jonpais

With Nikon, it is difficult to 2nd guess their intentions for this camera and lenses to be considered for professional use, just as it is for its existing products.
In theory, you might inagine that if they consider it a professional camera then it will appear on the qualifying list for NPS.
https://www.nikonpro.com/ProductList.aspx
It doesn't yet of course but when it's actually available I have no doubt it will do as when you take a look at the cameras and lenses (especially the DX ones) that are on the list you will find many which you would at best consider prosumer ones. 
There are plenty of single card slot cameras on that list too by the way.
Admittedly because they use a points system you would need a fair amount of the lower end stuff to reach the 750 point threshold to qualify for membership but Nikon do acknowledge in this way that you don't have to have their most expensive equipment to be a professional photographer and receive the same benefits as those that do.
Which is good for the user (as professional photography is a broad church where not everyone needs the features or build of the higher priced equipment) but bad for trying to win internet arguments.

Are you saying hindsight is rec2020?

That was great.
I still think I would prefer to use an A7sii for that though.
While my A7s is dead, I have loaned my Canon 17 TS-E to a relative who does real estate videos for a developer to use with an A7sii.     Must find out how he is going with it.

I quoted you directly above, then wrote my own statement below, so that with your quote side by side it was clear that was my words.  For the point I was making that all sensor sizes have their own set of pros/cons worth discussing. (and of course any con falls under "disputing the merits of..."). 

10 years on, Panasonic should really be leading things out front.
I don't know whether it is down to a smaller budget, or Panasonic upper-management not allowing total freedom, but it's sad that Sony and Nikon are out front when Panasonic were the ones to pioneer the entire market, at a time others were too scared to make the jump.
If anything dude, you are the one turning into a fanboy.

Jon's jump from GH5 fanboy to Sony fanboy is wild. 
I wish he wasn't such an intolerant dick and was able to process the notion that we all have different opinions, preferences, and wants. If you don't agree with him and his "facts" you're delusional, an idiot or both. 

Don't drag me into it
I have by virtue of its more flexible lens mount and the more or less comparable form factor but better quality stills of it versus the Panasonic GX80 reached what I would describe as a cordial understanding with it.
I don't love it on its own merits necessarily but I'm liking it a lot more when viewed as a poor man's Leica CL.
Like many strained relationships, we have saved it by indulging in a little role play !

Yeah that is about as bad as it gets. If that is what is the best it can do I would not pay 500 bucks for it. ?

Actually, I am arguing the complete opposite - there is no replacement for displacement. I assume that as both M43 and FF use the same Sony sensors, their 'tech' is pretty much the same and it is the 'size' of the sensor that makes the difference.
As a matter of factual consideration, the Sony sensor will have less noise at base iso than an M43 sensor because its base iso is lower (unless of course you assume no noise!!!! with either.) And of course the A7xiii sensors all have dual ISO much the same as M43.
Really if people maintain that M43 iso performance matches FF they are really arguing in the face of logic, science and facts - which was the whole point of the debate.\, I am out of here. At some point equivalence debates just make you want to stab your head with a sharp pencil to quote @jonpais

Yes... Some time ago it was true that m43 sensors, being not enough mature in development, had less photon-sensitivity than their more mature bigger sensor counterparts, but now gathering ability is approximately the same... f2 is f2 in terms of pure usable light efficiency, i. e. with equal noise quantity and level of image purity or no-degradation.
From the other side, it is also true that FF cameras can use higher ISO values to compensate light (although in high iso there are always and everywhere degradation and color shifting  ) - so, again, I'm talking about narrow field of usage around not above ISO 1600 as limit... 
But, for this "guerilla-sweet-spot" theory you have to  have (or you wish to have) m43 lenses that achieve their best performance at sweet-spot around T2  for nice balance of bokeh-vs-narrative clearness.. and they are much much rare - besides that they no exist in zoom realm - especially in comparison with so many affordable ff lenses.
That's the reason why there are several tests that show that, say, Veydras lenses on top m43 cameras achieve even better results than Zeiss Super Primes on bigger sensor cameras, being significantly cheaper. Or Voigtlanders that are so brilliantly constructed (highest hokus-pokus know-how) in balancing flaws/powers - being again better and cheaper than Cosina's Zeiss lenses.
So again, strictly for low budget narrative film making, I found from personal practice that combination of these factors (including mature and always more advanced IBIS system) makes m43 (by of course very little margin) best suited for that narrow (without need for really appreciate AF capability) sort of task, i. e. one-man visual story telling.
That's also reason, I'd say, why, besides people more technically and novelty-wise interested, creative-job DoP's pay so much attention to little BM cameras, and especially new 4k pocket version or why Oliver Daniel could achieve so nice and quick results in pretty complex and demanding shooting tasks with GH5...

Hi All,
 
first post here so hello. When self shooting i use the LS300 with an Atomos Shogun and Samyang primes. As mentioned without the Shogun and its focus peaking you would need an external monitor or an EVF. However, despite this drawback the image quality (in my opinion) is great.
This was all shot with the JVC apart from 2 clips.
 
cheers

A before and after screen grabs of a test HLG3 clip overexposed in camera by +1.7 stops

 
Original clip: https://www.dropbox.com/s/mmpb9iux6s713ac/C0002.MP4?dl=0

Obviously it is, given they both have nearly identical form factors. Is that really so hard to understand? So instead of being patronising, how about point out specific examples? That shouldn't be too hard given how well understood the advantages are by everyone. 

I'm just wondering whether by the point at which you're talking about making the purchase that the increasing downward pressure on the price of the Sony A7Rii might have it down in a range where you might consider it a contender? 
From a pure stills photography point of view, you're not going to find it wanting to say the least.
From a video point of view, its got a lot of flexibility particularly with the APS-C mode when it comes to low light.
In point of fact if you just kept it in APS-C mode you'd then be looking at accessing the small cheap Sigma stuff which is actually far better than it has a right to be.
With the A7Rii you've always got the option of going full frame whereas with the other two what you've got is what you've got.
I know you don't want to do adapters and you know I am legally obliged to mention the TechArt Pro adapter in every post I make but I think its particularly relevant to the sort of vintage primes that you're in to. I've got most of Fuji's fast primes and zooms and they are excellent but I'm not going to say that my 90mm and 50mm Summicrons don't fart in their general direction. And of course, these lenses will cover full frame as well. 
To put this in perspective, I hate my Sony A6500 with a passion as its all spec and no camera but I can't deny that its utility is winning me round as with the small Sigmas its a good compact system in its own right, with the TechArt Pro its a poor man's Leica CL and with the Sigma EF adapter it is the viable Canon 4K mirrorless that Canon don't make
The only drawback aside from the ergonomics is that it isn't full frame.
Which is where the A7Rii would come in, for me at least.

And thats just the Houses Of Parliament.

It has a 5" screen and does ProRes, Raw internal. What would a recorder bring? Now yeah a high nit one would be nice.

Good plan. The C100 version I or II will just get out of your way and let you work.

I'm just going to chime in from the perspective of someone who uses Nikon pro bodies for work and would be looking to swap out his D810 against the Z7 versus perhaps going for a D850.
Its not going to be some moan about wanting to hammer nails in with it or tow it in the water behind a speedboat or some such but it is about the ergonomic differences between the pro bodies and those that use the PASM locking dial.
This will also hold true for anyone who uses a D850 in anger and was looking to swap over.
I'm not sure why they've gone to a locking PASM dial when the mode selection keys at the top of the dial of the other cameras (like the D850 for example) offers fast access to WB and Meter Modes as well as the PASM selection. Not to mention being able to switch Quality modes without having to go into a menu.

And it looks confirmed as per the post the other day that they've removed the dedicated lock file button which is absolutely nuts considering how vital it is.
Strange choices to be honest.
Quite surprising as well when you'd have thought that they would want to tap into their existing user base and offer them a seamless transition in to this brave new world of mirrorless.
This is not me just being an old fart and complaining about not wanting anything to be changed by the way but their existing ergonomics weren't broken so I don't get why they've tried to 'fix' them in this way.
The beauty of that top dial in their existing cameras is that you can change everything about the mode, the metering and the white balance with one finger of your left hand and scrolling with your right thumb without ever having to take your eye from the viewfinder.
I've no idea why the fps mode suddenly becomes important enough to have its own dedicated button either.
There are also a few other omissions (such as the multi pin front remote connector) that are surprising but the AF/MF switch seemingly disappearing is quite baffling, even for users of Nikon's lower range DSLRs.
For the benefit of people who don't use Nikon bodies at the moment, the AF/MF switch also has a centre button which enables you to switch between AF modes really quickly using the thumbwheel when you hold it down and, again, all without taking your eye off the viewfinder.

Its really puzzling what's happened here and as exciting as the new aspects of it may be, I'm not convinced they've done what everyone has expected them to do which is to make a mirrorless D850, irrespective of how close the specs are because it isn't comparable in one of the most important aspects of all.
If this thing is significantly cheaper than the D850 then those compromises might be acceptable but if its anything like the same price - and I've not seen anything to suggest otherwise - then I, for one long time Nikon user, won't be jumping on the merry go round this time round.
I'd completely accepted that a D5 style version will be somewhere further down the line but I'd definitely thought that this would be closer to a like for like D850 which suggests that there is likely a Z8 to come which will be even more expensive.
For someone coming late to the party - and having seen the lens lineup from Sony improve dramatically in the interim - I don't think they've gone big enough at all here with the Z7 especially when they are trying to push a new mount as well.
None of those choices have been governed by the body size either.
Puzzling and a little bit troubling to me but probably less so to the intended market.

@webrunner5 I am a fan of competition. I want every company to try and beat the best. But in the end what is best for you isn’t best for me. I love Nikon colors. Their Flat Profile is a simple joy to work with. If I was forced to only have a D5500, I would happily shoot with it. If I was forced to have an a6000, I would do the best I can do with it. If I was forced to have a GH5, I’d be ecstatic to tell a story with it.
We are so lucky to have a plethora of cameras to choose from. And the only thing stopping any of us from telling the next great story is ourselves and our innate desire for the next best option to tell the story with.
So hopefully Nikon releases an amazing mirrorless with 10bit ProRes Raw and IBIS and Canon level DPAF. I’ll preorder it. 

Nikon doesn’t have the technological prowess for an exposure compensation dial... they aren’t Sony...

Yeah this site does some weird stuff to contrast too. 
Thanks for your help! Any chance you have any of the Zeiss ZF lenses... the 35mm f/2 Distagon is supposed to have amazing micro contrast and I’m looking to shoot more B&W in the coming months so that lens is on the top of my list... I can probably go handheld with it too if I don’t drink too much coffee or smoke too many cigarettes that day... so maybe not handheld...

@Cinegain what an exhaustive and interesting list. 
 
I agree. Sony seems to have gate-crashed the Mirrorless party. Big time. The fact that it has probably dethroned Nikon in many markets and had dethroned Canon recently in the US, which has pushed everyone in the ILC business into Mirrorless. 
Both were like Dead on Arrival. The Panasonic GM Series is Even Smaller than the Samsung NX Mini while having a larger sensor and much better image quality. 
 
You could add Price to that list, and with the A7iii, Sony seems to have dealt with almost every issue.
 
Various Panasonic (and Olympus?) Cameras do have ETC kind of zoom too, which are similar in function. Obviously with lesser megapixels, there is lesser megapixels to zoom in from . 
 
I guess reading from the above and adding a few points, Panasonic needs to address the following:
1. Video Dynamic Range on the Panasonics are mostly disappointing. If the GH5 can do 13 stops in RAW, why should VLog L be in the 11.36 stops range? It is definitely a forced handicap by Panasonic, which is a fundamental flaw witj the video codec (all profiles) on the Panasonics. And if the GH5s can do Over 13.5 stops, then the VLog L is definitely the weakest point on the camera.  On the Sony A7 and even the other A Series, SLog has dynamic range in video very close to that of the photo dynamic range, and mostly 13 or more stops (upto 14 stops). On Panasonic other profiles (non-VLog) have another Stop of 2 less of dynamic range, and you pretty much get the picture. 
2. Panasonic Needs to move go 14-Bit RAW photo on it's Flagship Cameras (the GH and G Series). The ability to push photos in post is just amazing. Recovery of 3-4 stops of shadows (or highlights), is just phenomenal on the Sony A Series. Panasonic Needs to implement this. 
3. Panasonic Needs to have PDAF. There is no other viable option. DFD is like 1-2 years behind the competition (wrt PDAF), and this is most apparent in video.
4. I am wondering whether Panasonic needs to Explore Image Fusion from a much smaller sensor like on Dual Sensor Smartphone Cameras? It could use the recently announced 1/2 inch Sony 48MP IMX586, sensor along with a 20-24MP M43 Sensor, combining information from both, and having excellent low light and very high detail for a 24MP Sensor, or have the option for 48MP in reasonably good light. Plastic lenses and other shortcomings and handicaps of smartphone cameras can also be dealt with this way.
5. Like someone suggested above, I too feel Electric NDs should be a standard on Panasonic's GH Range. That could really be an added feature in the next GH Series camera. 
6. The GH5s has shown that there is a market for non-IBIS and IBIS Cameras, in the GH Line to co-exist. Also, the JVC's GY-LS300 has shown that there is scope for a larger sensor inside Panasonic's M43 Mount cameras. It can help with much larger pixels or much higher pixel count, or both plus multi-aspect zooms.
7. While I never got to use the GM1 or GM5, a lot of people swore by them as being the best travel cameras. I am not sure why Panasonic ended that line so abruptly. Like someone mentioned above the 12-32mm is such an amazing compact zoom. Even the GX9 seems to be a strange decision, the GX8 after the GX7 and the GX85 in between. That entire line seems to have no consistency or roadmap. Which, unfortunately doesn't speak very well about the product line and the guys planning it.
8. I guess Most Importantly while Panasonic and Olympus and many others M43 partners  (Sigma, Voigtlander etc), are making some great glass, M43 is in need of some Super Fast 3x Zoom Glass like the Original Zuiko f2 Zooms, only with OIS and much faster autofocus. Like f2 12-36mm and f2 35-105 Zooms. They could have built-in speedboosters if it helps.
9. Panasonic does need a Higher Resolution (24-28MP) Model, and should not make all sensors around the 20MP cap, that seems to be the current standard.
 
Edit: like @jonpais mentioned (and so many other too), Panasonic's 400mbps is just too heavy a codec, and Panasonic needs a 100mbps equivalent of Sony's XAVC-S present in Sony's Slog, with the full dynamic of VLog (not in its present form, but in one that exploits the sensor's full dynamic range). The 400mbps is very processor and space heavy. And it doesn't justify the heavy bitrate. 

This is his cost statement.
"BUDGET: Top of my budget is around $1800ish and that would get me a c100, or if I sold my 80d, could be a stretch to get the mk2, but I feel 1 extra job will pay for the rest."
He is not going to bring Anything new to the table from what he already has with a C100, no matter the model. In this day and age a C100 is an antique.
And with 1800 bucks he Ain't buying no (FS5/FS7/LS300/UMP/etc).

M43 offers both limitations and advantages for video. However, their C-AF for video is totally unacceptable when compared to the competition and if they dont sort this out properly, I think the will continue to lose market share. I realize a lot of people here dont use or care about af for video but the average hybrid buyer will take it if he can get it. Panasonic has absolutely no excuses - they were the first company into mirrorless.
I dont see a future for Olympus in the camera business. They are forecasting to lose US$60m this year on sales of US$600m (their 8th loss in the last 10 years.) To put this in perspective - Olympus will lose US$150 on each of the 400,000 ILCs it expects to sell this year. This is not a business - it is a charity.
Sony has really stirred things up by releasing the A7iii - with such a strong feature set - at US$2000. They pretty obviously did this to position themselves pretty aggressively against the new competition they expect from Canon and Nikon. However all the other mirrorless manufacturers have been moving relentlessly upmarket for the last few years. According to CIPA the average shipped price of a mirrorless ILC has doubled in the past 6 years (while the average price of a DSLR has increased 20%). But a side effect of Sony's US$2k FF is that it somewhat pulls the rug out under the US$1500-US$2000+ market for ILCs with smaller sensors (including Sony's soon to be released a6700.) Still photographers tend to be sensor size snobs.
Meanwhile I think Canon will continue to do well at the bottom end of the market, because it is the only manufacturer who focuses there.
Mirrorless made up 36% of ILC shipments in the first half of 2018 - good chance it will be over 50% in 2019.

It's a 2 trick pony.