IronFilm

Never a smart idea to buy a camera on the promise of what is to come in the future. 

Plus by the time it comes out, there will be even more other alternative options.

Simple, this is how:

You can thank having slightly less screwed up IP laws than the USA!

What do you mean by "frame shutter"? I can set my frame rates and shutter speeds without issue. 
Also, I finally picked up a blackmagic video assist for my F3! Still need to do some more tests, but @BenEricson is right: beautiful, clean images that are very hard to make fall apart. The Assist has some quirks, like selecting "lines" to get peaking instead of the "peaking" option, but is otherwise well-featured and amazing value for money. Looking forward to shooting some 10-bit on something worth sharing!

LOL that is funny because it is soooo true.
I am sitting in a mall to post this as I have run out of credit with my (prepaid) internet and using free Wifi, wearing a shirt and jumper I purchased from a charity shop (they were absolute bargains and it is the same place I got a couple of pretty good tripods for $5 Australian each).      And am (in part) looking for lenses on Ebay while here!
 

Spot on..... I've filmed entire paid music videos on a GoPro because that was the vibe, attaching a small camera to everything POV style. 
In a studio, I've used the FS7 only because it was a tripod and I need chromakey slow motion at an affordable rate. 
I filmed my biggest ever project... on an A7S II. There was no chance to do lighting, we had to run around all sorts of locations and grab shots on the spot. 
I used the old C300, even though I had three other Sony cameras. The interviewer was adamant about "natural, organic, really good looking skin" in the interview. 
The video above, I used the A6500 with one lens to stay very discreet on the streets and still get a high IQ with a minimum fuss. 
Yesterday I used the FS5 and Inferno in ProRes as we set up 4 scenes in a very controlled space and needed very high resolution, high bit rate compositions as the colour management was very difficult with all the multi-colour neon signs knocking around. 
That said, the EOSHD vibe is certainly favoured to small mirrorless, and most of the work we show here is very "street", minimal kit and run n gun. I find it a much more enjoyable experience shooting like this, because it's very liberating. 
Creativity is the quality of the idea. Choose the best way to get the best out of the idea. In Hollywood, it's a huge crew behind 3 Arri Alexas. For a lot of us, it's a GH5 with a Zhiyun Crane and a GoPro with no permits. Whatever works best given the material. 

@HockeyFan12
"Nothing against pros, but being one sucks. You're answering to your client, to your budget, to your crew's limitations, to the clock, to the director, to the brand, to the malfunctioning and expensive and heavy gear. Yeesh. Why aspire to that life when you can, you know, have fun and tell the stories you want to tell? If you're a pro, I get why you do why you do. You're paid to. If you're not one, stop living in the worst of both worlds. Go hack a 5D or grab a go pro. Shoot something cool. No one is stopping you but your own insecurities about your gear."
I know what you mean, but every little, silly, ordinary job can be something creative, something not a lot of people working in banks, insurance or in offices can claim.
I have travelled extensively to my home country, and elsewhere, gathering condensed "wisdom" of the people and the places around (staying in a small village for 3-4 days and after 15-20 interviews you know everything about the people there and their history).
In every job you have to give similar answers. If you are a car mechanic, you have clients, you have a budget for your shop/rent/insurance/tools/how much you charge/assistant(s)/etc, and if you do a mistake you can kill someone on the road, at least our mistakes aren't that dangerous.
What you suggest is go back to our caves, palm painting and eat roots, because it is too much to be a pilot, or a doctor.
Better pray to the Spirits of the forests for good health and not eaten by a bear!
It is a job with a huge array of specialization, you can be a grip, a director, a writer, a sound man (my favorite!), and you can work in advertisement, movies, weddings, documentaries (my favorite!), you have to have, artistic, technical, communication skills and mix and match different people, equipment, techniques.
It is a stressful industry, but I am ok I never followed the Engineering career I started in University; I would be richer, for sure, but I wouldn't be me.
@ntblowz It is the most reliable AF system on video right now. It is a tool, you don't use it 24/7, but in some specific situations it can save you some time. AF systems aren't 100% reliable yet, but I would say Canon's is around 79%, in a few years that will go above 90%, but I do not see 99% to be possible any time soon, there are just too many variables. C100mk II is my favorite camera.

C200 can't do XAVCS, as it is a Canon camera!

C200 is a very weird beast at the moment, that can do raw *or* a very low end codec. With absolutely no middle ground in between!

I think only VR stands to benefit from 8K.
Cinema doesn't need it.
However, in 10 years we might all be strapped into our VR headsets for watching movies... Even at the cinema!
I'm very impressed with how immersive VR is when done right. It is here to stay, unlike 3D.
But watching 8K on a flat screen from a distance is pointless... Human eye just isn't up to it.

- How do you speak free on camera? Do you memorize a script or is it completely free?
Script is the way to go unless you feel very relaxed. Use cue cards and don't worry to much about jump cuts. There are ways to use them as an effect.
Look at Ray William Johnson's old stuff or I'm sure many here can link to others that use it successfully.  

- How do you feel when you see you on the video? I feel terrible. 
Seeing one self and hearing once voice is always uncomfortable. I've worked a lot in live broadcast radio and I can speak for many when I say that the feeling never goes away (exceptions to confirm the rule of course exists).
Just try to ignore it.

- What is the biggest positive thing initiate by your channel?
My personal channel is just a hobby and for fun, I don't even really try to make it grow. But still it tends to do so and has opened some doors for fun projects and real work.
I work a lot in social media professionally and there youtube has lead to profit, market awareness, etc, etc.
Its a channel and an outlet for communication with a wide reach.

- Do you have some tips for me how i can start my channel?
Allow yourself to fail, don't skimp on the audio, remember that content is king.

I remember a story many years ago when home studio recording first started to take a hold and Tom Robinson (ask your Dad, kids) was talking about why he'd got a new fangled (at the time) Tascam Portastudio to record his demos on. His reply has always stuck with me because he said that when a band reaches a certain level of success the first thing they do is get flight cases for their gear and cables that you could tie the QE2 to the quayside with. This all then has to go into storage. So when he felt like writing a song, he'd have to call a roadie, call a van hire place, get the roadie to go to the storage place to pick up the gear, book a rehearsal room (because the flight cases made it impractical to have in the house), drive to the rehearsal room, wait for the gear to be unpacked and plugged in and then he could start to jam and record ideas. At which point he'd forgotten what it was he wanted to do and had lost the energy to do it anyway. With the portastudio, he could just switch it on and get on with it.
I see a lot of parallels here too.
The only thing thats inspired me to pull the RED Epic out of its case since I got it back was to do the side by side to tune the GX80 profile.
It felt like having to go to the corner shop in a Sherman tank.
In my real day job I have to take the same 'get the big clunky stuff out' approach because there is an expectation to deliver a set standard both in terms of image quality but pretty much in terms of content too. Coverage is what its all about to be honest. And the demands of that type of efficiency directs you to a certain type of kit. All of which means I'm about as creative as the guy sitting next to me who has also got exactly the same sort of kit (with a 50/50 shot on the brand). Which means to say, not very creative. Or certainly not a massive differential in creativity. We're looking at the same scene and covering it with the same kit so inevitable we're going to be much of a muchness creatively. But the creativity can sometimes be forced upon you (by equipment failure usually!) so you have to do something with what you've got and that triggers the resourcefulness response that is so often at the root of creativity.
Being in a situation of "I can't make what I want" often makes you find better ways to make what you actually need.
After wrestling with the Epic and then putting the same lens on the GX80 and shooting the same thing, I was left (with a bit of twiddling) with these two test charts.
So, could I shoot this same scene with a camera that cost less than the media of the other one?
Yes.
Could the same be said the other way round about what I could shoot with the little camera?
Yes but not without calling the roadie and hiring the van and getting the flight cases and, well you get the point.
 

People can't be creative while they're working? Or efficient when they're not?
Wedding and event shooters aspire to pro cams because they're sick of fiddling with NDs and tiny batteries and rolling shutter and too-big or too-small codecs. The time lost dicking around with these things doesn't make anyone more creative, it only endangers their paycheck/career, AND loses them creative opportunities.
There are plenty of subjects and shooting styles that lend themselves perfectly to photo cams and their slower, fiddlier workflow... and there are plenty that don't, even past weddings and events. And this is a separate issue from creativity and freedom vs. efficiency and appearances. Someone can be completely creative whilst shooting fast-paced or high-pressure situations- at least they can if they have the time to.
I do definitely agree that the IQ gap is so much smaller nowadays that this is a much blurrier argument than it was a few years ago. A7sII, GH5, etc vs. FS5/7, C200, etc is certainly a smaller gap than 7D vs. C300, or whatever other matchup from 4-10 years ago. Smaller price gap too.
The lack of IBIS in pro bodies is also definitely adding to the blur.

V mount or BP-U60 is another common option

Wonder how many more decades they'll be in Beta for...

I like the RX100 IV that I have. But, it has serious deficiencies that remain in the V version - the overheating problem is worse than any Sony camera. I mean you cannot use the camera in high ambient heat settings and take 4K video. The camera will just stop after a few minutes of short clips. that is the true "paralysis." In the same exact settings the A7s ii just does fine. Second, the focus peaking is worthless, giving you no clue as to what is in focus. Forget manual focus (there is no magnify on the IV in 4K either, but I believe at least this was fixed for the V).

Just buy a Sony FS700 @ $2K for slow motion instead :-P

Enjoy. I'll give you a free copy of EOSHD Pro Color to go with it, just DM me when it arrives!

Interesting!! You could make a control grip like say the FS7 for using while the Panasonic camera is mounted on your shoulder

Wait for the D750 mk2!
 
Or buy now a D500 / D7500
 
Fully ?% agree that Nikon should have released the DL18-50!!
 
Would have been a massively kick as camera for real estate or drones.

Yes, it does all of the same functions (and a few more actually) and you could fit in pretty much whatever worked ergonomically.
Once its in its finished much more compact form (just the size of the blue-ish control panel in the video) its pretty small.
You could probably gut something like this PC Joystick (which is about £15) to use the handle part which has a similar ergonomic approach to the Sony grip and mount it in there.
For me, its better as a pocketable thing but thats the beauty of it being a bit of a DIY hack, it can be a lot more custom than an off the shelf product.

Wait for the D750 mk2!
 
Or buy now a D500 / D7500
 
Fully ?% agree that Nikon should have released the DL18-50!!
 
Would have been a massively kick as camera for real estate or drones.

Yeah the crop is dumb and I suppose for interiors you would need that wide end. But it is a really nice 4K image. And the 1080p is gorgeous as well. The Tokina 11-16mm would cure that or for low light their 14-20mm f2 could work.
Here's a 4K video shot with the D500 which has identical video as the D7500. This looks like it was shot in the Flat Profile and it doesn't look like he did any, or much adjustments in post, but it still looks great. Of course, this type of video doesn't really help you make a decision for what you need in a real estate video camera. But it's still a nice video...
In all honesty, if you need 4K for your work, you may be better off with an RX10ii or an XC10. The FZ2500 does really nice video as well. The high bitrate, all-i 1080p in CineLikeD is really good and at no time did I feel like I should have shot in 4K. 

If you hate using the a6300, what makes you think you'll enjoy the a7s? The D7500 will be released this week, may be the smaller, lighter body with a little cropped 4K will be a better fit for you until the D760 gets released. 

So as I've hinted more than a few times in the other thread, the discovery of the Cinelike D and other bits and pieces for the GX80 etc was actually a bit of a happy accident while I was trying to do understand the Panasonic wifi stuff for something else.
And here is that something else.
Well at least a prototype of it but it is fully functioning and will just be finessed a bit more.
Basically, its a wireless hardware remote for the G series cameras that operates over wifi and can currently control record start/stop, shutter speed as well as aperture and focus if you're using a native lens, including a single shot AF switch.
For the non-Cinelike D cameras that can now be hacked to have Cinelike D there is also a dedicated button to toggle it on and off so you don't need to mess about with browsers and computers or smartphones anymore.
Focus and aperture control are done on a joystick and everything else is switches.
I'll be putting a layer switch on so that it can be toggled back and forth to a different control mode for ISO, WB and other stuff.
As this is the prototype it is nowhere near the finished piece and it will be reduced in form factor to just be about the size of the control board. Power is by any USB source so there are billions of options.
There is a lot more finessing and feature enhancement to go on with regard to the focus control (and yes, I know exactly what you'll all want it to do !) but the hard part is done now.
It does support the display of the values on a screen and I'll be sorting some options out for that.
The purpose of this gadget is primarily for use with a gimbal but it can also be really useful on a tripod bar for anyone shooting live event stuff. For cameras with inbuilt lenses I'm going to add a zoom mode on the joystick.
A very quick very rough demo so you can see it in action.
Any lag you might see between me operating the controller and the camera video is just a sync issue between me throwing the two recordings on very quickly  
 
 

Cheapest? Good?
Yeahhhhh..... you have a bit of a contradiction there!!
 
Oh wait, it gets worse.... :-o
It is going to be an on camera mic?!?!
Sorry, that is only ever going to make this even worse :-/ That should only ever just be for reference on a scratch track.
As mic placement matters even more than what microphone you use! & putting it on top of the camera is a damn bad place to put it.
 
But if you are looking for a very affordable microphone that is incredible bang for your buck then I recommend the Aputure Deity.