Xavier Plagaro Mussard

If colour is your only problem then you're in luck my friend. http://www.eoshd.com/comments/topic/8438-pleasing-neutralising-panasonic-luts/ It was created by colour matching GH4/GX7 footage to Canon footage of the same scene and colour charts. 

To be fair on the client, the inclusion of such heavy flares does fit the brief. The brief is an incrediblly high octane performance with a sci-fi neon feel - using distortion, flashing lights, flares, defocus techniques, glitches, lens whacking (we helped them out with the idea of course). We referenced the flare techniques are now they are obsessed! 
I could do it in post but where's the fun in that? I'm a firm believer that if you can do it in-camera/practical - then you should! (Look away George Lucas!) 
 

You can buy it here: http://pilotfly.de/ - I ordered mine from the german shop - no problems at all.

I am trying to defend Sony in any way, I am just stating the facts. I don't enjoy gear fights. Of course I would prefer a product that is perfect in every way. Its not about having a different standard but different needs, I need a compact camera with IBIS that shoots great quality video. Neither GH4 nor NX1 do that. Until there is another company that makes such a camera, A7rII appears to be the only choice, as crappy and expensive that might be. I am sure that when they find a way to solve the heat issue they will release yet another camera. Would you prefer not to have the A7rII at all until they solve the problem? From user reports the majority of them sound pretty happy and they definitely don't believe the camera is defective. I think that works well for both Sony and their customers. 
Keep in mind that people had argued that:
FF in compact was not possible (RX1, A7, A7r). 
Then that proper quality video recording with FF in compact was not possible (A7s)
Then that IBIS with FF in compact was not possible (A7II)
Then that 4K with FF in compact was not possible (A7RII) 
Then that long 4K recordings with FF in compact was not possible (wait for A7sII). 
You have to give it to Sony for making it this far. You don't like Sony's products? I have a solution: Don't buy them! 
There are always going to be limitations, with any product, we just have to work around them. 
Now if I were a professional videographer, most probably I would not use the A7RII, but I doubt it was targeted to them anyways. 

i didn't find that skyline photo in the comparator app very useful, so i hacked it (kinda, not really) and i added an A7s sensor profile. now it starts at 15mm because that was the example photo that i found, taken with the Sony SEL1080 10-18 at 15mm full frame with an A7s. will probably take down soon because i don't plan on re-writing the javascript, although it could use it. 

The problem is that there is no hard limit that Sony could put in the manual since the usable limit depends on the shooting conditions.
My point was this: Even if Sony decided to underestimate the length of the recording lets say 10 minutes max, people would still try to make the camera overheat and complain. 
In general I agree with you, I prefer when companies/people come clean from the beginning. Or at least put an accessible thermometer inside as you propose. 

No, this is the small one. The 28 2 is huge, there is also a rollei version, a pentax version (andrew has one I believe) and probably a few more.
this one was shot with the pentax one 
https://vimeo.com/7028401

Uh...28mm is traditional. Very traditional. It's a classic focal length, from way back in the day to right here in 2015. 

Especially in the near-standard focal lengths, cinema sets tend to offer lots of different options. You can get a PL mount 24mm, 25mm, 28mm, 32mm, 35mm, 40mm, 45mm, and 50mm. Art Adams had an article a while back where he wanted the widest lens he could dolly from a wide shot to a close-up without making the face look unnaturally stretched. They tried the 28, the 32, and the 40, and settled on the 32. It's not weird or esoteric--it's just that once you get into that zone of 24-50 or so, you get a lot more choice because every few millimeters matters.

24mm F2.8 IS
28mm F2.8 iS
35mm F2.0 IS
100mm F2.8 Macro IS
200mm F2.0 IS
300mm F2.8 IS
And a few others but oddly no 50mm or 85mm yet.
Ultrasonic IS on the above lenses is very good, better than IS on the Sigma or Tamron zooms.

If you don't want to use half your trolley/bank account on photo equipment, becoming a robbery-candidate all over Cuba, get a Panasonic FZ1000, three extra batteries and a way to unload your pictures/footage. 

over time, you develop an ear for this sort of thing. as a trailer editor, it's pretty much mandatory to be a good music editor. rather than relying on some plugin, looking at the waveform can help you make a picture or audio cut (or cuts) to the beat/percussion/etc. personally, i don't need to place markers because the waveform is right there.

In addition to image stability, I'm happy to announce my unofficial, unplanned drop test was a complete success. 
Peak design backpack kit was a complete failure though. Dropped the nx1 from 5 feet onto solid granite straight onto the lens and slid 10 more feet down the mountain. It still runs like a champ. The thing is a tank.

I don't know who you're talking about.

There's a big difference between "real" cameras and the kind of stuff hobbyists and industrial shooters (like me!) use.  I shot 4 different projects this week, and two of them were last minute things, so renting on my level is not really viable.  I need something to go out the door with without much lead time.
Also, for the crap I do, I get paid less than it costs to provide craft services to a real shoot.  I need a camera that's cheap and easy.  That's my end of the pool.
BTW, I shot an actual Super Bowl spot once.  With a Canon XH-A1 no less.  Actually, it was a CBS media network promo, does that count?

35-50mm is around what the human eye sees in real life. I think that is why exotic lens choices like 28, 16, 60, etc. seem surreal and thus more cinematic. At least that's what I gathered from the article by Noam Kroll.

Well gosh thanks a lot.  I thought I would get ridiculed off the boards for shooting family videos with a 1dc.  I'm just trying to get the best footage of my kids while they're young that I can afford.  I shot the 5d3 raw for almost 2 years - I'd have stayed with it but I wanted the ability to crop with 4k plus the 12 FPS for sports.  Plus of course the non-hacked reliability.

I had to send mine back to the Sony shop as couldn't get the slow-mo in focus half the time due to a bug.
Apart from that was great
Review is written but didn't shoot as much nice footage as I'd liked to have, which has made the edit a difficult chore in the midst of a lot of other interesting stuff to be doing, hence the delay
Wolf33d maybe you could crack the whip over my back a bit more, I am your unpaid slave after all.

Slow zoom and all!
http://www.engadget.com/2015/08/20/vhs-quality-videos-ios-app/

Linux is only free if you value your time 0$ per hour. You will need a lot of hours to make it work as you want!

This is my first official test with the Sony RX100IV. I wanted to create a project that tests 3 things: 1) Slow motion quality 2) Dynamic Range 3) Slow motion with Dolly (using the ronin-m).
 
I decided to use my energized furry friend Simba as my talent. The dynamic range is incredible in 120p due to the high bitrate and I found myself having the best grades in post using this mode. Using the Dji Ronin-m made this setup extremely light and I was able to move extremely quick. I shot this video using only 120p, 240fps, and 480fps. Decided to get creative with the editing. Watch in HD and enjoy!
 

That's torture!!! ;-DD

Well that took a bloody long time! But I've just this minute completed my new reel and site. It's not "announced" until Monday.... social media campaigns etc blah blah. But it's live! Check them here: 
View my new showreel and website!
Some info
Each and every image -  I shot, lit, edited, graded. A little directing. Very involved in creative ideas.  Core crew was mostly 4-5 regular people in these productions (Director, DOP, Production Manager, Spark, Make Up Artist).  For the geeks - cameras used are Sony F55, FS7, FS700, RED Epic, GH3, BM Pocket.  All images are music videos, but going for commercial/corporate work aggressively into the next year. (and still many music videos).  The aim is to have 100% new material for Showreel 2016. Max creativity required.  Anyway, if you like it or don't like it, whatever. Just thought I'd share.
 

I am praying next iPhone shoots LOG too!!!!! ;-DDD

Front focusing attachments are more sensitive to entrance pupil diameter than they are to f/#.  So, if it is soft at f/2.8 with an 85mm prime, then it might be just fine at f/1.4 with a 28mm prime since the pupil diameter is actually less for a 28/1.4 than it is for an 85/2.8.  So, my question is what focal length(s) give you soft images at sub-f/2.8, and are you able to get sharper results by using a shorter focal length?

I'm not sure why people are getting so defensive about what is a pretty apparent weakness with long exposures on the A7R II. It's to be expected with tons of pixels and poor heat dissipation. Does it render the camera unusable or condemn it to the junk bin? No. But it should be acknowledged and explored. Even if it turns out to be bad processing or poor exposure, we'll at least learn how and why the A7R II files fall apart.