fuzzynormal

It's a vlog.  Just about anything will do.

Yeah, but there's definitely a market for it.  More people have looked at dpreview A7RII studio charts than all the movies I've ever made.  
Now, I'd like to say my movies have probably made more people cry than dpreview studio charts, but I suspect that's somehow wrong too.

Yeah, but there's definitely a market for it.  More people have looked at dpreview A7RII studio charts than all the movies I've ever made.  
Now, I'd like to say my movies have probably made more people cry than dpreview studio charts, but I suspect that's somehow wrong too.

3 second equals 180 frames.  180 frames is 7.5 seconds when conformed to 24fps, so, hey, useful for some stuff if you want to do a slow-mo montage or some such.  Personally, I wouldn't be basing an entire purchase around RAW burst mode, just saying it would be fun to have and I could see utilizing it productively if it was there.

Aren't all cameras that capture motion picture images capable of this?

Aren't all cameras that capture motion picture images capable of this?

Are you suggesting that a visually subjective cinematic choice is actually not subjective?  If so, I'd argue that reality is subjective.

I concede.

Yeah, but there's definitely a market for it.  More people have looked at dpreview A7RII studio charts than all the movies I've ever made.  
Now, I'd like to say my movies have probably made more people cry than dpreview studio charts, but I suspect that's somehow wrong too.

Agreed.  I like what Oly offers now, so it's only getting better.  I'm certainly glad that they seem to be taking a big leap rather than baby steps.  We'll see what it actually looks like for reals, but I'm encouraged.
I love this rapid, awesome, IQ technological development in gear.
My take away is this:  Everyone is going to have cheap great cameras.  The question is, what are you going to do with that camera standing in a room that's better than Bob, your uncle, standing in the same room with that same camera?  It better be something creative and interesting, 'kuz cheap cameras with amazing IQ are a pretty big equalizer.

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

Some of my colleagues watched Hertzfeldt's stuff and just didn't get it.  Personally, I love it.  The way he can animate little nuances into his work is impressive.  I really like his writing too, but the way he crafts it into motion pictures is the most enjoyable part.

Yes.  I find it so. 

Yes.  I find it so. 

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

I'm sure he'll be fine.  
As it happens, I too am shooting for a doc series for broadcast.  (wish I was directing and producing, but thats another story) I'll clarify and admit that I'm not shooting a capital "N" Network show, but it's airing on an affiliate.
Our process involves creating an immediate intimacy with our subjects in the field, so I've parsed down my gear to the smallest footprint I can muster.  I'm shooting hybrid cameras for this job simply because it's a non-threatening thing to have in the environment.  I'm a goofy guy in the room with a small stills camera, not an obtrusive film crew, you know?  
Plus, I like having a camera with in body stabilization.  These two priorities allow me to accomplish this particular storytelling easier than what would be more unwieldy with more "pro" gear.  
Unless I told someone what it was shot on, none would be the wiser.  I mean, I suppose I know a pro could determine that I'm missing a few stops of DR, and a pro might realize a thin 8-bit image may have been pushed a little too hard in post, but (pot stirring aside) it works fine.
As I say, it's all relative.  

Yup.  Over the air broadcast offers a ton of channels here in SoCal.  I wasn't aware of how much exactly 'til I did a goofy KickStarter video 3 years ago:
https://vimeo.com/102553528
(music is not my choice, ha!)

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

Since you know what you're doing you won't have any issue with a bump up in camera gear.  I still think you'd be okay with what you're doing as is, but I suppose it depends on the situation you have to navigate with your particular TV station.  Getting your footage up-to-scratch probably isn't an issue for you at all.
Having a great camera is nice, no doubt.  If you're good, you should own or rent a great camera.  Doing so if fun and awesome  --but to think automatically that something is unworthy because of the tech of how it's acquired?  I just don't buy into that.  Everything is relative.  
FWIW, I have a colleague that's been shooting an emmy award winning sports program for 5 years on 8-bit Canon DSLR's.  (some of their cameras are as low-brow as the T2i) They broadcast their show all over the TeeVee airwaves.  Source camera has never been a problem.

I say if you're comfortable with your gear and you feel it offers you creative flexibility, stick to it.
Have a conversation with the station manager.  
Send the broadcast station some of your work, have one of their goofball engineers scope it out, and just go ahead and ask for the special permission.  Broadcast specs are guidelines.  If it looks good and the story is good, they'll make exceptions.  If they don't, then there's something wrong with them not what you're providing them.  Good craft and story should trump limited specs.
You should see the stuff that's presented on the local PBS station where I'm at.  The fact that they shoot on "pro" cameras is irrelevant.  Bad shooting is bad shooting.
And if you're doing great audio then that already makes it better than most, so see what they say.

I say if you're comfortable with your gear and you feel it offers you creative flexibility, stick to it.
Have a conversation with the station manager.  
Send the broadcast station some of your work, have one of their goofball engineers scope it out, and just go ahead and ask for the special permission.  Broadcast specs are guidelines.  If it looks good and the story is good, they'll make exceptions.  If they don't, then there's something wrong with them not what you're providing them.  Good craft and story should trump limited specs.
You should see the stuff that's presented on the local PBS station where I'm at.  The fact that they shoot on "pro" cameras is irrelevant.  Bad shooting is bad shooting.
And if you're doing great audio then that already makes it better than most, so see what they say.

Anchovies.  If you don't like em, then you don't like real pizza.  
...and you're stupid.
 

Anchovies.  If you don't like em, then you don't like real pizza.  
...and you're stupid.