in the Nikon ecosystem for photography. Never looked back, Canon became for me completely irrelevant at the moment (for stills). In film/video cameras, I will consider their offers for sure (C200). I know, Canon is (for volume) the #1 camera manufacturer in the world and it will consistently rank quite well, even if people like me jump on the Nikon ship. My gear is probably next to nothing in Canons arrogant eyes, but at the end of the day, it will be about 30.000 till end of this year. Plus the fact, we always serviced our gear very regurarly and invested a nice amount of money at this level. Now it's NPS making the business. I loved their ergonomics, built quality, reliability and service. Nearly perfect - not the Sony E-Mount plastic garbage (excepting A9). BUT...dealing with a ultraconservative brigade with a post WW 2 attitude, is not funny or inspiring. And I didn't even ask for 4K, but only for a contemporary, clean 1080p...It's a shame, but hey, that's life...

@SMGJohn Full ACK...The sovjet directors were artists, completely focusing the core assets of their films to make. No lunatic pixel whores and gear heads out there...The sovjet film is all about content and expression and not about pampered "gadgetized" guys. The sovjet cameras were NOT half-baked, unfinished plastic garbage like contemporary Sony Axyz, they were made to hold up. Not filigree but rugged, to be beaten up some years (or even decades) to death. A kind of "filming russian tanks". Poverty and deficits are sometimes a real catalyst for putting ideas into art. Luxury plastic gadgets destroy fantasy and lead to consumism and GAS... And never forget: At the great era of sovjet film, there were only a few famous and respected sovjet directors - even internationally. Nowadays every guy can call himself a director, but - despite social media and nowadays possibilities and low gear pricing - there are NO MORE famous & respected DOPs, compared to 30 years ago...

@deezid Do you work with lens filters only for giving faces and skin tones a filmic (smooth) look, or do you use masking techniques in post too? BTW: All the best for your crowd funding campaign on Indiegogo!

@deezid Deezid, you are an artist - and known as a guy who already got an maximum out of cameras like the plasticky GH4... Though, I ask myself how your footage would look, if you would use a "real" cinematic camera like an affordable BMD or a 5d m3...My POV: A talented cinematographer like you would get 3 times more out of such an appropriate camera...Just my 2 cents...Congratulations again for your work!

@Kisaha The main attraction in this video is the beautiful girl singing...Not gardens and flowers... What i mean with my post above, is that real content ( and not test footage ) will ALWAYS get more audience than "made for pixel criticism" videos. And that's the main point: whereever you are an artist without any financial interest, or an pro who makes a living out of his video work, nowadays you need an interested audience. And as already said, there will always be a vast audience for beautiful and informative landscape and travel videos ("Patagonia 4k"). Same for music videos with such a beautiful singer as in your video... Try to get 0,5 Million views for a video containing test footage from a XYZ camera - full of flowers, leafs, tree trunk, etc..No go...

@Kisaha Full ACK. You can do timelapsing in this style with nearly every contemporary camera. But that's not the point - the clue is to DO IT. Travel to Patangonia/Alaska/Cuba, etc. and do some interesting and informative (timelapse) video or photography. It's a much bigger effort than slowly moving out of the house in the garden or on the next street around the corner and filming around. And to be honest, there is no private garden offerring the same great (epic) impressions as the landscapes that can be seen in this video. It's much harder to fake YT views nowadays than you would believe. Google is no more as dumb as years ago to count hundreds of thousands of India/Bangladesh/Russia YT views for eg a German/Greek video with only 500 real views from German/Greek IPs. Above this, there are hundreds of interesting YT travel channel videos with many millions REAL views of 4k landscape footage - because it's much more interesting (and valuable) for people than contentless "4k video tests" of garden flowers and fences. BTW: My NX1 is no more in usage...

@Kisaha I disagree completely. This film gives the audience an idea about beautiful Patagonia. And people like "epic landscape" videos, as you can see on the basis of more than 4.630.000 views. That's content people like - a mixture of information and aesthetics. In any case much more interesting and demanding than filming bland, unimaginative flowers, fences and leaf "test footage" lacking any kind of content or information for general interest audience.

@jonpais Exactly THIS is a very critical point for many Pana consumer cams.. AWB can be (specially in warmish sunset scenarios) a kind of poison for skin tones. You have to properly set your WB manually and reset every time the lighting situation (color temperature) changes - even as little bit. You can't trust Pana AWB in some lighting situations at all, the skin tones go so bad, as you can throw away your footage. In my case (sunset scenario) it helped to substancially cool up color balance in "Standard" mode. For Cine D, Portrait, etc., consistency didn't work at all, WB remaining very critical (concerning skin tones), even after cooling up colors. You have just to give a proper WB a little bit of love. AWB is generally completely unreliable when filming people with Pana consumer cams. You mostly get a mixed bag...I can mostly trust Nikon AWB, but never Pana (when filming)...

@jonpais In our nowadays (social bullshit driven) lunacy society, general experience, facts and pure common sense are no longer respected: "Monkey see, monkey do". Without any feeling for special circumstances (lighting, etc.) required in every single scene. The gearhead driven brigade likes "global solutions": One single profile shooting, then applying a quick lut on it, get ready... Real deep education and self criticism are not the strongest skills of militant gearheads, driven by ignorance, inexperience and ugly, "LUT-centered" mentality. If "other guys" shoot in X-log, they do it too - Monkey see, monkey do. Even if it looks like shit. It's a kind of mass desaster, having nothing to do with artistic aspects. Unbalanced BS colors and violation of elementary visual principles have nothing to do with art. This is NOT an artistic choice, it's a result of an uneducated and unreflected, superficial crowd, just trying to copy & paste assumed success methods. The bad thing is. It doesn't work, as long as you don't know what you do. Great visual masters don't have standard methods, settings or luts for shooting in different scenarios. They try to apply individualized methods to every single scene or circumstance. BTW: I've tried this too. It didn't work for me - and THIS is good news...

@Andrew Reid I appreciate your work and engagement for people shooting with DSLR and mirrorless toys. It was you giving me reasons to buy the NX1 over 1,5 years ago. At that time, I was 15 years old. It was your website and many people here always trying to help and sharing their experience and tips when using "toys". Before buying the NX1, I shot with normal (smaller sensor) shoulder cameras only, mainly news and short narratives and documentaries (mostly politics and social). Shooting with S35 was a very new experience for me, as I am a practical minded, content driven guy with no or very little interest for fiction. Since then, I shot hundreds of hours of footage with the NX1...Even the German RTL broadcast television buyed some of my NX1 footage and broadcasted 15 seconds in their main newscast (every evening at 18:45 CET)... Here it is (footage used by RTL), is a image based documentation of a professional nightly blasting of some old cement towers in Germany. Curiously (and given the quite bad low light capabilities of the NX1 in low contrast lighting situations) that was a night video out of the NX1 they bought in this case. Footage in this YT video of my channel is a combination of NX1 and FZ1000...Daylight sequences are FZ1000 ONLY....Run & Gun, no "artistic" work... Here is a video, completely shot with the NX1 - a small visualization of a German beach club: Please consider, I am a "capture the moment" shooter and these videos are over an year old and I gained meanwhile very much experience with a whole bunch of cameras. My personal requirement is capturing decessive moments (interviews, violence, different situations, etc.) and trying to deliver beautiful IQ, good audio, etc. - but the content (information) is my highest requirement. YOU and many people in this forum were a great help for me and the NX1 was at that time a kind of "springboard", inspiration and motivation for my filmic work. Meanwhile I use the NX1 together with my mom's A6500 many for portable street filmography, long exposure and architectural footage. For more challenging and ambitious work I use S35 or FF pro cameras with very good DR and low light capabilities and serious manufacturer and reseller support & service... And still...During the past year I sold a bunch of footage to different news agencies, mostly out of the NX1 (footage from Italy, Romania, etc.)...Considering my age and the fact that I visit a gymnasium (so filming & photographing are a kind of spare time hobby, even when selling photos or footage) and the fact that the NX1 is still considered by many "pros" as a "nice toy", this is not bad at all... You are one of the decissive "NX1 filming pioneers", encouraging people to use it. Thank you again for your great contribution to the "toy filmers" community! DISCLAIMER: Please consider, this is old footage. There are light years of difference to my today's work and personal requirements. Meanwhile I completely stopped generally documenting political day-to-day routine or local events & facilities...

@Kisaha Yep. That's the most important for a pro: making a living out of it. As long as ANY camera - even 10 years old - satisfies you and your clients and makes money for you, why sell it and buy a new one? Buying every year a new camera is for a vast majority of people no necessity, it's simply an expensive obsession driven by bored YT fanboyism and manufacturer speach. There are some people on internet, maundering about the "upcoming 8K" as the absolute new standard beeing the only "future proof" fornat...If you are done with the NX1, use it ill it breaks. The value of this camera for you as pro is NOT it's resale value. It's the money (and personal satisfaction) you can make with it, while other lunatics spend every cent in the pocket for new gear. At the end of the day, it's you wanting to make a living out of it and not manufacturers and resellers...

The sleeping giant apparently woke up...And yes, it's pricey but a bargain for any documentary and idie filmer. No more fiddling around plasticky looking footage, ideal for editing quick shots without artistic ambitions, NDs, top Canon support, C-Log and more PP options, etc. 8.000-9.000 Euro in Europe? So what? Before buying 4-5 "plastic toys" and a bunch of accessories, this one is a portable solution in professional quality (IQ, built quality, service, etc.) and - at the end of the day - by far more affordable than a bag full of toys, costing all together more than a "real" camera...And a "bomb" for journalistic shooters... Good news for filmmakers!

@Emanuel When I use the camera focusing on a subject with a very contrasty background, I get sometimes better results with AF sensitivity set to -3 - so in my case, using the described method (Restricted focus area + BBF + AF Lock / release) and tweaking down AF sensitivity when meeting very contrasty backgrounds, I can get quite reliable results *...BUT please consider, this is in a artificial situation with shooter concentrating on focus aquisition and keeping only. I doubt, that this can hold up in shooting situations with surprising movement and acting scenarios of subjects and completly different lighting scenarios... Finally, i will recommend my cousin to return it...It's simply NOT a simple to use point and shoot camera and for sure the false device for a father wanting to shoot his little daughter who moves impredictably around. He will not get happy with this camera and at the end of the day, the codec options are an overkill too for his shooting requirements... * Not reliable when shooting in contre-jour, against a very sunny background. But the GH5 is not the only mirrorless with big focusing problems in these cases...In these cases, shooting gets challenging, as the shooter has to adjust his variable ND with his left hand (while holding the camera with the right hand) - so, I often missed a third hand to tap focus... My advice for you Emanuel: If AF is important for your art of shooting, I would wait until Pana releases a firmware upgrade containing substantial AF- improvements...Compared with well auto focusing cameras, the GH5 is a pain...If you want to focus on capturing the right moment, composition, lighting, etc., the AF issues are a pain at the moment...Just my two cents...

@Orangenz Hehe, full ACK...Best option is the manufacturer's R&D team trying to improve this BS continuous AF via firmware upgrade... The GH5 is a typical case of a manufacturer affronting potential customers: My cousin bought it about a week ago for shooting 4k (cathedrals, churches, etc., his 4 years old daughter running around, but mainly architecture)...He is only a little bit experienced in video, he shoots mainly photos till now. He read a German "review" of the new GH5, saying "insane quality", top IBIS, "blazing fast focus speed and accuracy..."...BUT: "blazing AF" was meant for PHOTOGRAPHY - and not for video... Then he buyed it and after getting it, he was shocked about the unreliable AF...So now he gave it to me with his 12-35 "to get it to work for a noob" as he said...Not as simple as he thought...I'm afraid it's not a camera for a unexperienced operator expecting a point and shoot AF like Canons DPAF or other phase detection AF systems...That's sad, because my cousin could invest some money in different lenses and gear - if the camera would only reliably work with AF...But it doesn't from his personal point of view... So now he wants me to decide, if he should give the GH5 a try or return it on coming Monday...He is very happy with photographic quality, but the desastrous C-AF in video is hard to accept for a person just aiming well focused and sharp 4k footage with zero experience in manual focusing...And he doesn't want to wait for an eventual firmware upgrade: He says, he bought and paid the camera immediately, so now he expects it to work out of the box...He said: "I am not Panasonic's loaner financing the company's future development. I need a mature product..." Till Monday there will be a decision... BTW: He shot some videos with his 70D (mushy 720p footage) and was very happy with AF precision - now he only wants 4k, mainly for "tack sharp" architecture footage...But with exactly the same (or better) AF capabilities as his old 70D...My thoughts: Even with a future firmware upgrade, it will be quite hard for a GH5 to reach the same AF level as the 70D...

@Emanuel Just try it out - it will only takes some minutes to discover, if it's the "right" method for you to work with... Some tipps: when you first try it out, put your camera on a tripod and use an appropriate lens/aperture to get some isolation of subject and background. Not too shallow DOF because it would make it harder to notice the background pulsing. Same if you shoot handheld and pan/tilt your camera around, you won't notice immediately the AF pulsing because of background blur...That's why it's helpful to put your cam on a tripod the first time - you will get stable enough footage to notice eventuasl pulsing/pumping outside of your AF area...Have a good time shooting!

@Emanuel Never forget, that the AF issues people talk about are oviously dependent on the lens used...As @Ken Ross says, with his lens no problems (depending on his personal requirements) and the videos he posted confirm this...Other people - with different lenses - seem to have issues...So Pana should work on this issues for a future firmware - but I don't know if such an improvement is fundamentally possible in context with their currently used AF technology (contrast / DFD). Solving such failures "phenomenons" via firmware upgrade would be nice...