IronFilm

I've shot heaps of weddings and I'd never go in with only one camera.
 
Thus I recommend the GH5 (or G80) as your A cam,  with a couple of G7 cameras on tripods for your B cam coverage
 
a6500 lacks this choice of excellent 4K cameras at dirt low prices which you can match easily to your A cam
While Panasonic has the G7

Idk, this was a pretty big story last year and I don't think we ever found out the whole truth and I would not be surprised in the least if he still lurks around here... maybe it's you Jon... lol jk, but it was a great drama for the dog days of summer. 

Pricetag 5k
Terms & condition shoot only in Antarctica as it may overheat ?  

@jcs
1. May I ask you, why you've sold your FS700?
2. I've seen some FS700 RAW footage and it was really great IQ. Are you experienced with the FS700 (4K RAW) and the 7Q+?
As I will buy 2 identical cameras (+ recorders) this summer for "dual use" (1. 4.2.0 8bit for ENG & quick shooting AND 2. RAW option with an external recording device for great IQ) I was just considering, it would be a great option for me. 2 x FS700 + 2 x 7Q+ fit my budget and it seems to be the only camera at the moment fitting my "dual use" requirements and budget. Thank you! (I believe, @Tim Sewell owned a FS700 too...)

It doesn't show the number of cameras sold (it shows dollars). It doesnt show brand by brand. It doesn't show compared to APS-C.
Lets say Sony sells 10 FF and 5 APS-C cameras. Nikon sells 1 FF and 500 APS-C. Lets say the profit of one FF is $1 and the profit of the APS-C is $100. 
Reports like these are made for investors and shareholders. The only way to see if they really are a success is in their bank accounts.
But again, I wish Sony well, as long as they start addressing their quality control.
Imo, The original A7/r/s are awesome cameras. So was the Nex and maybe the a6000. A7ii/rii/sii, a6300/6500 suck. And I really hope they don't get comfortable and stop improving just because their competitors are fading away. The need to push on.

Yeah just think how bad Canon's consumer cameras would be without Magic Lantern doing their thing to them. Christ!

Looks like a massive offensive from Canon on the video side: DPR sponsored content, potential firmware upgrade and now they send you a unit.The 5mk4 sales figures must be bad !
Anyway, too little too late for Canon. The lack of innovation was the last drop for me, I already bought a GH5. It would take more than a moderate crop factor and reasonable codec to convince me to spend $3500 in this body. Plus, does the mk4 have the hardware to handle proper 4k ? Let's see at NAB...

This is so disappointing and disgusting. 
And all the more reason you must keep EOSHD going Mr. Andrew; last bastion for freedom of expression!

But Sigma + Tokina + others now means we have an excellent selection range of DX lenses! 
 
The D750 is right at the end of its life cycle.....  the D7500 only just got released! (and D750 can't do 4K)

Go for the new Nikon D7500! Even the name itself is a good match for the D750 ;-)

You're still looking at a lens which is likely tens of thousands of dollars, and needs rod support and probably can't be hand held by anything less than arnold schwarzenegger himself

The crop is the same as the GH4 with native lenses and less than the NX500. Most audiences rarely say after watching a movie... man I wish the crop factor was smaller. With faster lenses like the Tokina 14-20mm f2, you are basically at 28-40mm. 
The 1080p looks great...
I'd agree $1000 would be a better price point and when it gets below that, I'll probably buy it. 

I wont be buying one but I agree that it will sell by the truck load (after the first or second recall that it will surely have).      Wont be sold FOR video generally much but will be maybe stop some bleeding for the Nikon shooter getting a bit edgy about wanting better video but wont switch just yet.
I also agree the D750 would be a better choice for many (not all).
I think that plenty of Nikon stills shooters who can't quite get the D500 or FF users wanting the latest back up or D500 users wanting a similar second camera will go for it.
D7200 is still very good and better in some ways but wont stop this being a good, big selling camera.

I predict this will be a huge success for Nikon. The photo features are great... and I'm unsure how many times people on this forum needs to be reminded that we are the minority customers of these cameras. And spec vs spec, sure the NX1 and NX500 wins, but why is it I still prefer the Nikon image to the Samsung?
I mean, minus AF points, for $750 less, you're getting a mini D500, which was reviewed as the best camera of 2016.

All I know is... my D5500's video looks more cinematic at 1080p than the G7 looks at 4K. The LX100 and it's 12MP sensor has more mojo than the G7 at 16MP. Now I'm not picking on the G7 or Panasonic or anyone else, but when a conversation arises about good, clean 1080p, the D5500 and the D750 always gets mentioned. And who cares about MPs? 21 MPs are more than enough.
I am excited for the D7500. The 4K video I've seen from the D500 looks great. The 1080p I've seen from the D500 with it's IS looks great. 
@jhnkng recently posted a video from the D500... I thought it was shot in 4K but it was actually shot in 1080p.
Yeah the crop could be better, but it's basically the same as the GH4 and IMO, the D500 has better 4K than the GH4.
But I do wish it had peaking. 
In the end, the cream rises to the top. And any camera from Panasonic, Sony, Canon or Nikon, etc... can be used to make a fine film.
A couple months ago, I told a story about how I was at the movie theatre over the holidays and the projector went haywire and the menu showed on the screen during the trailers. All of the trailers were being projected at 720p. Last week I worked a trade show and on their theatre sized screen, the video was being displayed at 720p video and it looked amazing.
So we should probably stop worrying about this spec and that spec and instead work on making better films.

How to do qualify "a lot less"? Because I own a D500 and I don't see any major difference in dynamic range compared to my D800 or D750. The D500 is definitely not as good as the D750 for high ISO work, but I've not had any issues with dynamic range. 

The targeted audience of such a APS-C camera (pro sports photography, ambitionned enthusiasts, wedding photographers, passionned wildlife photographers in any weather conditions) care mostly about:
dual card slots (reliability) - only 1 card slot in the D7500 buffer size: 19s/200 RAW with the D500 vs 5s/50 RAW with the D7500 99 cross sensors for maximum of focusing capabilities with the D500 weather sealing and a maximum of rugged built quality (D500) 10,3 photos/s (D500) vs 8/s (D7500) In my opinion, the targeted audience will NEVER EVER buy the D7500 instead of the D500 only for saving 400,- EUR (in Germany). Hobby photographers / other APSC-consumers will stay with the D7200 or buy another (much cheaper) camera. So, the D7500 will never cannibalize the D500...
@gethin
No peaking is a shame for people who want to film with nikon cameras and want to keep their gear portable (without addtional monitor).
BTW: I know about 12 Nikon pro users (photo journalists / pro phographers making a living out of their profession) in Germany, NONE of them is using their Nikon camera for filming - mainly because of Nikon's disastrous video AF and no peaking when MF. That's why Canon has the journalism and documentary industry in his pockets, though some of their cameras are much more expensive (but not necessarly better) than Nikons...

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.

A lens which is S35 coverage and the FF equivalent of 18-300mm f2.8 (so a 12-200mm lens!!!) would be ******HUGE******!!!! 
And would be very very very expensive.

So basically, with this upgrade, the only thing missing from this camera is 10bit (which is mentioned on this thread but not on the update page).
If they add it, I'll have no reason not to buy it :D

It's just another genre. Neistat and Fine Brothers are the role models to this group. Note that The Fine Brothers managed to shoot a show for SHO a few years ago using consumer Canon pocket cameras. These guys are content machines. If they stop producing at ridiculous rates, their revenue and social stock can crash. That's fine, but it leaves little time to improve the art. It's what they want to do and more power to them. I have friends that are into this, and the have a love/hate relationship with it. Personally, have no interest in that mill. 

On my walk to drop off some gear at the rental house, I ran into 5 teenagers filming.
I of course wanted to ask what they were up to, camera, lens etc, and it ended up being a very enlightening experience (15mins of).
They are vloggers and instagramers here in Finland with over 100 000 followers/ subscribers in each medium. 
I, indeed, was the old fart (all 37 of my years on earth) they were humouring but they were super pleasant and made my day.
But to the point, all they had as 'gear' was an olympus, native pancake lens, and a tiny plastic tripod. Their main goal was to walk around the city and produce content.
I metioned I had some stuff like the Zhiyun Crane, like it was impressive... but it turns out that kind of stuff was arbitrary to their interests.
These guys were content machines.
It made me think. Have I been getting it all wrong?
Yes, I script, I storyboard, I know my way around a manual cinema camera and traditional lighting techniques...
But who cares anymore?
These kids are the future and they did not care a toss about dynamic range or bitrates. They wanted everything auto so they could focus on actually enjoying a shoot.
Something to think about...

Is it a three letter acronym that starts with B and ends with D? ;-)

I know a certain video camera manufacturer with a proclivity to using industrial sensors and an MFT mount camera that is due for an update. 

Exactly! My reason for wanting a cine zoom is just so I have something solid I can run in and grab a heap of shots without constantly switching between lenses too much. 

Ideally I want something starting around 16mm (18mm at worst) going to 100mm plus (but I'd even settle for as little as 50mm if the weight and price is suitably compact) which is T3 or better (although even T4 ish is completely fine if the price and weight is suitably compact in compensation), with a nice sized focus throw, & an aperture ring. Preferably I'd want this in PL or Nikon F mount (ideally swappable mounts!! Like CP.2 lenses are). 
Unfortunately nothing comes close to meeting this at a reasonable price! :-/ :-(
Except for: 
Fujinon 18-55mm T2.9 & Sony 18-110mm f/4 (or their older 18-105mm). But then you're stuck with E mount cameras! :-/
Or Nikkor 17-55mm f/2.8G & Tokina 16-50mm f/2.8 & Sigma 17-50mm f2.8 & Sigma 18-50mm f2.8 & Tamron 17-50mm f2.8, but then you lose out on having an aperture ring. Plus at 50mm they're really the minimum length and the long end that I'd like to see on such a lens (however I really should just get one of these anyway, to complete my lens collection).  Oh, or there is the Sigma 17-70mm f/2.8-4 (bit slower than T4 at the long end though, and variably aperture makes it tricky to set constant exposure! I'd much prefer a 17-90mm f4 over this instead). 

I suspect (& hope!) Samyang will be the first to fill this missing hole I want filled, that I described above.