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In December 2016, I wanted a stills camera. After some thought, I was swayed by the A6500 because of the video features. (typical!). I've been testing this camera mostly on the excellent Zhiyun Crane (on a price / value ratio I'd say it's the best gimbal you can buy). On my most recent shoot, I put it in the deep end. I used Slog2, the 18-105mm kit lens and exclusively used autofocus for the entire shoot. Felt weird. (stills attached) Overall, this has the potential to be a very special camera... but it's not...quite...there...yet. Here's my mini mini mini review: PROS The 4k image is the best 8 bit 4k I've used. Certainly the best in Sony's lineup. There's a very special sauce going on here - it's super gradeable, detailed and the A6500 colour is much improved. Colour is improved? The image and skin tones are very, very pleasing - both using a standard everyday look and a stylised look (which I tend to go for). Sony look? Not here. Autofocus is very responsive. Absolutely essential on the Zhiyun Crane, makes it so much easier to focus on the shot as the image is 99% always in focus, even at shallow DOF. Compact power. Very nice to hold in the hand without a rig. Super light. 120fps is surprisingly good. Sharpened up and exposed nicely, it's a stellar 120fps. CONS Rolling shutter is a problem. It's easily avoidable however it can be annoying and ruin a shot. There's very little in the 120fps mode. Battery life is poor. This is a constant issue with Sony mirrorless. Even if they make the bodies a bit bigger for a higher capacity battery, needs sorting! The LCD dims very low. Maybe this is to manage heat or whatever. But the LCD does dim quite significantly. LCD gets scratched easily. These cameras need a cover to come with the camera, or flip the other way round. Got 3 scratches on my LCD from transit. Some of the buttons are flimsy and thin. Sony need to extrude the buttons more. The wheel on the back i especially fiddly to use. CONCLUSION The 4k image in XAVC-S is absolutely fantastic - I've not been wowed by image quality in a while. But it do get giddy when editing it. What's going on there? The shortcomings do dilute the experience a little - and Sony should sort them out for the A6700. With other expected updates, this would be a classic camera. There should be more love for this camera, as it sits under the hype shadow of the GH5. (I expect the GH5 to be awesome, but haven't used it). Overall - it's a very useful tool in the bag with some stunning features, great for stills too.

If this is true, he 5Dmk4 sales must be really bad or Canon starts to realize how outdated their new "flagship" is to propose these emergency fixes. Either way this is pathetic and Canon deserves it. A pig with lipstick is still a pig, the 5D4 doesn't have the appropriate hardware to compete with the Panasonic and Sony. I'm certainly not going to cancel my GH5 and I'm looking forward for the Sony A7S3. Too late Canon.

10bit vs 8bit, is there any noticeable difference?, yes, but only for the expert eye, and give a little more room to push in post, so it is really not a break dealer, and guess what, you have the chance to get RAW from ML in the future....mmmm!!!! focus peaking.....I don`t care, i am a filmmaker, all i need is DPAF from Canon..... let`s see the price...GH5 = $2,000 , but you also need metabones = $700 , total $2,700 Canon 5dmkiv, BHphoto = $3,400, but I saw it for $2,700 on ebay since last week from a store in NYC, and guess what?, yeap, it just sold out minutes after the announcement of crop factor reduction.... I will chose this 5dmkiv over GH5 any day of the week, and I am sure many GH5 preorders will not be sleeping well tonight....

You generally need some type of ND when shooting outdoors at wide aperture. For scripted shooting, a matte box and drop-in fixed filters may work, but for documentary, news, run-and-gun, etc. a variable ND is handy. This is why upper-end camcorders have long had built-in selectable ND filters. However with the move to large sensors, the entire optical path gets larger. It becomes much harder both mechanically and optically to fit multiple precision fixed ND filters inside. The surface area of an optical element increases as the square of the radius, so it becomes much harder (and more expensive) to make a perfectly flat multicoated filter. The Sony FS5 has an electronic variable ND, showing how important this is for video. It doesn't make sense to put a $20 filter on a $2500 lens. However filter price and quality are not necessarily directly related. In documentary video I've used many different variable ND filters, and here are a few things to look for: (1) If at all possible get one that fits inside a lens hood. This is the most difficult requirement since there are no specs or standards for this. You use a variable ND outside under bright (often sunny) conditions -- the very conditions where you need a lens hood. However most variable ND filters and most lenses are incompatible. The ideal case would be certain Sony A or E-mount lenses with a cutout in the lens hood which allows turning the variable ND filter without removing the hood. However it's very difficult to find one which fits. (2) Get one with hard stops at the end of each range. Otherwise it's difficult to tell where you are on the attenuation scale, and this adds a few seconds which can make you miss a shot. (3) Get one which does not exhibit "X" patterns or other artifacts at high attenuation. This typically happens with filters having more than 6 stops attenuation. (4) Get one which has the least attenuation on the low end, ideally 1 stop or less. This reduces the times you have to remove the filter when shooting inside. A filter which goes from 1-6 stops is likely more useful and less likely to have artifacts at high attenuation than one which goes from 2-8 stops.

The question is .... what should we wait for once the a7S iii is announced?

I agree the colours are stunning. They have a really advanced 3D colour science engine in there with a huge pop. All the footage I've shot so far I've not even felt the need to grade it or tweak in post, it's just super crisp and rich. Feels chunky and deep like a full frame Nikon still. Dual Pixel AF is the only thing it lacks. This will be a camera that makes a lot of people very happy but obviously it cannot please everyone. Yes it would be nice to have reliable and fast AF for video but we've coped with manual focus for a long long time. The issue is that to do contrast detect AF you need 240fps+ refresh rate for speed and obviously 4K at 240fps is not doable yet and you can't do a separate low-res window of the sensor to perform AF while doing a 24fps full pixel readout, so it slows down compared to photos / live-view.

Even for the people not buying this camera (like me), I can't see how NOT to be excited. It is the first time a manufacturer gives so much, for so little money, on a perfect operational and reliable camera body, covering most of the competition, and then add some. It is an exciting release, but people tend to forget, that GH4 was exciting back in the day too, I am a bit old, and my memory works linear, so I clearly remember that - again- Panasonic pushed the limits a little bit further with the GH4, as exactly does with the GH5 now. Well done Pana, but not for me, yet.. we will see how it goes the next few months, what others have to say (both real world reviews and other manufacturers), the firmware updates, and maybe, down in the road, most of us we will HAVE to own one!

What about the large portion of video shooters that never use AF? Seems like more of a hobbyist hangup than something that'd hold back a working pro.

Sorry for starting up another GH5 thread but figured this could focus on test footage/your first go with the camera. Here's mine - got it today, had 10mins of light left after work so took the kids to the park. A mix of 4K 50p and 180fps VFR, daylight WB, iso 200, Sigma 50mm on Speedbooster XL, Natural profile. Shot mainly wide open. No ND filter so controlled exposure with high shutter speed. PRO's so far: Options galore, amazing build, EVF/LCD= amazing. Picture looks GOOD! IBIS = incredible! CON's so far: Annoying sensor that flicks from EVF to LCD (can this be turned off?). Biggest con for me is not being able to flick to 180fps quickly. Had to dig into the menu every time. Really hope this can be assigned to a Function button but doesn't look like it so far. Grrr. I'm a GH4 and A7Sii user so looking forward to comparing. Be hard to beat a7sii but this beast might just do it!

Reports in the media suggest Panasonic are dismantling the 'digital camera' division with some even speculating that Panasonic will pull out of the camera market like Samsung. In fact according to Yosuke Yamane of Panasonic, the company is re-doubling their focus on cameras like the GH5 and planning more releases in 2017. Read the full blog

A lot of back and forth - between shooting raw vs log. I did a bunch of tests. And in the end, yea, say what you want how PRO RES 4444 is just as good, I just find RAW gives me better highlight information overall, especially on the Ursa Mini, and it is nice to worry about color temp after shooting on a doc, not during it, as you move quickly between locations, and light changes quickly. sharpness, all that, you can control more in post and yes, in raw, seems to have more noise in the image and log smoothes it out but, at this point, some noise is good - most digital images are too clinical, too sharp, too everything any flaws are welcome to the image so yea, that's my take on it all. So sorry Stu and Prolost cats - raw seems good for me. As well as 100% of the DP-nominated films from the oscars - all shot on Arriraw - I think - or most of them. whether its for VFX or resolution or god knows what - it just seems like all the cool kids are doing it.

I've mentioned this before in other similar threads, but a few years back I did pretty exhaustive vari-ND research and eventually settled on the SLR Magic one others have mentioned. It's fantastic. No discernible cast of any kind, no X-patterns, no vignetting on wide angles, hard stops on either end so it doesn't just keep spinning all the way around, it's really just about perfect. The other one I had been looking at at the time was a genustech, but we have one at work now and it's kind of a pain to use and I like the SLR Magic much better (I have the original version, before they added the additional twisting polarizer thing on the front). But I just combined it with Xume magnetic filter holders so I can stick it on any lens I own in half a second, works fantastically.

Olympus cameras have the same noise. Its the IBIS. The sensor assembly is kept in position mainly with electromagnets that don't operate when the camera is off. The design by Sony uses strong magnets which stabilize the sensor even when the camera is off and there is no noise.

C100mkII to a6500 is a leap of faith! The best workhorse camera around the world vs a spec-King, a realistically amazing video camera vs an on paper amazing camera! GH5 is a more reliable and well thought camera. To be fair, the a6xx series was never marketed as a professional camera series (the whole Sony APS-C line wasn't). The trend here is Sony as well, but most of the professionals (especially the older ones) are still Canon/Nikon fanatics. I used to live in UK and the weddings there were nothing at all like Southern Europe, or other parts of the world, maybe you will be alright, I have a couple of friends in England working weddings and they do have A7sII/a6300(a6500) combo. I just mentioned some facts that the cameras weren't good for me. People's needs and experiences vary, and thankfully we got a lot of good (and cheap) cameras these days. Again, sorry if I sounded offensive! For pro video work, I would wait for the rumored C100markIII and FS5ii, I am even considering the new Ursa mini pro, which can take you from a run and gun gig, to a low budget feature film.

What does this even mean? In it's current form the GH5 is already eating up 1.5 gig per min...that's before the FW upgrade...how many will be able to to afford a computer and data storage to accommodate raw?...it would be a disastrous business decision for Panny on a camera that's $2000...I for one am glad they are making smart choices....look at the GH5 they gave us...I remember many months ago all the various items people listed as their "wish list"...then Panasonic comes along and completely blows past it...of course for RAW they offer the Varicam 35 & LT....and they have to protect that line too...perfectly reasonable to me it seems....

Sigma Art 24-70mm with IS could be a nice combo.

Omg yes yes Canon is the best is that what u want everyone to say? its not just Focus peaking 5-axis in-body image stabilisation system with DUAL IS image stabilisation Waveform and vectorscope monitors Internal 4K/30p 10-bit 4:2:2 1080 video at up to 180p Pre-config rack focus mode No record time limits 4K/59.94p and 50p shooting with 10-bit 4:2:2 external output or 8-bit, 4:2:0 internal at 150Mbps IPB (two firmware upgrades in April and the summer will bring 10bit HD 4:2:2 recording and DCI/UHD 4K 4:2:2 10-bit recording at 400Mbps internally, and 1080/60p 4:2:2 10-bit recording at 200Mbps, all using All-I. Anamorphic support coming then, too Now if u can find Body that coast similar price in Canon with specs i just posted please i will Cancel my preorders because i love canon too

Here is my first video from todays filming, Edinburgh in Vlog

I am going to rob a bank, then buy the 5dmkiv

Looks like there is new version of 5d iv with improved heatsink coming, guess older 5d IV won't be able to handle new improved firmware well due to heat issue? Anyway 5d doesn't have ibis which means for some still deal breaker, I hardly use my monopod with ibis machines which gives me much more freedom. Goodnews to some my friends who got iv mainly for still, maybe they can branch out video for real lol

The point is I don't think we're seeing anything that's the result of an in-camera breakdown of the codec. This looks entirely normal for anything that's showing a slightly different coloration as the result of a difference in lighting caused by shadows or reflections.

Your opinion is well reasoned. However, if someone uses certain gear and they enjoy it, that's perfectly fine. In this hybrid market it's all a compromise anyway.

GH5 is home :-) Color profile 709 is what I was looking for all my life :-) Skin color is perfect, thank you Panasonic!

Panasonic can shuffle around their company as much as they like, but until they offer colour science on par with Canon and Nikon, a log profile that is useable and good video AF, i stand by my switch from the GH line to an 8bit 1080 camera (C100Mkii) and for small body 4K an XC10.

I can't think of any lens sharp wide open at F/1.2 can you? Even my 85 II is not wonderful wide open. Because it's still physics. All things being equal the smaller sensor will not match the usable (key work, usable) DR of a modern FF sensor. They are touting the 12FPS. A 300 2.8 is the bread and butter of a sports shooter's kit (especially for field sports. This comment of mine was in regards to the photo side of things. Compare the real 800 5.6 size vs. at 100-400 at F/11. It's a big difference in IQ and performance - there's a reason the 800 5.6 is $10k. We'll have to disagree here on the merits of my "factual basis" vs. your confirmation bias.. Glad to see you're so passionate again for the latest camera du jour. I get it - I'm that way too sometimes. Had this on the 1dx II. Is any of the 4k 10 bit in camera? I don't think it is, but I'm not sure. Yeah for stills. Does the video AF work any better, or even as good as the Canons or Sony's? No. Run and gun folks like video AF. If you can honestly see a big difference between the final output of a GH4 and this, then you must be the target audience. I'm just not seeing the big deal here, but that's me.

It's basically adding lots of saturation, then contrast using curves (find a proper black value using the waveform!), shifting the hues (bright green a bit to yellow, yellow a bit to orange, orange slightly to red, red a bit to magenta), desaturating shadows and highlights, desaturating bright oranges (helps for skintones as well), pushing gray or low saturation mid and dark tones (not black though, leave dark skin color the way it is!) to teal a bit, adding a bit of grain. That's it basically. :D

For many that have moved away from Sony, they'd need to improve the following: * Figure out the overheating issue * Improve their color science * Move to an IBIS that really works and is demonstrably superior to just an OIS lens alone * Implement 4K60p...again, without overheating * A flip out VF would be nice, thank you. I'd be surprised to see if they really come up with something competitive to the GH5, but I'd certainly like to see that happen. It just seems to me that Sony is so set in their ways, they rarely deviate from the path. I've used Sony cameras for years, so I'd like to see them give Panasonic a run for their money. The more competition the better.

Andrew is in the throes of New Camera Mania (™) and it won't wear off for the GH5 until a new "pretty good" prosumer camera is released that has a lot of shortcomings but produces a decent image.

I think Andrew already have one but he is hiding it from all of us!!!!!…. Most people don`t have the money to go with both systems, so they have to choose, and I just quoted above one guy who was going to get a GH5 and decided to wait until this canon upgrade become real and then take a better decision, and guess what, I am sure a lot more will follow his example…..

I shoot the Heliopan Vario ND for 4 years and it was working very well. The only other tip I have is get the biggest filter you can e.g. 77mm. You can always step up to the filter but step down you can't!

@Kisaha good to read the comments though. I was the same as you initially when people were telling me they were switching to this, especially with the overheating reports. I'll check out 1080P as well. A lot of wedding filmmakers over here in the UK have gone Sony, virtually all the big well known guys who do it have, possibly because a leading wedding filmmaker who is also a Sony brand ambassador and runs courses everyone goes on, so they all then go and switch to Sony after doing his course! I'm actually presently on a C100 MK2 but there are reasons I'm moving away. Panasonic GH5 is certainly a consideration though I did use to have a GH4 and didn't like using adapters (two times in a ceremony is stopped with 'lens not attached') and I had a few other issues with it too.

Doesn't he have a 1Dx2 already ? I could totally see Canon not bringing C-Log and better codec to the 1Dx2 to force owners to get a 5D4... This is the bare minimum for a flagship camera in 2015-2016. Now the standard are 4k60 with no crop, IBIS and potentially 10bits. Even if this upgrade is real, Canon is still lagging far behind and it's not going to look any better with the next A7S & R camera.

And the GH5 does not give you a professional FF still camera in the package does not have superb canon AF in video does not have canon lenses (speed booster with no proper AF, thanks but no) I am angry at Canon because of their approach to Indy filmmaking wasting a big potential they had. But let's appreciate this update if real. The least it can do is shake Nikon and Sony a bit to bring us better video features soon. A 5DIV with CLog, 1.3 crop, 3K at 60fps and nice codec would be a good thing.

Thankfully I know a good number of people who use them for weddings (mainly as a b/c or Gimbal cam to A7sii or A7rii) and have no issues at all with them. Including continuous running in ceremonies and speeches. Infact the feedback I'm getting is that it is a great little camera to use. I am in the UK though so it doesn't get that hot. Rain on the other hand!

Here is the source for the full interview with Panasonic at CES regarding restructuring. Source: AV Watch, Japan. https://translate.google.com/translate?hl=en&sl=auto&tl=en&u=http%3A%2F%2Fav.watch.impress.co.jp%2Fdocs%2Fseries%2Fce%2F1037593.html By dismantling they mean taking the good bits (GH5) and putting them under the umbrella of the black-goods division which makes TVs, etc. I won't miss the compacts and camcorders and it was inevitable that Panasonic would scale back production of these given the current market. Micro Four Thirds lives on and continues to grow in sales.

Canon EOS 5D Mark IV C-Log Update: All video output will still be 8-bit. Sampling for DCI 4K will be increased to a 5632 x 2970 pixel sensor area resulting in a 1.27x Crop factor. Sampling for UHD will be from a 5472 x 3078 pixel sensor area resulting in a 1.29x Crop factor. Both modes are accurately down-sampled to their final resolutions. Existing frame rates will remain the same. The current 1:1 4K sampling mode will remain an option for situations benefiting from the 1.78x Crop factor. There will also be new full-sensor 3K modes added including 60fps and HDR 24fps.Both will use a line-alternating sampling method, so quality will be inferior to the improved 4K format (but better than the existing FullHD 1080p format.) It is unclear whether the file resolution in the final firmware will be the full 3360 x 1890 format or down-sampled to 3072 x 1728. FullHD 1080p will also use this 3K full-sensor mode with down-sampling for a noticeable improvement in perceived resolution. FullHD 1080p will also receive a modest frame rate boost to 72/75fps. The EOS 5D Mark IV will gain the XF-AVC file format at 120Mbps (4:2:0) and 200Mbps (4:2:2). Both formats should require low enough data rates to accommodate UHS-I U3 type SD Cards. Reports relating to a possible service job for the 5D Mark IV are the result of the heat sinks on current units not performing well in some environments when used with the newer firmware. This is because of the increased processing load from the enlarged video sampling area. Newer units will ship with an improved heat sink while existing 5D Mark IV units can be retrofitted. Pricing is unconfirmed for that servicing. The newer firmware will still work in non-serviced cameras, but this may result in premature temperature warnings. Read more: http://www.canonrumors.com/crop-factor-change-for-4k-canon-eos-5d-mark-iv-included-in-coming-update-more/#ixzz4ceOEUrx2

It's not news. It might just be made up. Canon rumors guy says it's a new source. Sounds too good to be true. I hope it is though. It would solve the problem of Canon and poor DSLR video in a stroke. I wouldn't like to see the rolling shutter skew on the 5K readout, as it is already pretty extreme with just the centre crop at 4K.

If that's true I will buy the 5D mkiv.

No way people will cancel there orders for no 10bit ,focus peaking , 5axia ibis, etc plus price point of Gh5 is bargain for indifilmakers i agree canon has best PDAF but 8bit and mayby ML thats something i cant gamble my money on

Looks like Canon is finally going to given us what we all were waiting for.....but I don`t think ML will hack the 5dmkiv anytime soon, they are focused in something else.....but if they did.....just imaging a Canon with 4K raw.....a total revolution like the 5dmkii

The Codec defintely didn't break up, the colorgrading did! Look at my example:

How is that color bleed? Why do some magnify an image beyond what anyone would watch, see changes in a color because of either reflections or some part of the image is in shadows, and then blame it on the camera. Does anyone really think that their customers would actually notice this and blame it on the videographer or camera? I guess never having been a pixel peeper, I just don't think that way. If the image looks good the way I'd normally view it, I'm good to go. If the image begins to break down, magnifying it 3-5X greater or more than I'd ever view it, I really couldn't care less. There are times I think some just look for issues, real or imagined.

Isn't that just reflections of her hair, and terrific that the sensor picked up that subtlety?

We've used Tiffen, Genustech, SLR Magic, NiSi and Heliopan. I didn't like the Tiffen because it made an "X" pattern at high attenuation. I use a 95mm NiSi on my Sony 28-135 f/4 cinema lens, and really like it because it fits under the lens hood, has hard stops and no artifacts: https://www.aliexpress.com/store/product/NiSi-95-mm-Slim-Fader-Variable-ND-Filter-ND4-to-ND500-Adjustable-Neutral-Density-for-Hasselblad/901623_32311172283.html However I also have other smaller NiSi filters I don't like as well because the frame is thicker. Overall the optical quality of the Genustech and SLR Magic seem OK, but most filters will impose some color cast that you must correct in post. I just got the Heliopan and haven't thoroughly tested it, but it fits under the lens hood of my Canon 70-200 2.8 IS II, which is a big plus. There are lots of variable ND filter "shootouts" on Youtube and other places. I suggest you watch those and buy from a retailer that has a good return policy.

Ambivalent about it. I had GH4 for about a year, and played a lot with its myriad of settings, so much so that I regularly took C100 or XC10 (later), or BMPCC (and BMPC4K) to get job done. GH5 is 2K$ body, but if the SB is added, and some decent glass, it comes to 3,5-4K$. For that money one can buy BM Ursa mini (or, to double the sum, a new Pro). So, I agree with Laurier, and wait to see some peersuasive videos to decide about GH5. For time being, I'll postpone it.

@fuzzynormal of course! we all express opinions here, and personal views! I try to use - and test- equipment in working conditions, because that is the ultimate (and only) test for me, and my results are definite, as there are no middle solutions. Just weddings here are very demanding, and this camera isn't destined to used like a work-horse, more like a work-bunny! As I said, if you are working long hours on a hot environment then it isn't the camera for you, then, it depends of the use. Weddings in Northern Europe and North America probably are less demanding.

These cameras are disappointing, I can't believe that the guy Paul Cryer would buy one for weddings! That is a no go in any way. I do not know where you live, but it the Greek summer, there is no way you can use these cameras for anything more, than a 3rd or 4th camera during the night party, and even then (because here you have to record some parts of the party continuously) you certainly need a workhorse camera for the party (C100s or NX/GH4 are our most common tools, depending the budget). We use the a6300/a6500 at night, were the high ISO performance is really something, but the 18-105 is 4f, and you loose what you gain, e.g versus my 2-2.8f 16-50S lens, while the 18mm aren't that wide, and you need wide more than tele in these situations. This lens, is nothing special, but his in built stabilizer is really good, and for the money I consider it as the best Sony bargain lens. Let's see some facts, in one wedding that we had NX1/GH4 and the newly bought a6300, we used the a6300 only for a smaller portion of time, and still you used 4 batteries (while 2 in the other 2 cameras) and we had to charge at all times, because you never knew when the batteries would be depleted. The dim of the screen is crazy, the camera is almost unusable, seriously, imagine your screen to dim in the Greek summer! This is not a camera for a southerner, or northerner (depending where you stand on the globe!). Also, we could never trust a camera that overheats in these conditions, while my NX cameras, and my friends GH4 can record for hours straight (tested while recording live performances, and some unbelievably hot summer noons). The ergonomics and menu system are probably worst in business, while the a6500 is a bit better (I haven't used it extensively, it seemed a bit better than the a6300), the small and relatively light body can be a burden with a bigger lens (it is a nightmare using it with an EF adapted lens, believe me!), I would say that the 18-105 is the maximum for the a6500, for the a6300 even this seems unbalanced. I rather have a smaller and lighter camera like my NX500 for when I want light, and my NX1 for when I want something more professional with better ergonomics and grip, I am 100% that the next professional Sony mirrorless cameras will be more dSLR-like than before. Some things just work, and are tested for decades. Lack of touch controls (the a6500 gimmicks are no good for video users) is something out of the previous decade, and we are almost over in this one... One of the most important factors for me, that no one talks about, is the fact that the 1080p of these cameras (a6300/a6500) is unbelievably bad "1080 video is surprisingly poor by current standards, even taking a step backward from the original a6000, and falling far behind what the company's own RX100 cameras are capable of." and the crop isn't helping either, "the 120p and 100p modes of Full HD video are shot using a smaller, 1.14x crop in from here and 30p 4K imposes a still tighter, 1.23x crop." The rolling shutter is to seen to believe how bad it is, certainly worst than my NX1, and the NX1s 1080p is near the top 3 of cameras with the lowest rolling shutter, and I am shooting 1080p like 95% of the time anyway. "a7s II FF 1080p --- 30.3 ms (29.5-31.2) a7s II FF 4K ------ 30.4 ms (30.2-30.6) a7s FF 1080p ------ 30.5 ms (30.1-32.0-30.5-30.3-29.2-30.9) XT2 4k ------------ 30.7 ms (30.5-30.7-31.2-31.2-30.8-29.9) NX1 4K ------------ 30.9 ms (30.6-31.6-31.4-30.7-30.2) NX1 UHD ----------- 32.6 ms (32.9-32.0-32.9-32.5) a7R II 4K S35 ----- 33.3 ms (35.6-32.2-32.8-35.3-32.6-31.1) RX100 IV 4K ------- 36.6 ms (36.4-36.7) (without stabilization it's slightly faster: 35.7) a6300 4K 24fps ---- 39.0 ms (39.2-38.9)" and these are the cameras with the lowest RS "BM 4.6K (2K crop)--- 6.3 ms (official) 1DX II 1080p 60&120- 6.7 ms (6.6-6.7) NX1 1080p ---------- 7.9 ms (7.7-8.0-8.1-7.8) NX500 2.5k --------- 8.6 ms (8.2-8.8-8.9)" some of my thoughts.

How about clean 3200 and an extra stop from the speed booster = clean ISO 6400 in reality compared to a 1D X Mark II that does the same but for $4000 more. The people who complain about the GH5's footage haven't used one yet... The footage out there has been mainly poor and very compressed / 8 bit in feel The files straight off the card are not like that. They are mega chunky and astoundingly solid without a hint of compression, banding, mud or noise. I will upload some ProRes By the way you will need to transcode the files with this camera... EditReady does a superb job. Adobe did a really terrible job on the other hand. Editing native 10bit h.264 should be doable in 2017. By the way Eno thanks for posting a link on Vitaliy's forum to the Panasonic article... He is always critical of my knowledge but when I am clearly right and even backed-up by the company's official statements, he never has the balls to say so. I am still wrong. I'd hate to have him as a parent... Rather have darth vader...Maybe Putin's dad was like this?

Heathen!

Not this shit again. It's only a quarter size sensor if super 35 is a half size sensor and super 16 is a 1/8 size sensor. Low light on this thing is actually pretty good - it's not the A7S but it's comparable to the A6300, A6500. Maybe a stop under, becoming noticeable as you get to the upper end of the ISO range. Only in terms of depth of field, but if you see the sensor size as a potential advantage that allows you deeper DOF for the same level of light transmission, then that can be an advantage. There's also a (admittedly very expensive) 7-14 2.8 lens from an Olympus, and a 7.5mm F2 manual focus almost-pancake from Laowa launches shortly. If you want to work with Speed Boosters a ' FF 18mm F1.8' is attainable with a 14mm 2.8 and a Speed Booster XL. But how often do you shoot at Ultra wide? There are a bunch of fast options for M43 from the 20mm on full frame and upward. I guess it just depends on what you're using it for. You have a point that the auto focus is weak vs the competition, and also about the body getting a bit big for micro 4/3. I think that's preferable to a too small body that overheats. I'm guessing that the IBIS, 10 bit, high frame rates, etc necessitated a size increase from the GH4, along with the professional features they've added (HDMI and dual SD slots). If you're all about low light, a Canon cinema EOS or Sony A7s makes much more sense.