Marcio Kabke Pinheiro

Correction: looking the official product page (http://www.sony.com/electronics/interchangeable-lens-cameras/ilce-6300-body-kit), looks like that the sensor is not BSI, but a "normal" sensor with copper wiring. The wiring is on top, not on the back, like in the A7RII sensor:

Don't expect a S35 or exotic sensors in the GH5 - probably will be the 20mp sensor from the GX8 and Olympus Pen F. They are with the hands tied by Sony - Panasonic was not developing sensors from a long time, just recently they started again (read it somewhere). The organic sensors are still in the future too, I guess. PDAF is probably out, too - looks like that Panasonic bets all in the DFD technology. The only way to improve the low light perfomance with the current tech is to go the BSI way; but Sony is holding the technology for their cameras - their clients are not receiving BSI sensors, only the Sony cameras. Samsung is the only other sensor manufacturer that makes a large BSI sensor (in the NX1), but looks like that they are out of the game (a GH5 with a Samsung BSI sensor would be great). The A6300 might be a low light monster - if the BSI tech in its sensor is the same from the A7RII, the pixel pitch of the sensor will be even greater than the A7RII.

Since it has no IBIS, if you need stabilization, you have to include the cost of a gimbal or the cost of the OSS Sony lenses in the final cost.

Waiting for the comparison between V1 and V2 too. And anyone knows some links / tutorials about how to grade flat profiles (not Log profiles) like this new one on the E-M5 II? Thanks in advance.

The firmware release notes mentioned a Noise Filter setting for the E-M5 II movie mode, anyone tried it? I saw somewhere two frame grabs saying that was a testing for this mode and the resolution was somewhat better with the Noise Filter disabled. (cannot test, my E-M5 II is on repairs, sensor burnt with lasers on a concert)

Chipsets tech too - almost as important as the Samsung's sensor tech. Remember, the NX1 samples a 28mp sensor, full readout, at 120fps, and encodes it in H.265 (that needs much more processing power than H.264) without transforming the camera in a ambient heater. And the use of Tizen as the camera's operating system. I think that Samsung's tech in the processing pipeline (sensor + chipset) is leaps ahead of everyone else, including Sony.

​But Olympus must break on of their "barriers": supply good video. They had the time to do it with the E-M5 II and failed VERY badly. And since both Oly (cumbersome menus, subpar video, same idiossincrasies generation after generation - like underexpose in TTL flash) and Panasonic looks like have some points that they never address, I'm not much positive about a future IBIS in GH5. Two years after the GX7, and they can't produce a working IBIS for video. More worried about the new sensor - Sony could be taken both Pany and Oly hostages by sensors. This unit is not BSI, no improvements in high ISO (same perfeormance as the 16mp sensor, which is a relative gain, but relative to the resolution, not in the final image), and no fast readout enough to eliminate crops in 4k; if this will be the base sensor for the GH5 and E-M1 mkII, then Sony left both almost one and a half generation behind. The incredible 1" sensors from the RX100 IV and the RX10 II have a 6 month exclusivity clause for Sony - they probably will sell them in boatloads in this period. For bigger sensors, could be even worse - BSI could remain an exclusivity to Sony, if the GX8 sensor is an example. And Sony will have a generation gap to control. My suggestion: Olympus, Panasonic and probably Fuji (and maybe even Nikon and Canon) must have urgent talks with Samsung about sensor supplying. The NX1 sensor is BSI and very good as we know; a Samsung m4/3 BSI sensor, with higher sensitivity and very fast readout (remember: the NX1 have an APS-C 28mp sensor in full readout at 240fps) would be killer, and stops the hold that Sony could put on the sensor market.

There is no focus peaking during filming with manual lenses with the NX500, is it right?

Just a little correction about the phrase "Currently there are no other 4K interchangeable lens cameras out there for $799." - the Samsung NX500 is $699 now (was $599 last week). I know that there are a lot of caveats in the NX500, but I'm mentioning just for the sake of correction.

About the high framerates of the smaller cameras: yeah, it is upscaled. Full specs of the 3 cameras are already up in Sony's website. From the RX10 II page, in the HFR section: http://www.sony.net/Products/di/en-us/products/ht7k/specifications.html?contentsTop=1 "<Sensor Readout Number of effective pixels>Quality Priority:240fps/250fps (1,824x1,026),　480fps/500fps (1,676x566),　960fps/1000fps (1,136x384)/Shoot Time Priority: 240fps/250fps (1,676x566), 480fps/500fps (1,136x384), 960fps/1000fps (800x270)"

If a good soul here good make a low light movie comparison between the LX100 and the NX500 with the same iso and aperture, I'll be immensely grateful.

​Heat issues, probably (or just a good excuse for segmentation)

http://www.photographyblog.com/reviews/samsung_nx500_review/ There are some video samples there - but not very conclusive, with kit lens and autofocus enabled. The 4k looks a little bit soft - but again, could be just misfocusing. The 1080p footage looks VERY sharp.

I've used legacy lenses with my GH2 (and with a Olympus E-P1 in the past for stills) without peaking, with very good results. But a shoot a lot in live concerts, with poor lightning, and in this conditions peaking helps a lot compared to using a loupe in the LCD (I have one too).

​I've done it once with my 45-175mm and my E-M10 (just 3 axis IBIS). At least for still, looking in the EVF while framing, the IBIS in the E-M10 looked a little bit more stable compared when I turn off the IBIS and use the lens OIS.

​Never used the NX1, but I use peaking in my Panasonics. For fixed shots (where I don't change de focal distance I think that the enlarged view is ok - even preferred), but when I have to change focus while filming, pressing a button to bring the enlarged view (if you are working with non-native lenses) could introduce some shaking in the camera; I got better results with peaking.

No peaking in 4k/UHD is a deal breaker for me. But Andrew, if you could make some comparison shots between the NX500 / LX100 (I'll buy one of those in 2 weeks), especially in low light, my thanks in advance.

​A lot of cheaper cameras have focus peaking. The 4k crop could be understandable because of processing / heat issues / market segmentation, but no peaking in 4k s a very BIG flaw.

Well, no focus peaking in 4k was the final deal breaker for me - more than the crop factor. A shame, since the first samples that people are putting in youtube have very good resolution.

I'm interested in this new sensor. Since the E-M1 mark II rumours mention a 18mp sensor too, I guess that finally a new MFT sensor is coming.

If the 4k image is generated from a 1:1 3840 (or 4096) x2160 pixels crop from the center of the sensor, and the pixel size from the NX500 is a little bit smaller than GH4's, I guess that the crop is a little bit higher than the GH4's - then the 2,58x crop looks correct.

In other forums people noticed that the Samsung now says that the NX500 have a "DRIM Vs" chipset (the NX1 have a DRIM V). Probably a underclocked version.

At least the 4k crop mode was confirmed in the Korean NX500 site: http://www.samsung.com/sec/consumer/store-only/store-camera/product/EV-NX500ZAMIKR (you can use Google Translate to help) The same site have a formware for download, version 1.0 - that means a defintive first production firmware.

​The low light performance was better than I expected. The softness is present, but worked well with the video. Only the aliasing was perturbuing, when filming the car lights.

Kind a bummer for me too, because I want to buy the NX500 for concert handheld recording - which means that I need OIS. With my GX7 I use the 20mm f/1.7 a lot (with the 2x crop factor it is 40mm in FF), then the 38,5mm with a 16mm (widest OIS lens in Samsung lineup) is similar. But I was wishing the 24mm field of view. But a 1:1 sensor crop probably will eliminate moire, or I'm wrong?