karin

So tomorrow is "Fujikina" aka party time and 4K firmware update for the Fuji X Pro 2!!
If it doesn't happen, we are going to have to hang the DJ (FujiRumors) from a VERY high post.
I have my hopes up like anything!!
I see they are reporting in-body 5 axis stabilisation for the X-T2S as well... That would be a very nice move by Fuji.

I don't find this to be the case.
The GH5 does both stills and video while getting out the way. It's seamless, and far more convenient to use than a cinema camera. It has auto-exposure, a button to start recording, a very long run-time on one small battery and goes in the palm of your hand. Not so a highly specialised RED Epic which is heavy, requires a brick for a battery, has no point & shoot modes or full auto and needs specialised knowledge to use.

I think it compares very favorably to the E-M1mkii. 
At least in paper it offers better stabilization (6.5 stops even with unstabilized lenses) and it has a far better EVF. 
I find the top LCD very useful in general, one of the few things that I really miss with mirrorless cameras.
The only real disadvantage that it might have is the lack of PDAF, but that remains to be tested of how much difference there is in tracking. 
I also believe the larger size is an advantage for sports photographers. 
Coupled with the new 200mm f/2.8 this will be a success in the market that e-m1mkii dominates. 
And as a bonus you get 4K 60p and far better audio preamps. 
 

Viewing it as it was intended, a stills camera, then it makes perfect sense.
Im in the camp that wouldn't care if my stills camera didn't have any sort of video all together.

Ok, I’m leaning towards a new camera as opposed to firmware. A second image has emerged that shows a red ring around the dial of the camera that Casey Neistat is using in the helicopter video. This would seem to confirm the earlier analysis of the frame grab from the video posted by  @Neumann Films that seemed to show a red ring on the right dial. Since this red ring is Panasonics new design language to signify top tier cameras in the Lumix lineup this it stands to reason they would use it on this more expensive model. 
Also there is another image of the front of the camera that seems to show s red letter below the model designation.

 
So why did the GH5 not get a red ring? Will future GH5 get the red ring?

The other aspect to the GH5 that's more rarely discussed but very relevant if you use the camera for production, is when you shoot in Prores HQ in 10bit 4:2:2 at 800mbps to SSDs you now have the image of a serious production camera IMO...yes...you add the mass off Vmounts, a rig, and an external recorder, but on sticks you now have a camera that still weighs far less than the big boys, but delivering IQ for any use, with large focus and exposure tools, and yet, can be stripped down to a small package rather quickly, for shooting in a location where say discretion is advisable...I love the modular nature of what many consider Frankenstein rigs...

I'm coming from 5dmk3 magic lantern. One of the main reasons i want to switch is just because the GH5/GH5s have professional exposure and focussing tools. The waveform alone feels like a godsent. It surely feels like a production cam to where i come from

Also, YouTubers are low information buyers, thus stick with Canons

There is surprisingly little talk about GH5. The new HLG profile makes it very interesting without paying additional cost of vlog-L. Most users have not figured it yet.  HLG also helps with  noise issues of GH5. The HDR is also difficult subject and makes too nervous conversations and confusions.

It's more of a marketing thing than a principle... The purity of the camera as an artistic photography tool is tainted when you put modern stuff like video and wifi on it. And the association most 'purist / traditional' photographers make with video is that video is something you do with an iphone, point and shoot, or something you do with a film crew at an extremely high level that has nothing to do with being a lone photographer / artist... So they don't feel it has a place on a traditional photographic tool like the Leica M, and I totally understand that, right tool for the job, etc.
However for me it's nice to have on even the most photography focused body... Even if you'd be crazy to pick an M for video over a SL or GH5... It is the convergence of stills and video that is the future for me, more than the segmentation of tools into pro stills cameras and pro video cameras.

Leica removed video from the M10 due to photographers complaining.
Old men huh!?

I love this camera. I even sold my X-T2 to buy it.
And honestly, I much prefer using it for video over the X-T2 (mostly because of no need to switch drive mode).
And that was despite not having a tilt screen or 4K.

Well, soon it will be one less drawback.
http://www.fujirumors.com/major-fujifilm-x-pro2-kaizen-firmware-update-will-add-4k-video/
To bad Ive sold it  

PS.
Speaking of Fuji listening to polls on rumor sites,
"..In fact, it was your feedback and negative poll results, that killed the monochrome X-Pro1.."

What a big f...ng shame. I would have soooo bought that.
I loved my Leica M Monochrome but couldn't justify it when I also shoot film.
Something more fuji priced would have been sweet.
 

I agree, its my favorite interchangeable lens Fuji of all time. Very nice and intuitive. Gets out of the way.
Plus it made me look pretty cool on the cover of a newspaper this weekend 

This is exactly the reason and it should anger their customer. They should've just released both cameras at once, 4K on both.

I agree with you, it should have been in there from the beginning.
But I forgot what we decided Canoning was exactly, besides making stuff that works as advertised. At least it isn't Sonying  
 
Maybe they wanted to clearly segment it to the X-T2. And now when the dust has settled they can add it without loosing the customers that already bought both.
I think a 4K X-Pro2 from the beginning would also have stopped many from going the X-T2+X100f route.

1D X Mark II?
No Super 35mm mode
No Canon LOG
Hardly a replacement.

LS300 with internal 2K RAW. Great idea. Instant buy!

If they were to do that I think it would be in a DSLR/Hybrid format. This won't eat into their Pro Camcorder sales, but a $4000 version would. 
I predict that JVC will add internal Raw to the LS300 and it will look and work amazingly, and no one will care. 

Guys, the solution is already done, LS300, variable sensor.

Definitely agree the JVC-GYLS300 is already a viable option. I really don't understand the lack of interest for this camera. 

Seems to be a pattern where people hate it, dismiss it... then try it, and slowly fall in love. If I had a mac, I'd be all over this, especially for smaller gigs.

For pros turning jobs around FCPX is the bees knees. It's the Canon of the NLE world in many ways - easy to get snobby about its tech specs but in real world use its super reliable, straightforward to use and performs fantastically where it matters. For factual content and solo filmmakers it's a dream. The filmmakers you see using it are the ones consistently putting out content, not those dissecting the latest greatest tech. 
Its fast, gets out of your way and lets you focus on the storytelling. Nobody should be writing it off as a top contender for any reason now, especially not solo filmmakers.

Nothing can beat FCPX for me. 
So easy and fast to do what I want. Time remapping is the best of any software and I use time remapping all the time.
Who cares about Native lut support when you just need Color Finale the best grading tool ever with way better integration of LUT management than Premiere native shit. 
I am not saying Resolve is shit. I used FCPX then switched to Premiere for the After effects integration. Switched back recently to FCPX and it's just that much better. 
Tried the last year Resolve for a project. It did not work for me 

Still can't believe that sooo many people bought the marketing BS of Adobe when FCPX came out! FCPX was re-built from the ground up, and yes it took a few months to get all the kinks out, but once they did it proved to be one of the quickest NLE's that i've ever used. I remember when I first started out I kept wishing that the NLE i was using (FCP & Aivd) would do things this way or that way, because it was more logical & would speed things up - FCPX made all those adjustments a reality.
FCPX is not iMovie - pure & simple!
Premiere is like going backwards in time now - clunky, awkward & just not up to the job. The only reason I can see why people still use it is because they pay the monthly subscription for AE & PS!
Really want to use Resolve for grading....

I've been using resolve on and office the last 6 months - I definitely think it's better than Premiere (which I find to feel a bit ancient in terms of it's usability and UI). 
I saw in your post you haven't tried FCPX in a few years.... do you know the version available today is much much much better now? Give it a whirl!
I like the way Resolve is evolving and some of the features are unique (grading, audio editing, CDNG), however because I find FCPX so much faster and enjoyable to edit with (like the Magnetic Timeline 2) - when I edit wth Resolve I really miss the modern fluidity you get with FCPX. 
Resolve really needs more plugin support from third parties, plus a few cool tricks on timeline editing to challenge FCPX's "scary at first, but really awesome new way of editing". 
That said, Blackmagic are probably the most interesting and exciting video/film industry product company in the world right now. Top job.