gethin

Another non-starter for video, although as a stills camera I quite like it
Nikon seem to have caught Canon-itis. A well known condition where you lose your memory and release the same camera every year with a different badge.

the nikon chief strategist is a drooling gibbon. honestly I think they could do better if they had a monkey throwing SH** at a chart of camera features
 

Urgh! I hope they can make active d-light in 4k available for the d820/d850 or whatever it will be called and full frame 4K.  Its my last hope to remain a nikon shooter. 
Crop is aparently 1.5x

Well, it does have zebras, but the D7200 had them as well, so there's no reason why the D7500 wouldn't have it either.
I will definitely buy this camera next year after the price drop... maybe during a Christmas sale.

Dave looks better on the left and at my age I'd also rather be shot on the 1dx ii. Don't know if that's a good thing though.

BINGO! 
Hee hee
Sorry went back to vid and noticed it was labelled 1080.  I can live with a bit of moire now and then in slowmo, have you found any moire in your 4k footage yet?
This is 4K gx85: 
 
 

I had a mate that used to write for a camera mag. Panasonic used to take them hither and thither and wine & dine them.  I'm sure they would've got corporate blowjobs if it was de rigueur.  I'm pretty sure that journalists would need to declare such things, but blog writers?  Youtubers?  Keep doing what you do Andrew, its extremely rare and refreshing. ANd the od add or affiliate link on here would not phase me in the least.  
BTW same mate applied for a writer's job at DPREVIEW. He was editor of a camera mag. The job in question was unpaid.  Unpaid! Classy.

its slightly bonkers that a drone manufacturer is pushing the camera tech envelope more than the camera manufacturers.  You need certification to fly the inspire in australia, so it's off my radar for now, but if I had it it would be a no-brainer.  Next phantom could well have raw vid.  Helloooo... Nikon.... wakey wakey.....

kaylee look at the link in the original post.  it'll lead you back to a page all about tv's as monitors.  the one I mentioned is the cheapest smallest one available but the 6000 series goes up to 70" I think.  I recon a 40" tv on your desk probably wouldn't need ui scaling.  it'd be yuge
Since writing this I saw a review of the LG 32" 4k dci monitor with 99.9% adobe rgb and thse extra 200 ish pixels and its twice the price and now I dont know what to do.  :p

This: http://www.rtings.com/tv/reviews/samsung/ku6300
Is cheap over here at the mo.  Was thinking of using it for the program window in premiere, and keep a smaller colour accurate monitor for doing grading and whatnot (and for lightroom and PS).
is this a totally stupid idea?  (I currently have 2560x1440 27" monitor, and just think that's too small for 4K).  

Well dji have solved the issue by literally thinking outside the box. I wouldn't mind a totally stupid looking camera that could should 4K raw...

oh just the snippets of 4K that have been posted ( think they're all on this thread).  To my eye it looks a bit more organic than the gx85, but its early days

Sorry should've specified: G80/85.  Everyone is saying g80 and gx85 will have identical video, but from what I've seen this is not so... maybe @andy lee can confirm;) 

I'll send you the shirt of moire if you like
So I ended up fixing it in a hilarious way.  I tried in photoshop and in premiere, I used several techniques that I've used before but it none of them really cut the mustard. So I found a frame that was slightly out of focus (no moire) and animated that over the chap.  He was pretty stationary, it mostly works :D
 

Caught Max Yuryev comparing the GX85, Fuji Xt2, 5dIV, and A6300... all of which are the hot cameras right now (especially the A6300 )... a nice video considering low-light, detail, and DR. The GX85 fairs well, especially at its price point.
 

I do a ton of corporate interviews, musing about some doc projects if I get some free time...
The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
(#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
#3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
That's my business interview setup, but I'd likely use the same for a doc interview.
Last week, basic setup:
 
 

They're rather quick, what.  Ok they're a bit pricer than sd cards, but you could pull em out, and edit on them.  (And makes getting raw 4k a doddle ;))
http://www.anandtech.com/show/10698/samsung-announces-960-pro-and-960-evo-m2-pcie-ssds
 

I'll send you the shirt of moire if you like
So I ended up fixing it in a hilarious way.  I tried in photoshop and in premiere, I used several techniques that I've used before but it none of them really cut the mustard. So I found a frame that was slightly out of focus (no moire) and animated that over the chap.  He was pretty stationary, it mostly works :D
 

Nah, that picture is actual moire. The thing your eyes see through folded mosquito nets etc is different. 
Very few cameras are moire free. Speaking of Panasonic, the lx100 is very clean. Its a shame I moved to the countryside so I dont get to test new cameras at the Building of Moire without taking my car.
 

Re moire: 
 
This is 1080 50p. For most people this situation will arise infrequently. You're right that looking at the 4K version at 1:1 there was virtually none. 

Might be irrelevant, but:
1) You have to make sure your stabilizer is set for the proper focal length. 
and 
2) The stabilizer is actually working. I have 2 gx85's. On one of them the stabilizer has actually got "stuck" a few times. 
The description of your ibis performance does make it sound like it's not performing adequately; through user error or malfunction.
I'd also advise that your moire could well be a computer display issue rather than the actual footage. I just did a shoot with a lady in tight stripes. Morie looked pretty bad in the edit window, but when I watched the footage full-rez, it was fine.  

First impressions, some good, some not so.  Not sure its the right fit for me.  Need to test low light and do more shooting generally 
Nice hack but no good for me - I need to swap quickly from one to the other.
5 axis - I know it works in video   Just making sure that in the menu you need "E-stabilsazation (video)" to ON. (Because without that it seemed to do nothing.

First impressions, some good, some not so.  Not sure its the right fit for me.  Need to test low light and do more shooting generally 
Nice hack but no good for me - I need to swap quickly from one to the other.
5 axis - I know it works in video   Just making sure that in the menu you need "E-stabilsazation (video)" to ON. (Because without that it seemed to do nothing.

First impressions, some good, some not so.  Not sure its the right fit for me.  Need to test low light and do more shooting generally 
Nice hack but no good for me - I need to swap quickly from one to the other.
5 axis - I know it works in video   Just making sure that in the menu you need "E-stabilsazation (video)" to ON. (Because without that it seemed to do nothing.

Ok good to know especially as I just bought one :). Got a deal in Australia with 12-35 and 45-150 lenses and 25mm 1.7 thrown in for free. Expecting these lenses to be kit lens tastic, but may use when I need auto focus.