sudopera

We have to remember that every single camera to date always look very "video" on promos. Thats because we are a little minority and the camera companies would never make "filmic" demos. They would loose customers.
Regarding the film simulatuons I like them. Just like a LUT they are a great starting point. But more accurate to the cameras colors and saves you time in post. After the lift, gamma, gain is set you are already 80% there. LUTs always needs lots of tweaking.
 

I think this camera will go really well with some Canon FDs or Takumars. The videos I've seen look a little too sharp for me, and I think using older glass would really make the image look softer and more film-like. Definitely a cheaper alternative to pricey Fuji lenses. 

Better is relative to the user! I think the film simulations are cool, well, I know they're cool because I have the Xpro2, and yes, cool! Personally, I think for video, the Panasonic GH5 would be the better camera, however, I don't think the GH5 can beat Fuji's color science, and, I don't think any camera manufacturer beats Panasonic's reliablility, they seem to never have issues with their cameras!!

I also have high hopes for this camera but you never know if there is a deal breaker lurking somewhere around the corner, especially from a company that didn't give much thought to video side in the past. IMO it is better to be patient and wait for reviews and GH5 arrival, and then make a decision.

I also have high hopes for this camera but you never know if there is a deal breaker lurking somewhere around the corner, especially from a company that didn't give much thought to video side in the past. IMO it is better to be patient and wait for reviews and GH5 arrival, and then make a decision.

I also have high hopes for this camera but you never know if there is a deal breaker lurking somewhere around the corner, especially from a company that didn't give much thought to video side in the past. IMO it is better to be patient and wait for reviews and GH5 arrival, and then make a decision.

There are a couple of Xpro2 clips in the downloads thread. Try it, lots of shadow info.

I am quite curious about this one, specs seem great for a hybrid.
Who knows maybe it turns out great for low budget video, just hope that it isn't cropped in 4K mode and have decent DR.
Unfortunately it seems that the grip is required to shoot 30min of 4K.
http://www.fujirumors.com/fujifilm-x-t2-full-specs-images-leaked/
– 24.3MP CMOS sensor
– Image processing engine X Processor Pro 
– Video 4K30fps. Full HD60fps 
– Video of the bit rate is 100Mbps 
– The maximum speed of the shutter is 1/8000 seconds. 1/32000 sec electronic shutter 
– Synchro speed of the flash is 1/250 seconds 
– AF 325 points can be selected intelligent hybrid phase difference AF 
– The body is in a magnesium alloy, improve the durability of the dial. Dust and water specification 
– EVF is 2.36 million dots. Refresh rate 100fps 
– 3-way tilting 3 inches 1.62 million dot LCD monitor 
– Dual SD card slot. UHS-II support 
– AF-C custom settings 
– ISO range is ISO200-12800 (RAW) 
– Wi-Fi built-in. Remote shooting correspondence. Instax Share printer support 
– 16 kinds of film simulation modes, including the ACROS 
– That can customize the settings screen “My Menu” 
– Normal / boost mode switching 
– 14bit RAW lossless compression. Camera RAW development 
– Exposure compensation +/- 5EV 
– 256-segment metering (multi-spot average, spot, center-weighted) 
– Interval Shooting 
– 13 kinds of creative filter 
– The battery is NP-W126S. The number of possible shots 350 sheets 
– 3.5mm microphone jack. 2.5mm remote terminal. USB3.0 terminal. Micro HDMI terminal

Sounds interesting. Personally I couldn't care less about AF. So the question for me is all about the DR at this point.

I am quite curious about this one, specs seem great for a hybrid.
Who knows maybe it turns out great for low budget video, just hope that it isn't cropped in 4K mode and have decent DR.
Unfortunately it seems that the grip is required to shoot 30min of 4K.
http://www.fujirumors.com/fujifilm-x-t2-full-specs-images-leaked/
– 24.3MP CMOS sensor
– Image processing engine X Processor Pro 
– Video 4K30fps. Full HD60fps 
– Video of the bit rate is 100Mbps 
– The maximum speed of the shutter is 1/8000 seconds. 1/32000 sec electronic shutter 
– Synchro speed of the flash is 1/250 seconds 
– AF 325 points can be selected intelligent hybrid phase difference AF 
– The body is in a magnesium alloy, improve the durability of the dial. Dust and water specification 
– EVF is 2.36 million dots. Refresh rate 100fps 
– 3-way tilting 3 inches 1.62 million dot LCD monitor 
– Dual SD card slot. UHS-II support 
– AF-C custom settings 
– ISO range is ISO200-12800 (RAW) 
– Wi-Fi built-in. Remote shooting correspondence. Instax Share printer support 
– 16 kinds of film simulation modes, including the ACROS 
– That can customize the settings screen “My Menu” 
– Normal / boost mode switching 
– 14bit RAW lossless compression. Camera RAW development 
– Exposure compensation +/- 5EV 
– 256-segment metering (multi-spot average, spot, center-weighted) 
– Interval Shooting 
– 13 kinds of creative filter 
– The battery is NP-W126S. The number of possible shots 350 sheets 
– 3.5mm microphone jack. 2.5mm remote terminal. USB3.0 terminal. Micro HDMI terminal

color is certainly great on Fujis

I am quite curious about this one, specs seem great for a hybrid.
Who knows maybe it turns out great for low budget video, just hope that it isn't cropped in 4K mode and have decent DR.
Unfortunately it seems that the grip is required to shoot 30min of 4K.
http://www.fujirumors.com/fujifilm-x-t2-full-specs-images-leaked/
– 24.3MP CMOS sensor
– Image processing engine X Processor Pro 
– Video 4K30fps. Full HD60fps 
– Video of the bit rate is 100Mbps 
– The maximum speed of the shutter is 1/8000 seconds. 1/32000 sec electronic shutter 
– Synchro speed of the flash is 1/250 seconds 
– AF 325 points can be selected intelligent hybrid phase difference AF 
– The body is in a magnesium alloy, improve the durability of the dial. Dust and water specification 
– EVF is 2.36 million dots. Refresh rate 100fps 
– 3-way tilting 3 inches 1.62 million dot LCD monitor 
– Dual SD card slot. UHS-II support 
– AF-C custom settings 
– ISO range is ISO200-12800 (RAW) 
– Wi-Fi built-in. Remote shooting correspondence. Instax Share printer support 
– 16 kinds of film simulation modes, including the ACROS 
– That can customize the settings screen “My Menu” 
– Normal / boost mode switching 
– 14bit RAW lossless compression. Camera RAW development 
– Exposure compensation +/- 5EV 
– 256-segment metering (multi-spot average, spot, center-weighted) 
– Interval Shooting 
– 13 kinds of creative filter 
– The battery is NP-W126S. The number of possible shots 350 sheets 
– 3.5mm microphone jack. 2.5mm remote terminal. USB3.0 terminal. Micro HDMI terminal

The idea that 4K "can" be great dependent upon how the rest of image quality performs (i.e. DR, highlight roll-off, colors etc.) is an important one.  I probably won't have a 4K TV for years, nor will the people that are my audience (my students).  However 4K with great colors and DR down-res to 1080P would be more desirable to 1080P with similar qualities and characteristics. 
I strongly disagree that 4K is always better than 1080, again I'd prefer to see/use a c100 than a gh4/nx1/a7s.  But when you ask about an fs7, 1dx II vs. a c100/c300 then you may have a more appropriate discussion about 4K vs. 1080.  Context is key.  
When the latter discussion is had, I'm particular to canon colors over sony and within canon's lineup it's a toss up between 1080 and 4K.
I guess this discussion has demonstrated to me that 4K isn't necessary but is desirable with the right context (DR, etc.) and that investing in quality 1080 isn't a bad move if you're not being mandated by work to have a 4K workflow. 
 
Thanks!

I agree that 4K is far less important for a great image than some other features mentioned above, but there are also two kinds of 4K. There is 1Dc or most cinema cameras type of 4K that has the detail but not in camera sharpening, so it can still look very pleasing even in closeups, and there is 4K that is oversharpened on top of big resolution and that tends to look not so good. I believe you once already wrote about this Ebrahim. What I am trying to say is that for me 4K is a great feature if it is the right kind of 4K.

http://www.43rumors.com/panasonic-announces-new-leica-12mm-f1-4-apsh-summilux-lens/
$1299.99
I'm sure the performance is astounding... but come on now. Do these mirrorless companies actually want people to buy their lenses?

I've owned both and they're very different cameras. The DPAF and weight are huge selling points for the C100ii. Nice colors as well. I just got tired of the weak codec and moved on. Blackmagic have great customer support. They're always willing to interact within 24 hours of contacting them. There have been a lot of issues with the 4.6K regarding the magenta corners but they're WAY overblown on forums. Your chances of getting a good unit are favorable at this point. If it's not a good one they'll replace it. They've stated that they know what is causing the issue and it will fix it ASAP.
The new firmware 4.0 coming out with the 4.6K is going to be amazing. They're adding all new resolutions for ProRes. 2K, 2.5K, 3K, 4.6K. Right now you can only shoot 4.6K in RAW. ProRes is only available currently (in the Ursa) at 1080 and UHD.

Yes that's what I'm saying, it has an OLPF.
It's a very nice image, if you need 2K raw then it's the best bargain ever...
The problem is however that it's just not robust enough for an important occasion or shoot. The other issue is the file sizes. The Odyssey remember can debayer the C500's raw and it goes straight to the SSD as ProRes LT, very small file sizes by comparison to Magic Lantern.
The 2K RGB can also go down as ProRes.
Then you can drop it straight into Premiere and put a LUT on it (that works with Canon LOG).
On a 5D Mark III shoot you in one hand for $1700 with no rigging or monitor you're squinting at a postage-stamp sized non-articulated screen with a very tricky to focus full frame sensor, hoping that the card isn't fragmented to the point where it might just stop in the middle of a critical non-repeatable shot. Then you find that the card is full after just 12 minutes and you have to ask another person on the shoot to sort it out whilst you continue to try and direct and DP all at once. Following the shoot, you then get all the raw files into DaVinci Resolve but you're reliant on a piece of software that isn't primarily designed as an editor, so you do your colour work in there and then transcode it all to ProRes for editing in Premiere. I know Resolve has improved a lot as an editor, but it's still a big shift if you're not used to it.
So what I am saying is that it's not quite as simple as $1700.
Time is also money.
The camera doesn't debayer the raw, just converts it to the 10bit log space for SDI transport to the recorder.
Actually I seem to remember reading that not even the 12bit RGB 2K needs debayering, due to the way the sensor is designed.
Perhaps Larry Thorpe can come on the forum and tell us how they did it.

Have a Terra 5k on order - pending a trip to bejing to test it out - end of July they informed me - pushed back a month...so far....will let you know how it goes.

I don't know..  The image from your f35 will always be special, not to mention the motion.  I'd take fullhd upscaled to 4k from an f35 over any camera below an alexa.  what lenses are you using predominantly?

Apparently RX10 III is not meant to be an upgrade of RX10 II, but more of a second option with different lens

Apparently RX10 III is not meant to be an upgrade of RX10 II, but more of a second option with different lens

Im excited to buy an mark ii when the mark Iv drops. I know a lot of people who skipped the upgrade to the mark iii because of the not to big changes. I think the mark ii will hit <500$ mark.

I work in a rental house and see Alexas, Amiras and Minis fly off the shelves all day long while F55s and Dragons sit in their boxes. And it's only increased as the attention has turned to the newer models and the original Alexa has come down in price. People who might've once settled for a prosumer-style digital cinema camera like the C300 or F3 can now afford to hire an Alexa, and many do without a moment's hesitation.
It's the only camera that really operates on a "what-you-see-is-what-you-get basis". The Canons come close, and the Reds and Sonys are a hideous mess of LOG profiles, LUTs and complicated menus. And one thing I can say for certain is that the Alexa is the only camera that is dead-on with its ISOs. ISO 800 on the Alexa is a true ISO 800, seven stops over and under middle-gray. The Canons and Sonys are somewhat faster. The FS7 in particular is way off. I would reckon that ISO 800 on that camera is closer to 1600.
Meanwhile, you can take the Alexa out of the box, hit LOG-C on 2K Prores, pull up the Rec.709 LUT on your monitor, light the scene using your light meter like they did in the good old days, and go home with an image that can look good without requiring any special color-correction sauce beyond gamma and color tweaks. And it holds up on a 40-foot screen, And it never breaks or fails. At my workplace, we practically never receive customer support calls regarding Alexas. They come back in perfect condition and our technicians turn 'em around in a matter of minutes. Meanwhile, these Reds are making my co-workers tear their hair out.
Simplicity, reliability and raw image quality independent of specs and numbers is where it's at. Arri gets this, which is why they keep winning despite the exorbitant cost of their products.

On a side note...if you are shooting handheld or you know you will want to re-time in post, it is a good idea to dial up your shutter speed to reduce or eliminate motion blur as much as possible.
That way, any optical-flow algorithm - be it Twixtor or whatever will have crisp frames to do a more accurate analysis and frame interpolation from. I do this all the time for handheld shots where i know i want to re-time to slow motion. I can then add motion blur back into the plate (if I need to add any) with RSMB - Reel Smart motion blur - plugin for AE.

i've done comparison with all the big options for optical flow/twixtor effects.
From what i could in tell this is the list i got, the things i judged was how smooth the clip got, how the background acted behind the subject and the amount of artefacts.
1. Da vinci Resolve
2. Twixtor
3. Fcpx 
4. after effects timewarp
5. Sony vegas (unusable)
One thing to add is if you like to add the effect which i use sometime were you have a clip of lets say a skateboarder jumping and you want do have a super slow motion clip of it just floating in the air for a couple of seconds and you slow the clip down to 2-3% i found that the built in FCPX optical flow worked the best, both twixtor and da vinci have a hard time making up that many frames and i found that i got some stuttering.