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I've found Robert Mckee's Story a great resource, somehow irritating, but useful.

Yesterday by mistake I pushed the record button on my camera while having a drink on a terrace in Tokyo (28c here). The camera was on the table and 30 minutes later when I took the camera I was wandering why it was "hot"... have been recording for a good half hour by mistake!! So to answer your question, it can do FOR sure record 30 minutes without any problems and this despite being under Tokyo's sun!

Bullshit, especially since most modern ILC lenses are fly by wire and lack any precision at all. My a7rII can lock onto a face and track it while flying on a gimbal and I can tap the LCD of my a5100 to focus on anything I want with perfect precision. Have you seen the way Canon's dual pixel can track and rack focus? It's awfully nice to have the camera track someone during an interview or a walk and talk without trying to judge whether or not they're in focus, even when shooting something like the 50/1.2. My eyes have recently just started to degrade a bit with everything from arms length to right against my face getting a little fuzzy, AF has saved my bacon more than once. Who cares as long as you get the shot and payment is made? For a one man band like me, AF has been a gift from above. I'll never buy another camera that can't match my a7rII. 
YMMV

A5100 is interesting. Seems like a better deal than the A6000 to me but was overlooked
I looked into the image quality and it seems identical to the popular A6000 but with that all important touchscreen for the phase-detect AF.
Sony are really silly not putting a touch screen on the A6000 and A6300, especially for the YouTube vlog crowd.
No magnification during recording on GX85 sadly. Hoping GH5 will have this.

As written in the article "You can touch the screen whilst recording to rack focus. It works well but not quite as well as Dual Pixel AF on the 1D X Mark II since there’s a millisecond of a shimmer at the end of the rack. Contrast detect AF doesn’t yet eliminate hunting." Actually this my major problem with Panasonic/Olympus cameras. I have the Sony A5100, the only touch-operable Sony Alpha camera, and because of its phase detect autofocus points, it performs brilliantly smooth, shimmer-less focus pull for $500. This inherent shimmer in MFT cameras practically negates an important benefit of their anyway brilliant touch screens. Canon 70D, 80D and Sony A5100 are the only reasonably priced cameras (all HD-only, unfortunately) that can perform shimmer-free touch-to-pull-focus operation. Sony is repeating its silly mistakes again and again not to add touch-operability to its excellent 4K PDAF cameras: A7Rii, A6300.

Exactly the opposite for me: I own a 550D with ML on it and the a5100 with its XAVC S codec always selected: the latter wins hands down in every aspect...

I purchased it right now, I already own Color Finale that includes LUT Utility, so I can incorporate your LUT in my workflow.

Dear EOSHD community,
I am an independent french graphic designer and I regularly work in photo and video.
Over the years, I created a collection of 3D LUT files to ease the color grading of my projects.
Recently I created a pack with my 38 original LUTs.
They are profiled on high-resolution color matrix and were built to preserve skin tones as best as possible.
I had the chance to work with many different cameras and I spent a lot of time creating these looks and testing on raw footages, from 5DMKII and 7D with Magic Lantern, GH4, A7S, BMPC 4K, and stills from RED EPIC.
About HDSLR, these LUTs are calibrated on CineStyle/Cinelike profiles.
Also in my pack is included a LUT to properly « flat » a footage and get a good working basis before grading.
Website for more infos : http://luts.iwltbap.com
Instagram with short video samples : https://instagram.com/luts
At the end of this post you will find some sample images before-after.
My LUTs pack is for sale $20, but I created a discount code of -25% for EOSHD community.
So you can get it for $15 instead of $20 via : https://sellfy.com/p/Ainy/-EOSHD
My pack is regularly updated with new LUTs and all updates are free.
On my website you can download a free LUT with the famous teal-orange look.
Also, I offer for free a 4K film grain based on 35mm film scans (10sec video encoded in Apple ProRes 422 at 25fps).
Hope you will like my LUTs.
Best,
Benjamin

I use the a5100 files (Xavc-s) directly into FCPX, on a MBPro 2014 Retina with a SSD. No issue at all.
It's the first Sony camera I own, but a gigantic step ahead the Canon 7D or 550D on dynamic range and moiré

Damn...how did I miss that, you are right, thanks for the assistance!

Useful list, but you forget to include the Sony A5100. It's better than the A6000 in video mode: Xavc-s at 50Mb/s and almost 100€ less expensive.

It already does 4K internal, it comes off the sensor as 4K and is debayered, all the hard work done and sent to HDMI rather than compressed and sent to the card. 4K compression is trivial. Mobile phones do it. I don't believe the overheating theory at all... The biggest heat management issue in the A7S comes from the sensor and that is already doing 4K even for 1080p. It's probably more work for the image processor to downsample the 4K output to 1080p than it is to compress the 4K and write it to the SD card. I think they are saving the feature for future models.
 
My message is clear to the manufacturers and always has been... Give us 100% of the capabilities of the hardware we pay for and don't disable stuff with a line of code.

I make about 90% of my income making music videos, mostly with independent labels, PR and unsigned acts and I know a lot of bands... the effort these guys go to is absolutely immense and many of the tracks are much better than that chart nonsense the big labels stuff into our ears and brain until we are hypnotised or get into an almost violent, rebellious state of mind.
 
This completely sucks. I'm fed up of this bullying in the music industry. Some band members I know are geniuses, but have to make do stacking shelves 8 hours a week in a pound shop. They get bit by the money men and get nothing in return. They either waste talent or steal their worth for their own greed. 
 
My music video was up for Best Music Video at the Metal Hammer Golden Gods 2014 (it didn't win), and the quality of the entertainment was incredible. The energy and desire form the playing bands was unreal - bands who have toured constantly, slept in the car boot and lived on instant noodles just to play and get noticed. But the way things are going, genuine bands/artists won't get this chance and we will forever be presented with the conveyer belt of manufactured, soulless rubbish designed to make the big wigs fat and the most promising musicians with nothing but their 8 hour shift in the local pound shop. 
 
This says it all.... my brother is a singer and auditioned for X Factor 'for a laugh.' He got through 3 rounds, but was then turned down as they couldn't see how he would benefit from the competition. We received sad news that his wife (my sister in law) was diagnosed with a life threatening illness. X Factor representatives called him regarding auditions for Britains Got Talent...he said he couldn't attend as he needs to look after his wife because of her illness. At the instance he mentioned it, they said he could go back in the process because 'he would get far and have great appeal.' My brother sniffed a rotten fish...and told them where to go. 
 
This situation with my brother was quite sick, and sums the music industry in a nutshell. The power of the talent shows is immense and they dominate so much of the industry. But they are soulless sods who are only interested in exploiting vulnerable people and trying to dominate the industry with diluted brain warping rubbish. 
 
Independent music needs protection and must find a way to triumph over this diabolical situation. 

Better DR and finer detail on GX7, but I see some artefacts on the building on the left at 00:13 in the Panasonic's video and a lot of "dancing noise" in dark areas. As someone already said these are two great cameras with some limits and issues. Thanks for your useful video, Inazuma.

Correct, commercial work = paid work. Reward the musician not just yourself :)

I am in talks with some professional musicians and film scorers here in Berlin and have discovered some real talent... The average quality of their work far exceeds the current music licensing libraries and it is more original, more interesting.
  I am thinking therefore some kind of music licensing service might be useful to offer on EOSHD especially with the Vimeo copyright problem filmmakers are facing. I don't want to see people sued for copyright infringement when they are just trying to express themselves and their art.
 
Some of the pros I know here are doing really high end audio - we're talking Hans Zimmer & feature film standard. However these are professionals and we need to pay them. It is simply not going to wash using a track for free that took them 6 months of recording time in studios that charge $400 per day.
 
I'm wondering what a fair and acceptable rate would be for licensing? I want it to start low to be accessible to artists but scale up to commercial work in the right way. Typical prices at the Music Bed range from a minimum of $50 for non-profit to $399 for commercial work and for larger scale commercial work custom quotes are required.
 
EOSHD music licensing would be different.
 
For personal work or zero budget short films on Vimeo / YouTube (non-commercial)
$19 - 1 track
$50 - 5 tracks
$99 - 10 tracks
 
For commercial work - small clients (<10 employees) and non-profit organisations
$50 - 1 track
$99 - 5 tracks
$199 - 10 tracks
 
For commercial work - large clients (>10 employees) and advertisements
$199 - 1 track
$399 - 5 tracks
Custom quote - 10 tracks
 
For features, documentaries and short films with a crew
$199 - 1 track
$499 - 5 tracks
Custom quote - 10 tracks
 
Of course before you buy you can play all tracks in full on EOSHD to see if they are what you need.
 
I'd like some feedback on this first before I decide to go ahead with it or not as the amount of work involved here is very significant.
 
In particular what do you need from such a service?
What projects do you need music for... And what do you think of the pricing?
 
Cheers!

Found a video with amazing autofocus, really useful in documentary shoot, for example.

Crop factor?