mike_tee_vee

What impresses me the most about EOSHD is Andrew's transparency and accountability.  The Canon XC10 and the Olympus E-M1 II are two examples where Andrew is transparent enough to change his assessment based on new information.  He tells it like it is with no obligation to pay lip service to the big corporations.  Not getting a GH5 sample to preview can be a good thing, as he is not pressured to heap praise where it is not warranted.

What impresses me the most about EOSHD is Andrew's transparency and accountability.  The Canon XC10 and the Olympus E-M1 II are two examples where Andrew is transparent enough to change his assessment based on new information.  He tells it like it is with no obligation to pay lip service to the big corporations.  Not getting a GH5 sample to preview can be a good thing, as he is not pressured to heap praise where it is not warranted.

Awesome news on the LX100 added to the compatibility.  I was thinking of selling mine due to the dreadful skin tones and magenta cast on lips, but this EOS Pro Color makes me think twice.
Now if Andrew can add Dual Pixel AF to a Panasonic, I can officially dump my Canon gear  
 

Mercer, nice video!  A couple questions:
- Was this shot with auto or manual focus?  How do you find the reliability of the continuous auto focus? 
- How is the stabilization in 4K?  I found the FZ1000 to be a bit skittish and jittery, similar to the Panasonic 35-100 2.8 lens. 

We've been using the 1DXII for weddings for the past month. Skin tones on a bride are always important, and I think they are great with this body. I don't have any full films completed but here is one of our teasers : 


Matt // www.thefilmpoets.com

As much as I dislike Canon's practice of crippling their DSLR's, there's things like color and DPAF that prevent me from selling off my Canon gear. 
As Michael Corleone said in Godfather III: "Just when I thought I was out, they pull me back in."
 

As much as I dislike Canon's practice of crippling their DSLR's, there's things like color and DPAF that prevent me from selling off my Canon gear. 
As Michael Corleone said in Godfather III: "Just when I thought I was out, they pull me back in."
 

Gorgeous color, but I think I prefer the 1DXII footage ever so slightly. 
Pound for pound though the X-T2 is unparalleled for the price.

Oh dear, the karma:
 

Best thing I have ever done selling my Nikon D750 and prime lenses and getting the G7 with Metabones Speedbooster XL! 
Such a killer combo, thanks for the great review @Andrew Reid I'm new to videography this is my first video and stoked with the performance of this little cam
 

Don't you have an 80D? Using Andrew's Log profile, fast lenses (e.g. Canon 50mm 1.8; Sigma 18-35) and sticking to shallow DOF (i.e. what you want it for) by ensuring subjects are within a few meters of the camera, you'll get results very comparable to a C100. The benefits of clean, high res cameras only really come into their own for deep DoF shots with loads of detail. The old Rebel cameras, 60D, 7D, 5DII, etc were always fine when shooting portraits etc because A) out of focus areas negate moire and B) the codec & processing that caused those cameras to be soft struggles much less when large parts of the image are out of focus - allowing bitrate and processing etc to do more in the in-focus parts of the image. Also the contrast between OOF background and in focus foreground makes the subject appear sharper than it actually is. Besides, if you're shooting people you don't want them to be too sharp. As the 80D is significantly better than any of those cameras you should be getting shallow DoF results that cut perfectly well with the XC10's wider shots. 
Something that doesn't get talked about much is that 4K actually makes far more sense on small sensor cameras, because you're always going to have deeper DOF and therefore far more detail to deal with. So for Panasonic it makes sense for them to have led the 4K move because (apart from the fact they want to sell 4K TV's) they have the smallest ILC sensors. Even their HD cams were much higher res than APSC counterparts - and really they had to be, because the MFT sensor always meant more detailed scenes (less OOF areas).
 

I just bought it and what I can say... I tried for some minutes it on my father's Canon 6D and it is just AWESOME!

I went far to ISO 3200 without problems! I tried only C-Log, Cinema 4 and Scarlet, in the next days I will try all the other profiles.
For the moment: 
- C-Log is awesome, great DR no problem with shadows as I have with V-Log L recorded internally on the GH4.
It's really a GIFT for any Canon user! You have to buy if you need a log profile! 
I'm going to try close to BlackMagic Micro Camera as soon as possible just to see differences and similarities.

- Cinema 4 is a "neutral" with better colors and a slightly better DR. Great! I really like it for a 90% ready look.

- Scarlet is a Fuji Velvia-like profile, with raised blacks, hyper saturated look (red blinks to my eyes) and less DR in order to have a great contrast.

I think that just C-Log could cost at least more then V-Log L (it works wonders at 8 bit, instead with GH4 you have to record externally 10 bit to appreciate it), you have a lot of other great profiles, so don't wait that Andrew changes mind and buy it now!  

Thank you Andrew! And Canon has to thank you, because I'm really thinking to buy again a Canon just to use your profiles! 

 

As puzzling as it is to release a top spec'd A-mount camera, I commend Sony for STILL supporting a legacy mount, and rewarding long-term users with a current body.
Samsung could learn a thing or two from this practice!

Looks like the engineers STILL haven't figured out Auto ISO + Exposure Comp in manual mode video in all these new releases. 
GH5 maybe?

As puzzling as it is to release a top spec'd A-mount camera, I commend Sony for STILL supporting a legacy mount, and rewarding long-term users with a current body.
Samsung could learn a thing or two from this practice!

As puzzling as it is to release a top spec'd A-mount camera, I commend Sony for STILL supporting a legacy mount, and rewarding long-term users with a current body.
Samsung could learn a thing or two from this practice!

Looks like the engineers STILL haven't figured out Auto ISO + Exposure Comp in manual mode video in all these new releases. 
GH5 maybe?

As puzzling as it is to release a top spec'd A-mount camera, I commend Sony for STILL supporting a legacy mount, and rewarding long-term users with a current body.
Samsung could learn a thing or two from this practice!

Looks like the engineers STILL haven't figured out Auto ISO + Exposure Comp in manual mode video in all these new releases. 
GH5 maybe?

As puzzling as it is to release a top spec'd A-mount camera, I commend Sony for STILL supporting a legacy mount, and rewarding long-term users with a current body.
Samsung could learn a thing or two from this practice!

I always struggled with this too in both RAW and JPEG.  You can see a test I did with the G7/GX80/LX100/E-M5II here where I balanced everything before shooting.  I find the GX80 to have much more pleasant colours than any of the Panasonic cameras that I have used so far.  Here's hoping that the GH5/G80/LX?? use similar colour.
https://www.youtube.com/watch?v=dGXsDFfKDxE

Hopefully the LX10/15 did not eliminate the need for an LX100 successor by consolidating the LX7 and LX100 lineups.
Wishlist for an LX200:
- Articulated touch screen
- Exposure compensation with Auto ISO in "M" mode
- Improved color profiles (no magenta cast on lips), Cine-D, v-log
 

Sony please take note of the touchscreen on this camera - high resolution, touch to move focus point - even when shooting through the EVF (so you don't have to push a button and then fiddle with a dial), touch to magnify and check focus (so you don't have to push a button and fiddle with a dial), touch to move around the magnified frame (so you don't have to push a button and fiddle with a dial), touch to pull focus while shooting video with a AF lens (so you don't have to push a button and hope the focus box stays on your subject - though it does that remarkably well) and so on. Please pull your heads out of your collective asses, steal this concept, and add it to all future E-mount cameras. The a7rII and a6300 are my last E-mount cameras without a fully functioning touchscreen.
Video on the M5 obviously aimed at what the promo videos talk about - people looking to upgrade from a phone - so it no longer interests me. But that damn touchscreen, love it. Hopefully Canon putting touchscreens on its flagship cameras will finally prompt Sony to add them as well. If you want people to use a shitty focus by wire system to shoot video with E-mount lenses, moving the focus point needs to be easier. Its my favorite feature of the a5100, but I can't get it on a higher end body, grrrrr....
Edit: And its not just Sony. Panasonic, please stop trying to sell that crappy DFD system as a competent AF in 2016, the capabilities of a decent PADF array make your offerings look laughably bad in comparison. The GH5 needs to move into the PADF realm if you want to try and convince stills heavy hybrid shooters to buy a G/GX/GH camera over the competition.

Sadly, in my opinion, it's nowhere near as good. I went from a 70D to an NX1. In an interview like situation, with one of the S lenses, it's really good, it'll lock onto a face and stay solid, no hunting, but that's about the extent of what I can trust it with. Canon's dual pixel is just so wonderfully useable and trustworthy, even in run and gun type stuff, nailing focus every time with a touch of the screen (albeit with those mushy, soft canon "details", but what can you do). 
I would never dare use my samsung like that though, especially in high contrast situations, where sometimes it will think it has 'achieved focus' and then just completely blur everything, ruining the shot. 
That being said, I have had pretty good success using it for gimbal stuff, I've used the nx1 and 16-50s lens in af-c on a ronin-m quite a bit, and been very pleased with the results most of the time. 
Samsung's af tech is pretty good, and definitely better than most cams, but canon's dual pixel af is straight-up magic. 

What bothers me is that every camera system has big limitations. 
Canon DSLRs gives us: good color science, good reliability, good user interface, touch screens, and stunning Dual Pixel AF.  The drawback is the soft details in the image.
Sony is the exact opposite.  As much as we chastise Canon (and rightfully so), I do miss the reliability and ease of use of my mushy 70D and 5DII.