aldolega

Yea that lens is not making it off of a body. Speaking of the LX100, Panasonic could dominate the blogger market if they'd just do an LX200 already, with better AF, the 20MP sensor, IBIS, mic jack, and a flip screen that goes up over the top (like an A5100). 

Yea that lens is not making it off of a body. Speaking of the LX100, Panasonic could dominate the blogger market if they'd just do an LX200 already, with better AF, the 20MP sensor, IBIS, mic jack, and a flip screen that goes up over the top (like an A5100). 

I imagine it would be much easier to build an ND into a fixed-lens camera as you could locate the ND between the lens elements, or at least a lot closer to the rear element, as you don't have a mount and contacts to deal with. And don't the X100's have a leaf shutter? If so that's even more room to work with.
If they do an ND I can only see it being fixed, as there definitely isn't room in the body (even the bigger third-gen) for a 36x24mm filter to swing over away from the sensor. And I definitely I don't see them going to a different body, or handicapping their low-light model with a fixed ND that's always eating up two stops of sensitivity.
I also can't see Sony upstaging the FS5 in any serious way... compressed-to-hell 4K60, perhaps, but not 10-bit or NDs. That is, of course, unless their huge NAB booth this year is for announcing the FS5II. Then the A7sIII could follow at Photokina...
But as others have said... can Sony even DO 4K60 in the A7 body without it combusting? They don't have a single other consumer camera of any type with an LSI that can do 4K60.

Your post isn't specific enough, really. Tell us more about what kind of jobs you're working on each side, and we can give you better advice. Right now we can't tell if you  would need a t2i with a kit lens, or twenty grand of bodies and lenses.
There are lots of video gigs that are perfectly well-served by cameras that aren't up to the current IQ/feature/usability ideals held by most posters here... just as there are plenty of photo gigs that don't call for a current high-end FF body with pro f2.8 zooms and f1.2 primes.
Personally, I'm looking at jumping to the a73 after years with m4/3, mostly so I can confidently pursue some minor photo gigs this summer. My G85 has been great, especially considering what I paid for it. But the photo quality has never been what I wanted.

The a7S needs a recorder to give you 4K, so that pretty much ruins the price advantage. The a7RII is a better option, but its FF 4K is only good up to about ISO1600, and even then it's a bit soft, so punching in in the edit will be limited.
For the ~$1600 you would spend on an a7RII I would probably just spend the extra $400 for the a7III. Then you'll get super high-res FF 4K, amazing ISO capabilities in all modes, better AF for those people that sway and rock in their chair, better battery life, and a screen that doesn't dim in 4K.

You want predictions, or wishlists? Its a bit early to make predictions I think, assuming it's still two years off. Who knows what could happen with the competition in that time. And hasn't Panasonic stated they'll be 8K-compliant by 2020? That could screw the whole thing up. Nobody wants a 32MP m4/3 camera.
Wishlists are fun though!
-4K60 at 4:2:2 10-bit, with an intraframe option (400-500mbps)
-ability to record four audio tracks, two from the XLR box and two from the 3.5mm jack.
-move both the 3.5mm jacks upward so they don't block the screen.
-a physical lock for the IBIS- a little lever or switch is fine, doesn't have to be servo-operated.
-internal NDs
-tilting EVF with an optional big eyecup
-focus punch-in while recording
-1080p output to the app
And of course improvements to ISO performance, VFR, AF, etc.
 
 

That works better if you're never taking off the filter, otherwise you have to re-mount the hood after removing the filter, and vice versa.
Collapsing the hood takes maybe a second, just put your hand across the front and push towards the camera. Pull forward when you're done.
Adjusting a vari-ND would be a bit fiddly, true. I use fixed NDs so I don't need that quick access I guess.
I do only bring/use one hood actually. The hood just stretches over the mounting ring and fits in a groove, I leave a ring on each lens and just transfer the hood when I swap lenses.

You could try the Rokinon/Samyang 12mm f2. It's small, cheap, fast, and takes filters.

You could try the Rokinon/Samyang 12mm f2. It's small, cheap, fast, and takes filters.

The G85 has a bit more competitive lifespan in it, but by PhotoKina time Sony will have another a5000- or a6000-series out or announced, and Canon will probably have a 90D. Panasonic will need a G85 replacement with the 20MP sensor, 4K60 8-bit, and still with IBIS of course, and still under a grand, preferably with a kit lens, to compete. The G9 can keep the crazy photo framerates to justify its price, and the GH5/GH5s can keep the 10-bit and high bitrates.

Your link is to the plain adapter, not a speedbooster. A plain adapter simply mounts the lens to the camera at the correct distance from the sensor, and does nothing to change/compensate for the smaller sensor size. It has no optical elements, basically just a tube with your camera's mount on one end and the lens mount on the other. You can get decent plain adapters for much less than Metabones' versions, however... Fotodiox is decent and usually around $20.
The Ultra is the newest Metabones booster in the .71x strength. This will take the G85 sensor up to about the size of your Nikon (actually slightly larger in 1080p, and slightly smaller in 4K, but very close).
The first .71x Metabones booster is a little less sharp than the Ultra, and has a touch more vignetting and corner softness, but is still miles better than any of the imitators IMO. Better build, aperture ring, less flaring, etc. This is the version you can usually find used for around $250. Same power/magnification as the Ultra.
The XL .64x is a little bit stronger power/magnification, and will take your effective sensor size up to around APS-H (1.3x) crop. Which is great but at this point many lenses designed for APS-C (like possibly your Tamron) will vignette, as they aren't designed to cover that large of a sensor. So your best bet is to stay with one of the .71x models.

Your link is to the plain adapter, not a speedbooster. A plain adapter simply mounts the lens to the camera at the correct distance from the sensor, and does nothing to change/compensate for the smaller sensor size. It has no optical elements, basically just a tube with your camera's mount on one end and the lens mount on the other. You can get decent plain adapters for much less than Metabones' versions, however... Fotodiox is decent and usually around $20.
The Ultra is the newest Metabones booster in the .71x strength. This will take the G85 sensor up to about the size of your Nikon (actually slightly larger in 1080p, and slightly smaller in 4K, but very close).
The first .71x Metabones booster is a little less sharp than the Ultra, and has a touch more vignetting and corner softness, but is still miles better than any of the imitators IMO. Better build, aperture ring, less flaring, etc. This is the version you can usually find used for around $250. Same power/magnification as the Ultra.
The XL .64x is a little bit stronger power/magnification, and will take your effective sensor size up to around APS-H (1.3x) crop. Which is great but at this point many lenses designed for APS-C (like possibly your Tamron) will vignette, as they aren't designed to cover that large of a sensor. So your best bet is to stay with one of the .71x models.

Cheapest way would be a simple ~$15 adapter, slightly more for an adapter with an aperture control ring/lever.
The difference in sensor size will give you the FOV of 34-100mm (FF equivalent), however, versus the lens being a 26-75mm equivalent on your D5300.
So really, with a simple adapter, it will be a very different lens on the G85 than on the Nikon. Really, you want to be using a speedbooster to adapt your Nikon stuff, as this will make the G85's sensor effectively the same size as your Nikon's, and your lenses will look/feel the same as they do now. The speedbooster also helps counteract the Panasonic's weaker ISO performance, as it makes the exposure one stop brighter, allowing you to use a lower ISO.
The Mitakon/Zhongyi Lens Turbo II is the only halfway decent affordable speedbooster in my experience, and even then I got a lot of flaring/hazing in bright sunlight. The Metabones is the gold standard and you can find the first generation used in Nikon-m4/3 for around $250 on eBay.
OM will not really adapt to Nikon unfortunately; there are adapters with optical elements but those are garbage. A quick google search is bringing up replacement rear mounts, though, so that might work. Really though, the Olympus is like a $50 lens, you can easily grab a Nikon 50mm to replace it for not a whole lot more than the replacement mount for the Olympus.
IBIS works fantastically with adapted/manual/non-OIS lenses. I was skeptical that it would really get the job done by itself, and was planning on getting some native OIS lenses so I could run Dual IS, but I haven't needed it at all, and am running all manual lenses.
The native lenses are nice for having AF, auto-exposure, etc for photos. The Olympus 45mm f1.8 is pretty amazing and very affordable, I've had two; and I've heard the Panasonic 25mm f1.7 is pretty great too. The only thing that really sucks about native glass is manual focusing, if you want to do any sort of semi-controlled/repeatable focus pull you need manual glass.

Cheapest way would be a simple ~$15 adapter, slightly more for an adapter with an aperture control ring/lever.
The difference in sensor size will give you the FOV of 34-100mm (FF equivalent), however, versus the lens being a 26-75mm equivalent on your D5300.
So really, with a simple adapter, it will be a very different lens on the G85 than on the Nikon. Really, you want to be using a speedbooster to adapt your Nikon stuff, as this will make the G85's sensor effectively the same size as your Nikon's, and your lenses will look/feel the same as they do now. The speedbooster also helps counteract the Panasonic's weaker ISO performance, as it makes the exposure one stop brighter, allowing you to use a lower ISO.
The Mitakon/Zhongyi Lens Turbo II is the only halfway decent affordable speedbooster in my experience, and even then I got a lot of flaring/hazing in bright sunlight. The Metabones is the gold standard and you can find the first generation used in Nikon-m4/3 for around $250 on eBay.
OM will not really adapt to Nikon unfortunately; there are adapters with optical elements but those are garbage. A quick google search is bringing up replacement rear mounts, though, so that might work. Really though, the Olympus is like a $50 lens, you can easily grab a Nikon 50mm to replace it for not a whole lot more than the replacement mount for the Olympus.
IBIS works fantastically with adapted/manual/non-OIS lenses. I was skeptical that it would really get the job done by itself, and was planning on getting some native OIS lenses so I could run Dual IS, but I haven't needed it at all, and am running all manual lenses.
The native lenses are nice for having AF, auto-exposure, etc for photos. The Olympus 45mm f1.8 is pretty amazing and very affordable, I've had two; and I've heard the Panasonic 25mm f1.7 is pretty great too. The only thing that really sucks about native glass is manual focusing, if you want to do any sort of semi-controlled/repeatable focus pull you need manual glass.

I got my G85 for about $550 (got an open-box kit for $800, sold the kit lens for $250), and it was worth every penny just to get IBIS. The slightly improved lowlight and colors over my GH4 were also nice bonuses.
By far the best value for money for video right now IMO.

LX200 with the GH5 sensor, tilt screen and mic input, plz.

The theory that's always made the most sense to me about Panasonic's lack of phase-detect is that Sony, their sensor supplier, has them contractually excluded from it, in order to protect the competing Sony cameras. Olympus is allowed to buy sensors that are nearly identical, but with phase detect enabled, because their cams traditionally don't have much of a video focus, and thus aren't seen as real competitors to the Sonys on the video front (implying the video aspects are indeed a major factor in sales).
Panasonic's statements about DFD being technically superior are just marketing bluster- of course they're not going to admit a weakness in their product, nor are they going to admit that Sony has them by the balls on this. They said similar things about OIS being superior to IBIS, right up until they started including IBIS in their cameras. If your competitors come out with a superior tech, you bluster about your existing tech being better, being proven, being reliable.... until your engineers are able to play catch-up, and then you introduce it with your next line. Marketing 101.
I guarantee once they're able to source sensors elsewhere (TowerJazz?), we'll see phase-detect introduced.
Not sure how realistic it is to wish for Dual-Pixel AF though, as that's Canon's proprietary/patented technology. I doubt they're interested in licensing it to a competitor, at least in cameras. They've licensed it for cellphone cameras because they're never going to compete in that space directly, and the phone market is so massive that even that simple licensing fee is big bucks.

LX200 with the GH5 sensor, tilt screen and mic input, plz.

The theory that's always made the most sense to me about Panasonic's lack of phase-detect is that Sony, their sensor supplier, has them contractually excluded from it, in order to protect the competing Sony cameras. Olympus is allowed to buy sensors that are nearly identical, but with phase detect enabled, because their cams traditionally don't have much of a video focus, and thus aren't seen as real competitors to the Sonys on the video front (implying the video aspects are indeed a major factor in sales).
Panasonic's statements about DFD being technically superior are just marketing bluster- of course they're not going to admit a weakness in their product, nor are they going to admit that Sony has them by the balls on this. They said similar things about OIS being superior to IBIS, right up until they started including IBIS in their cameras. If your competitors come out with a superior tech, you bluster about your existing tech being better, being proven, being reliable.... until your engineers are able to play catch-up, and then you introduce it with your next line. Marketing 101.
I guarantee once they're able to source sensors elsewhere (TowerJazz?), we'll see phase-detect introduced.
Not sure how realistic it is to wish for Dual-Pixel AF though, as that's Canon's proprietary/patented technology. I doubt they're interested in licensing it to a competitor, at least in cameras. They've licensed it for cellphone cameras because they're never going to compete in that space directly, and the phone market is so massive that even that simple licensing fee is big bucks.

Yup.  I think the main reason the LS300 didn't take off was simply due to JVC not being taken seriously in this space. Their pro rep is solidly in broadcast, and even their consumer camcorders were never anything special. So people looking for an affordable large-sensor camera from above or below just don't have JVC as a contender in their minds.
Panasonic doing the APS-C sensor + m4/3 mount would have turned a lot of heads. Especially if they had included a nice solid m43-EF adapter that had the option of bolting to the camera body, for those who would just want to run the camera as strictly an EF mount.
Maybe in a year or two they'll figure this out, and a new camera can slot into the wide space between the GH5 and the EVA.

Yup.  I think the main reason the LS300 didn't take off was simply due to JVC not being taken seriously in this space. Their pro rep is solidly in broadcast, and even their consumer camcorders were never anything special. So people looking for an affordable large-sensor camera from above or below just don't have JVC as a contender in their minds.
Panasonic doing the APS-C sensor + m4/3 mount would have turned a lot of heads. Especially if they had included a nice solid m43-EF adapter that had the option of bolting to the camera body, for those who would just want to run the camera as strictly an EF mount.
Maybe in a year or two they'll figure this out, and a new camera can slot into the wide space between the GH5 and the EVA.

LX200 with the GH5 sensor, tilt screen and mic input, plz.

LX200 with the GH5 sensor, tilt screen and mic input, plz.

Yup.  I think the main reason the LS300 didn't take off was simply due to JVC not being taken seriously in this space. Their pro rep is solidly in broadcast, and even their consumer camcorders were never anything special. So people looking for an affordable large-sensor camera from above or below just don't have JVC as a contender in their minds.
Panasonic doing the APS-C sensor + m4/3 mount would have turned a lot of heads. Especially if they had included a nice solid m43-EF adapter that had the option of bolting to the camera body, for those who would just want to run the camera as strictly an EF mount.
Maybe in a year or two they'll figure this out, and a new camera can slot into the wide space between the GH5 and the EVA.

For shooting a single person indoors, your lav and H1 are probably your best bet. Do a little research on the best ways to place and hide a lav, and you can pretty easily get good results. I've done it with my $35 Audio-Technica 3.5mm lav mic and an H1.
You could also supplement this with a boomed mic. I have the Video Micro and can add to the applause for it, for the price it's kind of a no-brainer for an affordable small shotgun-ish mic. Get a cheap boom arm or dedicated boompole, and a 3.5mm extension cord, and run it into your camera. You won't be able to monitor it from the a6300, but you can at least set the general level. Good enough to mix in some room tone/ambiance, or for an emergency backup track.