theSUBVERSIVE

So 4K also feats an extra crop of 1.17x, which means 1,75x compared to FF, if the GH5 had multi-aspect sensor of 1.86x, it would be pretty close.
The ability to charge via USB is pretty nice and accepting a AC adapter for the grip is also welcomed. I wish it had a touchscreen and a swivel screen instead of this weird articulated one.
There are some minor things like the lack of 120fps/240fps slow motion but overall, this is great for filmmakers, I've been wanting Fuji Colours and Kaizen for quite some time. I couldn't find the F-log gamma curve but this was indeed a surprise, I thought it would come after via FW, but this is much better.
The good thing about Fuji is that they listen to feedback and upgrades via FW WILL happen, so most of the software related feats might be addressed that way, hopefully the hardware is capable so slow motion can come later.
 
It’s way too soon to judge but some observations. There are some blown out highlights, but they probably shot it in a pre-production firmware, I can’t know if they were using F-log but I’m assuming they were.
I don’t know though if whoever filmed it was familiarized with the F-loggamma curve and how to use it properly, V-log and S-log for instance, you HAVE to expose it to the right by one or two stops. I don’t know how F-log works but exposing it incorrectly might be the reason for the blown out highlights.
In a couple of months the final production model should be out and there will be plenty of tests to get to know F-log. By the X-PRO2 files, it seems that Fuji is good in retaining data in the shadows, so maybe it might behave a bit differently from V-log and S-log, which could also explain the blown out HL.

I don't get all this time wasting rant about the X-PRO2 not having 4K. Who cares if they put it via FW some people praise their Kaizen? Let them be, that doesn't change anything in real life, such a pitiful thing to whine about.
I'm confused by this actually, I don't see videorgaphers buying the X-PRO2 for its 4K even if it had it, so why should Fuji please video people with a clear niche camera in the X-PRO2 when the X-T line is much more suited and expected for video?
Sure they want to expand their customer base, but they clearly are not going to do that with the X-PRO2 and they don't need to do it with the X-PRO2, this camera is aimed at those that liked the original X100 and the X-PRO1, this is a niche camera in its core, they have other line ups for other needs, it's not like they are simply ignoring video or 4K.
They just said that the X-T2 will have 4K, so it's implied that that' the line up that will be more aimed at videographers and the X-T2 is more suited for that anyway, why bother so much with what the X-PRO2 doesn't have if you were not going to buy it even if it had it? I don't get it.
I prefer to look at it differently, as I see it, Fuji gave videographers a teaser of what is to come, they improved the video, that's already a good sign, X-Trans can actually make good video and with this interview, they are saying that the X-T2 will be the line up that videographers should take a look when it comes.
I don't have high expectations for their first go for video though. I think that the Fuji colours will be there and the quality might even be there too, but I wonder if Fuji will get the little quirks right. The peaking disappearing in video mode, using a better codec, having better menus, audio feats, etc. I don't think they will get most of it right, I wished they were already talking with videographers to make it right, but I do think that part of it might be solved via Kaizen. Will it have a log-like profile? Will the button placement have video in mind?
With Samsung - apparently - pulling out of the market, with Sony having a camera like A6300 - but with no APS-C support in term of lenses -, Fuji could take advantage of the APS-C mirrorless video market. I'm just not sure if it's going to be the X-T2 or it's already a bit too late. But it's good for consumers to see they trying.
 

But I was actually talking about a possible Panasonic competitor for the Sony FS5/FS7, not the actual VariCam LT, that's why I said "budget" camera, a sub-$10k camera.

It seems that everybody is asking Panasonic for a FS5/FS7/C100/C300 competitor by Panasonic.
I've already expressed that when Sony announced the FS5, it would be really great to see a FS5 competitor by Panasonic.
I wonder what kind of mount would be better, wouldn't it be better if they chose a mount with a shorte flange distance - for better versatiliy - with official swappable mount to EF and PL than simply choosing EF?
Panasonic did launch the DVX200 as some sort of gap but that is much more for broadcast and events than film makers, I would had preferred a faster zoom lens with a little less range to keep the size down.
I really like Panasonic's Varicam images, they are astonishing and it has such a nice feel to it. I know they wouldn't use the same dual ISO sensor on "budget" camera but at least all the colour science and thought would be on it - since Sony lacks a bit of attention to details.
 

So this day has come... who would thought that? Even more Fuji doing so BEFORE Olympus.
Fuji said that they want this to be more of a photographer camera, rightfully so, and that they were reserving the 4K capabilities for another line up, having the X-E2s being announced with it, easy to tell that the next X-T1 might get it.
It would be interesting if Fuji who usually listen to consumers via their Kaizen, if they would add the grain simulation to the camera or even via software to do on your computer or maybe you can apply it in the camera after the shot - which is a possibility if they think that doing so in real-time to be too much.
I would really like to see how Fuji will evolve from this. With Fuji's colour science you can use shots right off the camera without the need of a lot of color correction on it, but then Fuji can bring their own flat profile and make things even more interesting. But I wonder if with 8-bit files, a good colour science might not top the need of a flat/log profile, since 10-bit files would be much more adequate for taking real advantage of a log profile. But if Fuji could provide both, then it would be a killer. But it might be too much to expect from the next X-T1, but who knows?

I don't think you quite understand what I was talking about.
Just having a new sensor won't make the video better. There are tons of cameras that shared the same sensor, nonetheless, their video quality were completely different. It's not even about using the same codec, since there were also several cameras using the same codec and their video quality were very different as well. So it's about how you use and how you encode the data you have, so if Fuji learned how to do it, that's a huge step forward. Olympus might have the IBIS and even shot with their own camera - which I always thought to be a silly parameter - but the video still look bad. 4K will be just resolution if Olympus can't make it look good, but of course it would be great if Olympus can finally manage to deliver it.
The mic input wouldn't be expected on the X-PRO2 but the important thing, as I mentioned, is Fuji's MO, their Kaizen. They listen to their customers, if they brought video quality you can be sure that mic input is on the way, even if it doesn't come right away, I'm sure that as people will ask about it, they will bring it. Moreover I wrote that if people start buying Fuji for its video as well, a flat profile will be on its way.
Sometimes I feel like people are overrating a bit what having a flat profile means. First because not everybody really needs flat profile, if the main point is to output nice images, so unless you really need some serious color tweaking, if the camera already outputs a nice image, you won't really need a flat profile to work with and that saves you a lot of time, colour science is that important and Fuji has it, their images look great right out off the bat and that's something very few have, so it can do wonders. When the camera screw up detais on the shadow, skin colour, doesn't allow you to picture what you want, clip the highlights, etc. that's when you need the most DR possible so you can tweak it during post to make it like you want. Plus, unless you have 10-bit files you don't really have that much room to work with in a log profile, it might help you but it can also bring an unnecessary complexity to it as well and there are times that the gain might not worth it, even more if the other picture profiles re able to do it for you.
So my comment was barely about what Fuji is offering with the X-PRO2 but rather about the potential they have based on their continuous improvement via their Kaizen motto. And what I wrote is based on this first impression, so there is a need for a better more in-depth review to reach conclusions about the video quality but from this initial report, it does look like Fuji is on it's way to deliver nice video. But yeah, if you get stuck strictly with what the X-PRO2 has and fails to look at the potential behind it, it might not look like much indeed and you might downplay it like that.

From a presentation I watched from Alister Chapman I got to understand - not fully - a few things about colour science, logs, sensor, etc. with my own take on it since he wasn't talking about this specifically. He basically explained the differences between broadcast standard, how to use the extra stops you get in these cameras and how log works.
I think that the sensor itself is less important to the discussion because that's just a workspace, two manufacturers or more can use the same sensor and have very different results in the end. Colour science does matter, I can't agree with those that say like "it doesn't, you just have to grade better", that makes zero sense.
Actually in the presentation Chapman said something similar to Andrew's theory, Sony is an engineer company and they make it so you can get the most color gamut possible, therefore, they get more green as well, which not necessarity means it will make better images. But that's just one step, the other one is how you use it. He also talked about how the green end up shifting to fit the workable color gamut and he even explained the difference between S-log 2 and S-log 3 in more details and why S-log 2 is more complicated to grade or why you record S-log exposing to the right, about 60% zebra.
When you create a log or a picture profile, cine gamma, etc. that's when you start to use the information you have from the sensor and in this case, simply showing all the color gamut is not really the best option and that's when colour science comes. I don't know if I would use the word artistic here, but more like perception, so making the data you get into something that looks more natural to our perception does make a lot of difference, even more because during color grading you will be doing something similar.
But let's say that after the data you get, you make something unbalanced because you wanted to show all the color gamut possible, then it will be much harder to get a more natural look since you will be getting more green and depending on several factors like color space, compression, etc. you might not be able to get what you would had you created a more balanced log with a better colour science.
So basically with a better colour science you make a better use of the data you can get from the sensor, it doesn't necessarily mean showing more colors or even scientifically accurate colors. Of course that also means it's subjective as well and there is no a right and worng exactly, but overall, when the difference is notable you can say that one colour science is indeed better than the other and when it's closer, then it becomes more of a personal preference.
That's probably also why you have a big difference between measurements of stops, color gamut, etc. and practical, real life aplication because measurements don't really tell how you use it and that's also why those DxO ratings don't mean one camera is better than the other.
-
As for why the S-log 2 is harder to grade, in simpler words it's something like it's more curved than S-log 3. When you grade usually you will do it based on that middle and the S-log 3 from that part and above is more like a line and less like a curve, so when you grade it up or down, it's more uniform. With the S-log 2 you have to basically grade the shadows, middle and highlights separedly because if you do based on any of these 3 parts, the value you add or substract will be different in the other section, so it's not uniform.
That also matches the info I got watching a Sony guys talking about S-log 2 S-log 3. He said that S-log 3 is easier to grade and that S-log 2 is better for highlights while S-log 3 is better for shadows and if you look at the curves you can understand why, S-log 2 has more values for highlights while the S-log 3 has more values for shadows and mid tones. I think that "better" is not really the word, it's more like more nuances. Chapman also talked that in 8-bit codecs if you really want more information, you better off with S-log 2, if you want something easier to grade you can go to the others gamma curves. He explained why in low light you DON'T USE S-log at all, which totally makes sense, unless you are at night but filming a lot of light, recording in S-log will only make it noisier because although you will be getting more data overall, in the areas that matter it's the opposite, making is much noisier and that's also why S-log is no good for chromakey as well.

I can't totally agree on this and weight on the final part sounds a bit bitter.
I do agree that Panasonic took a bit too long and that this delay may cost them but I think it's a bit unfair to call out Panasonic like that almost like they were Canon itself.
There is a reason why Samsung is doing this. First because they can, Panasonic does not have the same firepower and resources as either Sony or Samsung, Panasonic is much more like Fuji. Secondly because Samsung is the one racing from behind, the one that had no credit in the market so if they were any serious about video, they HAD to show that to the world, so the firmware guerrilla is a big part of that and a way to sustain interest from people.
I don't think Panasonic would had been able to offer V-long off the bat, I doubt they had resources or engineers for that, at the time they were already proving the first of its kind, they were the one pushing bounderies. Sony wasn't even able to provide internal 4K in time with the A7s, that's why they pushed the S-log. Sure, after that Panasonic should had start thinking more serious about providing V-log since it was clear that it was a matter of time before 4K was coming to Sony cameras.
Panasonic still provided the FZ1000, the LX100 and now the G7, which seems to be an excellent budget choice, all great cameras for the price and feats and only now Sony is catching up on that front. So, from my POV, this is back and forth and Panasonic is a bit late but just that.
Panasonic won't come up with a new GH camear every year like Sony is doing with the A7 family. The A7s still doesn't offer internal 4K and it will never do that, and as I said, Panasonic doesn't have that same power to push new products like that.
But Panasonic better wake up though. With Sony being able to provice internal 4K, S-log2, IBIS, etc. Sony basically took away most of Panasonic's upside. Panasonic still has the better lens ecosystem but with adapted lens with electronic connectors working as they are with the A7RII, anyone that have Canon glass can easily jump into Sony, just selling their Canon body. So Panasonic better come up with a new sensor, better sensitivity, faster readouts - possibly better slowmo -, IBIS, 4K/slowmo, etc. Panasonic still have a swivel screen, no overheating issue, better battery and some other things but that's barely enough now. Maybe not just a GH camera but an AF as well.
I would like Sony to make the rumored A9. They could use their new tech for faster readouts and improved low light. There are 2 alternatives. One would be something like a bigger brother of the A7s with that insane low light capabilities and DR, another, which I think might be interesting as well, would be to make a sensor with more pixels, which would allow them to have lots of PDAF - to work well with electronic adapters - but one that could do 1:1 pixel crop in Super35/APS-C mode in 4K. I think they would need a 24MP sensor, this way you have the option for FF or Super35, in Super35, you would get less rolling shutter and differently from the A7s or A7RII, a true 4K image output. You could even use Metabones to get more light and FF look. Plus, 24MP would be enough for photographers as well. With a bigger body Sony will be able to put a better shutter for faster burst, without the miniaturization limitation that the A7 family faces, it would have better battery life, zero overheating issues and a swivel screen as well.
I'm not sure Sony is ready to make the A9, but I think a camera like that would be pretty nice and it would make sense as well, it wouldn't be cheap though but I doubt Canon would be able to respond to that with a possible 5D MKIV or even upcoming EOS-C cameras.
Anyway, this is all about competition and this is great for consumers. What more can we expect from the A7s II, the GH5 and what's the next step for Samsung?

I can't totally agree on this and weight on the final part sounds a bit bitter.
I do agree that Panasonic took a bit too long and that this delay may cost them but I think it's a bit unfair to call out Panasonic like that almost like they were Canon itself.
There is a reason why Samsung is doing this. First because they can, Panasonic does not have the same firepower and resources as either Sony or Samsung, Panasonic is much more like Fuji. Secondly because Samsung is the one racing from behind, the one that had no credit in the market so if they were any serious about video, they HAD to show that to the world, so the firmware guerrilla is a big part of that and a way to sustain interest from people.
I don't think Panasonic would had been able to offer V-long off the bat, I doubt they had resources or engineers for that, at the time they were already proving the first of its kind, they were the one pushing bounderies. Sony wasn't even able to provide internal 4K in time with the A7s, that's why they pushed the S-log. Sure, after that Panasonic should had start thinking more serious about providing V-log since it was clear that it was a matter of time before 4K was coming to Sony cameras.
Panasonic still provided the FZ1000, the LX100 and now the G7, which seems to be an excellent budget choice, all great cameras for the price and feats and only now Sony is catching up on that front. So, from my POV, this is back and forth and Panasonic is a bit late but just that.
Panasonic won't come up with a new GH camear every year like Sony is doing with the A7 family. The A7s still doesn't offer internal 4K and it will never do that, and as I said, Panasonic doesn't have that same power to push new products like that.
But Panasonic better wake up though. With Sony being able to provice internal 4K, S-log2, IBIS, etc. Sony basically took away most of Panasonic's upside. Panasonic still has the better lens ecosystem but with adapted lens with electronic connectors working as they are with the A7RII, anyone that have Canon glass can easily jump into Sony, just selling their Canon body. So Panasonic better come up with a new sensor, better sensitivity, faster readouts - possibly better slowmo -, IBIS, 4K/slowmo, etc. Panasonic still have a swivel screen, no overheating issue, better battery and some other things but that's barely enough now. Maybe not just a GH camera but an AF as well.
I would like Sony to make the rumored A9. They could use their new tech for faster readouts and improved low light. There are 2 alternatives. One would be something like a bigger brother of the A7s with that insane low light capabilities and DR, another, which I think might be interesting as well, would be to make a sensor with more pixels, which would allow them to have lots of PDAF - to work well with electronic adapters - but one that could do 1:1 pixel crop in Super35/APS-C mode in 4K. I think they would need a 24MP sensor, this way you have the option for FF or Super35, in Super35, you would get less rolling shutter and differently from the A7s or A7RII, a true 4K image output. You could even use Metabones to get more light and FF look. Plus, 24MP would be enough for photographers as well. With a bigger body Sony will be able to put a better shutter for faster burst, without the miniaturization limitation that the A7 family faces, it would have better battery life, zero overheating issues and a swivel screen as well.
I'm not sure Sony is ready to make the A9, but I think a camera like that would be pretty nice and it would make sense as well, it wouldn't be cheap though but I doubt Canon would be able to respond to that with a possible 5D MKIV or even upcoming EOS-C cameras.
Anyway, this is all about competition and this is great for consumers. What more can we expect from the A7s II, the GH5 and what's the next step for Samsung?

I can't totally agree on this and weight on the final part sounds a bit bitter.
I do agree that Panasonic took a bit too long and that this delay may cost them but I think it's a bit unfair to call out Panasonic like that almost like they were Canon itself.
There is a reason why Samsung is doing this. First because they can, Panasonic does not have the same firepower and resources as either Sony or Samsung, Panasonic is much more like Fuji. Secondly because Samsung is the one racing from behind, the one that had no credit in the market so if they were any serious about video, they HAD to show that to the world, so the firmware guerrilla is a big part of that and a way to sustain interest from people.
I don't think Panasonic would had been able to offer V-long off the bat, I doubt they had resources or engineers for that, at the time they were already proving the first of its kind, they were the one pushing bounderies. Sony wasn't even able to provide internal 4K in time with the A7s, that's why they pushed the S-log. Sure, after that Panasonic should had start thinking more serious about providing V-log since it was clear that it was a matter of time before 4K was coming to Sony cameras.
Panasonic still provided the FZ1000, the LX100 and now the G7, which seems to be an excellent budget choice, all great cameras for the price and feats and only now Sony is catching up on that front. So, from my POV, this is back and forth and Panasonic is a bit late but just that.
Panasonic won't come up with a new GH camear every year like Sony is doing with the A7 family. The A7s still doesn't offer internal 4K and it will never do that, and as I said, Panasonic doesn't have that same power to push new products like that.
But Panasonic better wake up though. With Sony being able to provice internal 4K, S-log2, IBIS, etc. Sony basically took away most of Panasonic's upside. Panasonic still has the better lens ecosystem but with adapted lens with electronic connectors working as they are with the A7RII, anyone that have Canon glass can easily jump into Sony, just selling their Canon body. So Panasonic better come up with a new sensor, better sensitivity, faster readouts - possibly better slowmo -, IBIS, 4K/slowmo, etc. Panasonic still have a swivel screen, no overheating issue, better battery and some other things but that's barely enough now. Maybe not just a GH camera but an AF as well.
I would like Sony to make the rumored A9. They could use their new tech for faster readouts and improved low light. There are 2 alternatives. One would be something like a bigger brother of the A7s with that insane low light capabilities and DR, another, which I think might be interesting as well, would be to make a sensor with more pixels, which would allow them to have lots of PDAF - to work well with electronic adapters - but one that could do 1:1 pixel crop in Super35/APS-C mode in 4K. I think they would need a 24MP sensor, this way you have the option for FF or Super35, in Super35, you would get less rolling shutter and differently from the A7s or A7RII, a true 4K image output. You could even use Metabones to get more light and FF look. Plus, 24MP would be enough for photographers as well. With a bigger body Sony will be able to put a better shutter for faster burst, without the miniaturization limitation that the A7 family faces, it would have better battery life, zero overheating issues and a swivel screen as well.
I'm not sure Sony is ready to make the A9, but I think a camera like that would be pretty nice and it would make sense as well, it wouldn't be cheap though but I doubt Canon would be able to respond to that with a possible 5D MKIV or even upcoming EOS-C cameras.
Anyway, this is all about competition and this is great for consumers. What more can we expect from the A7s II, the GH5 and what's the next step for Samsung?

I can't totally agree on this and weight on the final part sounds a bit bitter.
I do agree that Panasonic took a bit too long and that this delay may cost them but I think it's a bit unfair to call out Panasonic like that almost like they were Canon itself.
There is a reason why Samsung is doing this. First because they can, Panasonic does not have the same firepower and resources as either Sony or Samsung, Panasonic is much more like Fuji. Secondly because Samsung is the one racing from behind, the one that had no credit in the market so if they were any serious about video, they HAD to show that to the world, so the firmware guerrilla is a big part of that and a way to sustain interest from people.
I don't think Panasonic would had been able to offer V-long off the bat, I doubt they had resources or engineers for that, at the time they were already proving the first of its kind, they were the one pushing bounderies. Sony wasn't even able to provide internal 4K in time with the A7s, that's why they pushed the S-log. Sure, after that Panasonic should had start thinking more serious about providing V-log since it was clear that it was a matter of time before 4K was coming to Sony cameras.
Panasonic still provided the FZ1000, the LX100 and now the G7, which seems to be an excellent budget choice, all great cameras for the price and feats and only now Sony is catching up on that front. So, from my POV, this is back and forth and Panasonic is a bit late but just that.
Panasonic won't come up with a new GH camear every year like Sony is doing with the A7 family. The A7s still doesn't offer internal 4K and it will never do that, and as I said, Panasonic doesn't have that same power to push new products like that.
But Panasonic better wake up though. With Sony being able to provice internal 4K, S-log2, IBIS, etc. Sony basically took away most of Panasonic's upside. Panasonic still has the better lens ecosystem but with adapted lens with electronic connectors working as they are with the A7RII, anyone that have Canon glass can easily jump into Sony, just selling their Canon body. So Panasonic better come up with a new sensor, better sensitivity, faster readouts - possibly better slowmo -, IBIS, 4K/slowmo, etc. Panasonic still have a swivel screen, no overheating issue, better battery and some other things but that's barely enough now. Maybe not just a GH camera but an AF as well.
I would like Sony to make the rumored A9. They could use their new tech for faster readouts and improved low light. There are 2 alternatives. One would be something like a bigger brother of the A7s with that insane low light capabilities and DR, another, which I think might be interesting as well, would be to make a sensor with more pixels, which would allow them to have lots of PDAF - to work well with electronic adapters - but one that could do 1:1 pixel crop in Super35/APS-C mode in 4K. I think they would need a 24MP sensor, this way you have the option for FF or Super35, in Super35, you would get less rolling shutter and differently from the A7s or A7RII, a true 4K image output. You could even use Metabones to get more light and FF look. Plus, 24MP would be enough for photographers as well. With a bigger body Sony will be able to put a better shutter for faster burst, without the miniaturization limitation that the A7 family faces, it would have better battery life, zero overheating issues and a swivel screen as well.
I'm not sure Sony is ready to make the A9, but I think a camera like that would be pretty nice and it would make sense as well, it wouldn't be cheap though but I doubt Canon would be able to respond to that with a possible 5D MKIV or even upcoming EOS-C cameras.
Anyway, this is all about competition and this is great for consumers. What more can we expect from the A7s II, the GH5 and what's the next step for Samsung?

I can't totally agree on this and weight on the final part sounds a bit bitter.
I do agree that Panasonic took a bit too long and that this delay may cost them but I think it's a bit unfair to call out Panasonic like that almost like they were Canon itself.
There is a reason why Samsung is doing this. First because they can, Panasonic does not have the same firepower and resources as either Sony or Samsung, Panasonic is much more like Fuji. Secondly because Samsung is the one racing from behind, the one that had no credit in the market so if they were any serious about video, they HAD to show that to the world, so the firmware guerrilla is a big part of that and a way to sustain interest from people.
I don't think Panasonic would had been able to offer V-long off the bat, I doubt they had resources or engineers for that, at the time they were already proving the first of its kind, they were the one pushing bounderies. Sony wasn't even able to provide internal 4K in time with the A7s, that's why they pushed the S-log. Sure, after that Panasonic should had start thinking more serious about providing V-log since it was clear that it was a matter of time before 4K was coming to Sony cameras.
Panasonic still provided the FZ1000, the LX100 and now the G7, which seems to be an excellent budget choice, all great cameras for the price and feats and only now Sony is catching up on that front. So, from my POV, this is back and forth and Panasonic is a bit late but just that.
Panasonic won't come up with a new GH camear every year like Sony is doing with the A7 family. The A7s still doesn't offer internal 4K and it will never do that, and as I said, Panasonic doesn't have that same power to push new products like that.
But Panasonic better wake up though. With Sony being able to provice internal 4K, S-log2, IBIS, etc. Sony basically took away most of Panasonic's upside. Panasonic still has the better lens ecosystem but with adapted lens with electronic connectors working as they are with the A7RII, anyone that have Canon glass can easily jump into Sony, just selling their Canon body. So Panasonic better come up with a new sensor, better sensitivity, faster readouts - possibly better slowmo -, IBIS, 4K/slowmo, etc. Panasonic still have a swivel screen, no overheating issue, better battery and some other things but that's barely enough now. Maybe not just a GH camera but an AF as well.
I would like Sony to make the rumored A9. They could use their new tech for faster readouts and improved low light. There are 2 alternatives. One would be something like a bigger brother of the A7s with that insane low light capabilities and DR, another, which I think might be interesting as well, would be to make a sensor with more pixels, which would allow them to have lots of PDAF - to work well with electronic adapters - but one that could do 1:1 pixel crop in Super35/APS-C mode in 4K. I think they would need a 24MP sensor, this way you have the option for FF or Super35, in Super35, you would get less rolling shutter and differently from the A7s or A7RII, a true 4K image output. You could even use Metabones to get more light and FF look. Plus, 24MP would be enough for photographers as well. With a bigger body Sony will be able to put a better shutter for faster burst, without the miniaturization limitation that the A7 family faces, it would have better battery life, zero overheating issues and a swivel screen as well.
I'm not sure Sony is ready to make the A9, but I think a camera like that would be pretty nice and it would make sense as well, it wouldn't be cheap though but I doubt Canon would be able to respond to that with a possible 5D MKIV or even upcoming EOS-C cameras.
Anyway, this is all about competition and this is great for consumers. What more can we expect from the A7s II, the GH5 and what's the next step for Samsung?

Yeah, they put global shutter in-there, then forgot to mention it in all the marketing blurb.
Not really.

The comparison between Cinelike D and V-log was pretty cool, bad skin tones and highlights were really tricky and it really seems that V-log addresses that beautifully.
Will that come to the FZ1000 or even the LX100 - which doesn't even have Cinelke profiles?

Honestly I think some people need to either cough up more cash or quit whining so much and learn the benefits of patience.  VLOG will come out or they wouldn't be beta testing it now with these guys.  Panasonic knows how important it is.  If they didn't they will know it when they look at the Ursa Mini.  The price difference between an entry-level Mini and introductory price GH4 is so low that they have to be worried.
If you think that VLOG is mandatory you either have the wrong camera for the job or you haven't learned how to expose properly.   The most impressive VLOG demo in that video is the side to side comparison outdoor with a bright background sky that's blown out.  Go get yourself an ND grad.  Jesus.   You have to learn how to work within your limitations no matter what camera you bought.
I bought a GH4 for personal projects because for the most part it's easy to use, has 4k and looks pretty damn good out of the box.   For my high-end projects I do the same as everyone else - work out the budget and part of that is renting high end lenses and cameras.   When your looking at a multi-million dollar budget, the cost of renting your cameras comes to practically zero.

Now stop whining and go create some awesome stuff with your GH4, A7S, Pocket Camera or whatever.  It's all good.   Remember that the Wachowski's could have made millions even if the only version of the Matrix they had was an iPhone video.
 

The comparison between Cinelike D and V-log was pretty cool, bad skin tones and highlights were really tricky and it really seems that V-log addresses that beautifully.
Will that come to the FZ1000 or even the LX100 - which doesn't even have Cinelke profiles?

I want Netflix to take action here, hire the trio and make it happen. That's all.

These times of over sensitive, full of politically correct hypocrites are utterly annoying. You over protect kids so much that when they are by themselves in the jungle they are unable to deal with any issue, as minor as it can be, everything becomes a life and death drama. I hate the feeling of not be able to make a joke because I have to be aware of whatever, that's why I only surround myself with people that can easily understand the difference between a joke and my serious opinion about something, that seems trivial but nowadays, it's really hard to find people like that, at least the ones I find usually become close friends of mine.
One a side note, I don't really think that the US are really the place for Top Gear.

These times of over sensitive, full of politically correct hypocrites are utterly annoying. You over protect kids so much that when they are by themselves in the jungle they are unable to deal with any issue, as minor as it can be, everything becomes a life and death drama. I hate the feeling of not be able to make a joke because I have to be aware of whatever, that's why I only surround myself with people that can easily understand the difference between a joke and my serious opinion about something, that seems trivial but nowadays, it's really hard to find people like that, at least the ones I find usually become close friends of mine.
One a side note, I don't really think that the US are really the place for Top Gear.

It has 24p, 25p, 30p, 50p and 60p in video mode. So it seems it's a global camera.
Now, let's see the video quality - the E-M1 was already a step up - and if there is any type of video feats like cinestyle, log, timecode, etc.

For the first time in a long time organic sensor's rumors surfaced again. Panasonic will manufacture and Fuji will provide the patents and technology - Panasonic might put the micro color splitter as well, right? It seems that a Micro4/3 version might come late 2015 or early 2016. The major issues engineers were dealing with were overheating and power consumption, did they solved it or maybe they had to make some concessions like to make a bigger batttery, a bigger body, etc. From some things I read, just like BSI sensors, organic sensors might be more efficient with higher pixel count but that would get in the way of video, so maybe they will try to keep a lower MP count, IDK.
Anyway, with the E-M5 MKII around the corner and finally with better video, 24p, etc. and Sony already selling 5-axis/3-axis IBIS on FF bodies I can only speculate that one of these days there will be a E-M1 MKII with further video improvements and an A7s with IBIS and possibly internal 4K or maybe an "A9" with such feats - since the A7 formfactor is not very good for heat dissipation, faster shutter, etc. since it's too small.
What will Panasonic do? Will the GH5 have IBIS as well? Will it have this organic sensor? The early 2016 could be a plausible date for a GH5. I'm not so sure about the organic sensor as at times, these tech are tested in smaller sensors even more if this higher pixel density is true but I do hope Panasonic can deliver something like the 5-Axis IBIS to form a perfect couple with Metabones Speedbooster. Sure, if Panasonic could really deliver the organic sensor and its high-sensitivity, it would be a great deal and game changer. Despite some nice features, the A7s is not optimal for video and the GH4 is a much more like a complete package, the main knock on the GH4 is its low-light capability and with the organic sensor that issue could be a non-issue.
The GH4 is known for great battery endurance but if the power consumption issue is true, I wonder how they are going to deal with that, as well as the overheating issue, I'm sure that Panasonic wouldn't want a GH5 to have poor battery performance and recording limitation due to overheating. Nonetheless, people might accept that if the sensitivity is greatly improved. Sony proved they could deliver a big FF sensor with IBIS, so can Panasonic deal with the overheating issue of organic sensor AND put an IBIS on it as well?
2016 will be interesting...

Yeah, the review didn't do for me as well. I really think the focus should had been simply on the user experience, camera feats, video feats, etc. and some touches about the design, look and feel as well. I mean, people know the difference between iOS and Android and there are better channels that cover that, I found the constant nagging quite distracting from the real point of doing a review of this phone in a page like EOSHD - maybe it should be simply called a camera because that's how Panasonic portraited it, they said it was a camera first, phone second and it that sense it seems that it's exacty that, they are not pretending to be something else.
 
As a side note, for the record, I own both Android and iOS - and I could care less about OS's bash or even brand hating, I just pick whatever suits me better. I really liked lollipop, it addresses most of my complains about the previous Android's lack of cohesive overall design, luckily this phone will get the update. Since Windows Phone brought some different ideas, it took a while but Android finally adjusted to it with Material Design, as for iOS, it's quite restrictive for my taste but the bad part is that it became quite boring looking lately, but yes, it does work, that's one of the best things about iOS, it works as it should - and also because it has the best creative apps.
 
And I don't get the feel that Panasonic was going for Apple's market at all, that take feels like a big misread about them. Based on what was said, I do think Panasonic should had refined the design better, at least the feel because I didn't dislike the look as much as Andrew did. But that said, I don't think Panasonic has that pretension of going after premium phone market or anything like that.
 
It just seem like Panasonic found a way to deliver the best camera and IQ in what can still be called a phone, much better than the QX nonsense. I do agree with a lot of the cons but the constant "something something Apple iPhone" became quite annoying and almost turned this into simple fanboyism, it made it hard to finish the read, it felt like those people from facebook complaining about life. I say that because at a point, everybody already got how much you prefer one or another, the constant reminder ends up working against it. Plus, I think that whoever feels like buying this phone, the list of pros is exactly what they actually would expect from this phone and in that sense, it's as expected. It clearly didn't worked out for Andrew, but I think maybe he had a too high of a expectation about this phone and maybe he wanted too much for this to be his all-in-one camera-phone and he ended up frustrated.
 
Despite the price tag, I don't think this is aimed to be a super premium phone, the price is due to the sensor and optics, that's quite obvious to miss, otherwise this would had been a $600 phone or less, so it's simply a great camera that can also be used as a phone. It's for those that use the phone for usual stuff and those that would rather have the better camera than the better phone. Sure, it would had been great to have both, but maybe next time. This camera-phone was never for me but I think there are photographers that would enjoy it, hopefully, enough people so they can make a better phone next time - but hopefully a better phone via firmware update.

I loved the design, it's like the GM1 in the form of a phone but with a more modern angled edges, Panasonic has been nailing lately.

I think nobody mentioned it but this camera can also do 720p @240fps - and 640x480 @360fps.
 
So this turns the camera even more interesting, 240fps in 720p is not bad at all.

Most prodictions need lights and crews for commercial jobs , I just shot this weekend with a whole new LED light rig like used in 'Only God Forgives' , its superb and quick to rig and small ..and no heat on set - tungsten lights get like a greenhouse on my sets.
 
think of the big picture Andrew - this is good news as others will have to respond ....will we get a new cheaper Red camera soon? - they know how to make them .