Didn't know that... But I guess that's part of the problem. I have a GH4. Assumed the v-log firmware has been out in the wild as an update, so will be disappointed if it does not exist at all...

Panasonic is being really silly about this. Sending out the firmware beta to testers / shops. Not telling anything about the fact that they will probably charge you for it.

GH4R doesn't have to mean a new camera. There already is the GH4K, GH4AEG-K, and other crazy letter combinations (you can really buy a Panasonic DMC-GH4UE-K + AG-YAGHG for example...) The add-ons just tell which lenses is bundled with the camera. So GH4R could mean GH4+firmware and an identical camera.

If Panasonic does not release the V-Log update for the current GH4, that would be completely stupid, since we've already seen it working with the beta testers.

The D810 has higher dynamic range because it has iso 64. At iso 100 it's 13,9 stops vs 14,36 stops. 

Look at the measurements tabs on DxO, not just the scores.

The A7R II has much better DR at higher iso values.

Looks good for sure, although I don't like the smudged corners in the wide shots.

Also, I'd love to see it compared versus full frame with bright lenses. Sony A7S + Nikon / Sigma 20mmm f/1.8, Voigtlander 35mm f/1.2, or any 50mm f/0.95 / f/1.2 will give some crazy shallow dof. Different aesthetics than big format lenses, but It would be interesting to see what's the actual difference.

Non rotating front element sounds good. I don't get the thread sizes though. 75mm rear, why?

And basically the Rectilux 3FF etc are dead on arrival now?

I wanted to suggest that too. People used it on the GH4 for anamorphic before the 4:3 video mode was introduced. It has limitations though, no audio I think? And not sure about bit rates. 

@liamlumiere Totally understand you for not wanting the hassle of ML raw. Not sure if you can change the aspect ratio with H264 - I think you can't.

Maybe the Samsung NX500 is an option. No 4:3 mode, but plenty of resolution, so no big deal when you have to crop a lot. Framing is still difficult, but you could tape some guide lines on the screen...

Get a 50D instead of a 550D. The 550D is seriously bottlenecked by the SD card, the 50D can handle higher resolutions.
The 50D doesn't record audio though, so you have to do that externally.

7D is also a good option, but not as cheap as the 50D. 5D Mark II is even better, and pretty great combined with a VAF anti moire filter. Gets you close to 5D3 performance/resolutions.

My Canon EOS 50D is for sale by the way

Here you can see al the Canon cameras and their ML raw capabilities (it doesn't list 4:3 modes though):
https://docs.google.com/spreadsheet/ccc?key=0AgQ2MOkAZTFHdFFIcFp1d0R5TzVPTVJXOEVyUndteGc#gid=5

I shot this in 1280x960 24 fps, but I think you can get a bit higher. I don't know what are the 4:3 options in the recent ML builds.

This!  

I'd be more worried about the video getting flagged for the penises than copyright infringement on the games. It's more like fan art.

The animations are absolutely amazing! Enjoyed every second of it. Awesome job, love it!

The VHS style is also very cool, but maybe a tad to sharp and detailed. Not really an issue, but the SD-look of Kung Fury was a bit more convincing imo. Maybe downsizing to 480p and upsizing to 1080p would give kind of the same effect? 

Anyway I think it has potential (and deserves!) to reach a huge audience on YouTube, if a few big blogs pick it up...

You should send it to some gamer websites/blogs. I think http://kotaku.com/ is a good fit. Or send some behind the scenes info + shots to http://petapixel.com/

Horses for courses. Not everybody wants a big professional cinema camera.

No point in comparing the two in my opinion.

True, I see the difference there. So the conclusion is: more noise if you adjust the exposure +5 stops... I could live with that when shooting timelapses.

The real world tests I liked to don't show any difference at all and I don't think it's very likely anyone would do any more extreme edits in a practical situation.

Proof?

14 bit vs 12 bit raw is hardly noticeable imo.

https://photographylife.com/14-bit-vs-12-bit-raw

@agolex: in the description: Shutter Speeds: Various (Sometimes very High). Occasional use of ND Filter on the 50mm 1.4 to achieve 180 degree shutter (1/50).

So looks like all the other shots are shot without ND's with high shutter speeds - that's what makes motion look bad...

@agolex You can download raw samples here: http://www.photographyblog.com/previews/sony_a7r_ii_photos/

Photoshop CC supports them. I tried a few and the dynamic range looks amazing - as we can expect from a Sony-sensor. I'm pretty sure it will be on par - at least - with the D800.

@Andrew Reid

"fast sensors are noisier because they generate more heat"

Is that really the case? The D4S and 1D X sensor aren't more noisier than their 'slower' counterparts. Also the new 42MP bsi sensor is a lot faster than it's predecessor and I don't think it's noisier?

Buffer memory is expensive, but the camera won't be cheap anyway. The A7S is more expensive than the A7R, if Sony decides to make the A7S II a big upgrade, I wouldn't be surprised if it was more expensive than the A7R II.

30 fps is possible read out-wise, but you'd have to use an electronic shutter. If it's still a rolling shutter (which I would expect), that would probably not be very good for sports photography. A mechanical shutter with 30 fps is impossible I think.

I agree on the ergonomics. The A7(R) II is a lot nicer compared to the first generation, but they should really make that rumoured A9 Pro-series with a bigger body, bigger battery, proper flipscreen etc.

The A7R II seems to be very good in low light in the 18MP S35 crop mode (4K), in fullframe mode the A7S still wins.

I think Sony should give the A7S II a 18MP fullframe bsi-sensor - so you'd get better low light performance in 4K full frame mode.
The lower megapixel count could also make faster readout possible for 4K @ 60 fps, 1080p@120 fps and maybe 720p@240 fps.

Actually I think Sony should make the A7S II not exclusively a lowlight video-oriented camera, but a Sports photography camera with a huge buffer and fast framerate - at least 10 fps. So it can compete with the Nikon D4S / Canon 1D X (and Samsung NX1, although the buffer in the NX1 isn't really impressive compared to the pro sports cams).

When they announced it on June 3rd those prices were already communicated by SLR Magic UK: http://www.slrmagic.co.uk/news.html

Why not get the Sony 18-200mm? OK, it has less reach, but still plenty. 

Also you could use the currently available Sigma 18-300 with Canon mount combined with a autofocus Canon to Sony E adapter like metabones. Although you'd have to check first if that combination actually works. Those adapters are a bit picky. 

Dynamic range is 12 stops. You can find the full spec sheet here:

http://www.canon.nl/Images/ME20F-SH_Spec Sheet_EM_FINAL_tcm16-1289589.pdf

There's Canon Log and Wide DR.
Image Processor: 10 bit (8 bit effective). File format depending on External Device - I don't think that means raw is possible.

Most probably an official rebrand. But it's still the same lens as Eiki / Sankor / Sun / etc. Just a lens that has been sold under a lot of names.

Most innovative Canon camera in a long time for sure!

This is the video from 2013, when Canon announced the sensor. The video was only uploaded in 240p or something at the Canon website (and put on YouTube by Petapixel), so the quality is crap... Canon should show some 1080p footage!

I don't like the camera much (body design and control, no possibility for speed booster), I really prefer the G7 as a camera, but for $350... I can't argue

I don't have practical experience with fixed ND's either, so don't trust me on my word...

I'm really curious to see the pictures and the hear about your reason for using the Iscorama in this situation. Willing to share some results? Would love to see!

Your tests make sense to me. I don't think diopters should alter the compression ratio. The internal lens elements does not change its position, it's focussed at infinity, so it should give the same ratio as when using it on infinity with far subjects, I'd say. If your tests give you the same conclusion, why doubt them?

Whats the source of this interview? Neil seems to work at hdvideopro.com but I can't find this interview online. Is it from the print magazine? It all sounds legit, but a source would be nice... Kind of weird to just copy paste a wall of text here without proper credits if you ask me.