Santiago de la Rosa

Nearly identical, actually. The biggest difference is in depth, due to the GH4's deeper, more comfortable grip.
http://camerasize.com/compare/#381,624
That's an outright lie. The Blackmagic cameras use active thermoelectric cooling to keep their sensors at peak performance and prevent stopping for cool-downs. In fact, this is one of the reasons they're such battery hogs--that cooling system sucks a ton of juice. 
 
Clearly a smart engineering decision, since neither camera has heat management issues. That stabilization sucks compared to Olympus'--and even most lens-based stabilizers--anyway. Those cameras are also less than half the price of the A7R II. 
 
The E-M5 II has a 2.7mm increase in width, 3.9mm decrease in depth from the original. Clearly the articulating screen isn't adding bulk. 
 
No, we're criticizing them because they can't match their competitors in basic areas, like bit depth, heat management, AF performance, battery life, stills compression, color science, IS performance, and general ergonomics. Last time I checked, falling behind your competitors was a valid reason to criticize a company. 
 
It's not my job to think about the physics of it. It's theirs. And if they can't think about it long enough to come up with solutions instead of ways to buff their spec sheets, they're going to get this reaction next time, too. 
 
Yes, we are complaining that the headline feature of the camera (4K internal) craps out in 15 minutes. Too bad they didn't manage to pack in a proper heatsink, an intuitive UI, or a battery that lasts more than an hour and a half. 

Oliver. SSD's like the Samsung 850 Pro will offer you better speeds than a RAID 5. I am slowly shifting to SSDs as the Media/EDIT drives as my projects rarely go above 6-700 GB.  RAID is a luxury I cannot afford and it does have its caveats. A simpler more economical suggestion would be to use SSDs (the 850 pros) as your Media and Cache drives, and backup to external disks. While this requires a little more effort, It gives you similar/better speeds at a much lower cost.With 4K and even high bitrate 1080p footage, faster seek times (which the SSDs offer) will give you better performance while scrubbing through tracks. Stick these SSDs into thunderbolt external enclosures.

lol first thing i did
 

I'd either get the skylake i7 6700K cpu with h.265 hardware encoding support, or i7 5820K 6 cores haswell E processor for the best bang to performance.
Get 2 SSD drives (makes a huge difference) Samsung 850 pro and evo, also cheap 2 TB 7200 RPM HD for storage.
16GB ram or more is good
Open CL is bringing faster results with some people, as of now it is getting more support and I'd look into the Radeon R9 390x, or if you require Nvidia skip the latest generation, it doesn't seem to bring any faster encoding and it is still not supported natively by many NLE programs, so research it!
Get at least a 750 Watts PSU 80+ Silver, power is neglected by many and causes problems especially with power hungry GPUs while encoding !
 
If you have a microcenter near you, they usually have bundle deals on the CPU + motherboard.
 
Check Slickdeals for the cheapest prices on SSDs and GPUs
 
also research pcpartpicker
 
 
 
 
 
 

How do you know it has no meaning? Where you there?
How do you know it wasn't a learning experience? 
How do you know it wasn't shots that captures and rememinds the shooter of the best summer ever?
How do you know that place doesn't hold sentimental value to the shooter?
Why do you care?
If you do, why not ask? 

Thanks and sure. : )
Camera settings:
Kholi's A7s Cine2/Pro PicPro (PP6)
Black Level: -11
Gamma Slog: Cine2
Black Gamma > Range: Wide , Level: +7
Knee > Mode: Manual , Auto Set > Max Point: 95 , Sensitivity: Mid, Manual Set > Point: 105%, Slope: 0
Colore Mode: Pro
Saturation: +6
Color Phase -3
Color Depth > R+3, G-3, B+1,, C-3, M-2, Y-5
Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0
White balance > Manual > Grid setting B 1 (one to the left)
--
Software:
Premiere Pro, filmconvert (Arri Alexa DCIP3), bit of Lumetri (really loving the new PP).

I do mostly event/comercial low-low-budget work, but would like to dedicate myself to documentaries more. Made a couple of shortfilms, but the whole production/actors work turned me off. It gave me great respect for the ones who actually have the patience to do it!!!

We need more Zach's in here!

I mostly gravitate toward crime fiction. Started a production company with my childhood buddy called The Sabi Company nearly a decade ago. We've made 7 or 8 features in that time. As well as a handful of shorts. Our latest, Down and Dangerous, was our first genre picture and the first to not lose money.
We've also created Artis Entertainment to distribute our titles directly and through partnerships with other distributors. Most recently, we signed with Paramount to distribute Down and Dangerous internationally. To a filmmaker like me, that is an unforgettable milestone that I'm very proud of, even if it is a bit like winning the lottery.

The next movies include more action, a sci-fi survival story, a neo-noir, and hopefully countless others. I have no other creative or professional ambitions in life other than to make movies until i'm dead.

I get the feeling you want to see some sexy slo-mo footage as a test, but that really wouldn't tell you much empirically about bit depth, chroma sub-sampling and compression as it affects grading. this test was done with a linear radial gradient that simply changes color.. the color part to test certain colors that don't do so well with compression. it also tests resizing 4k to HD converted to float, to see what that gets you, in addition to various color spaces and codecs. it goes fast so you need to pause frequently and watch fullscreen.  (the preview window lets you see more closely what the artifacts look like)
 
 

Trying out the 100/120 fps in real life, shots I'm interested in. Trying to find weakness in the image like aliasing etc.
Very impressed so far:

Log is a compromise of normal 8 bit color for better dynamic range.  You can lose some detail because you are recording colors with less disparity and gradient information between two objects.  Plus, it takes a lot of knowledge, effort, and experience to grade 8 bit color because any small adjustment in post can and probably will clip a some color information in some parts of the image.  Then you have to start manipulating individual colors rather than doing a white balance adjustment, which will never look as good as white balanced raw image.
Avoid using log when possible by improving your lighting.  When you really need the dynamic range and you want to sacrifice some detail, you can use log.

Not RX10mII, but RX100mkIV instead, here are some clips I recorded this weekend.
SLOG2, 24/120/240fps, mostly 1080 but a couple 4k clips downscaled
Also, haven't had any overheating issues with mine as of yet, though I rarely ever get close to five minute clips.

Rolling shutter isn't non existent in 4K but it's definitely less than on other cameras. Puts in a very respectable performance there.
Best to explain with images so please wait for final review.
HDMI is uncompressed 8bit 4:2:2 4K on both the RX10 II and RX100 IV... Yes 4K HDMI on a pocket camera

Film being shoot on bmpcc so far clips look really good  and for sun dance what do you guys think of tests.     http://nofilmschool.com/2014/12/shoot-bob-trees-outside-winter-snow-blackmagic-bmpcc-sundance

Just got this camera and so far i am in love! did some filming of a police helicopter searching in the park close by here in Oslo, Norway. And the camera handles motion perfect! almost no rolling shutter! insanely good  
 
Here is a 4K video i shot on Auto downscaled to full hd : https://vimeo.com/133804417
- There was not much time to grab a tripod or anything, so this pretty much all handheld on auto, and no grading.
 
 

The Sony RX10 M2 is our first look at Sony's new 4K XAVC-S codec at 100Mbit/s, the same which will be on the A7R II come the end of July. The RX10 M2 also brings 1080/120fps and up to 1000fps at lower resolutions.
It features an extraordinary 24-200mm Zeiss lens with constant F2.8 aperture and built in ND filter.
Is this the run & gun camera you've been waiting for?
Read the full article

​Indeed! I really love my RX10. It goes anywhere, does anything, and the addition of XAVC-S fixed its only major flaw. If anyone wants to see any tests from the camera, let me know. I have yet to seriously put it through its paces. Weddings are slow this year. :/

If an RX10 Mark II doesn't break the budget, I think it's a better balance of compromises than anything on your list. The LX100, A6000, and RX100 IV don't have mic or headphone jacks. The FZ1000 has a slower lens and much less wide angle coverage in 4K. The LX100 has even less range--it could be limiting depending what kind of work you do and what kind of shots you like. The RX100 IV even more so. The A6000 requires investing in a bunch of lenses, which I think is a distraction when you're just starting out. Better to have a great zoom and have any focal length you want. That way, you can figure out what you like before you go investing in lenses. It's weather-sealed, offers great stills for location scouting and such, and has all the focus and exposure aids you could want. It records in SLOG, so you can record as much dynamic range as the sensor can deliver. And since you mentioned slow motion, it offers higher frame rates than any of its competition. Couple that with the outstanding lens (hands down the best I've used) and its 4K capabilities, and it might be the only camera you need for a while. 

I would not go with the NX1 because it's too early to tell how committed Samsung is to cameras and as Oliver says, the public isn't clamoring for 4K.  Face it, if a client wants 4K they probably won't hired a "man and his dog" production company.  My wife gets mad at me when I order the HD version of movies on Amazon demand for $1 extra.  She says she can't tell the difference. Further, RAW based 1080 cameras like the BMPCC crush all 4K 8-bit cameras in color nuance and dynamic range.  Here's a video (I took quick and dirty) with some mixed cameras and you can see what the difference is.  I overexposed the a7 footage a bit, which means I'm stuck with it.  The BMPCC not only has better colors against the a7 (even if perfectly exposed) but it has, to me, a film look.  
 
I would not get the 5D3 because, as hell of a camera it is, and it is, it is built as a through-the-lens camera which makes video more cumbersome than the A7, where you have an EVF and can see zebras, focus peaking, etc.  Indeed, if you're going to shoot with the glass you have I believe an EVF camera is a must.
A bad thing for me, good thing for you, is that Sony's model updates and driving the prices down on their earlier cameras.  You should consider an a7 too because you may get one for a song.  However, the large pixel count of the a7 means it is susceptible to moire so you want to accept that trade-off.  If you like a really crisp image, then the panasonic m43rds, like FuzzyNormal says, deliver the goods.  For me, the a7 is the perfect utility camera, great stills and video, takes any lens.
Also, I can't keep someone focused on a full-frame at wide apertures.  For video, I agree with Fuzzy that you're going to end up shooting not lower than 5.8 anyway.  The sony autofocus on the A6000, does work reasonably well at 1.8 (effective 2.8 say) however.
Again, as Oliver implied, business isn't about getting the camera/equipment you want, it's about getting the camera the client wants (indirectly).  As for an investment for 3 years... I live one shot at a time
Photos of event https://www.flickr.com/photos/maxotics/sets/72157654514582616  I used an A7 with 55/1.8, a6000 with 10-18, Canon 50D with Nikon 50mm

​I hate to say it, but I've agreed not to share any V-Log L files while I'm testing. I think the screencap below is your best bet at seeing how the files respond to your workflow.

Im very impressed that the highlights in this shots are still very clear and you can see the detail in his hair etc.
Very nice job jordan
he 

Jordan did an amazing job with the VLog in the latest TCSTV episode. Colors, DR, and skin tones all look great--and it's just the internal 8-bit! 

https://www.youtube.com/watch?v=Ye9TrMw_nHI

I'm sure this crew said they wanted IMAX and couldn't afford it. Had to settle on Super 16mm. Amateurs.

I have been using the Blackmagic Pocket for a while. For me the major advantage is the Dynamic Range / Latitude of this tiny camera.
Its so easy to use and to expose for your shot. Walking trough a corridor from dark to very light situation is when you see the greatness of shooting in a format like the prores or Raw. When you look at the screen and expose for dark part of the corridor and when you go to the extreme light and the zebras are not even appearing on the screen, its great.
I have shot side by side whit canon cameras using the BMDcolor profile or the Cinestyle and we always have to change the exposure not to lose the highlights. And the Blackmagic on the same situation always shines.
Even with a log profile on a 8bit camera when you have a blowing highlight with a very well exposed shot, you lose a lot of information on that highlight not for recovery but for a more filmic highlight.
That new sony camera is a impressive camera. Full Frame with sensor stablization and 4k slog-2 internally, its huge.
But you will have to sell all your lenses and camera and pay 3200 dollars for the camera and a lot more for new glasses. If you need versatility you will have to buy 3 or more good lenses.
If money is not your problem, then its really worth it. full frame is great when you kwon how to get the best with it.
But if you want to keep your lenses my choice from personal experience is the Pocket. Its really a great camera. In some blockbusters they are using Blackmagic cameras to pair with the alexas. Look at that:

Thats how they shoot Mad Max running trough a corridor on the beggining of the movie. They dont chose a 5D, that is more lighter camera and full frame.
They chose the blackmagic for the great colors and gradability of the footages. Its really a good match for the alexas in skintones, etc.
They only use the 5Ds as a crash cams because its has a really rigid body and can preserve the Card and files very well, from a explosion or a car crash...
And the Pocket has the same image quality as the Cinema camera but at 1080p.

The cons of the Pocket:
High ISOs like the sony A7s ( When i look at a 51200 iso footage from a A7s the hightlights are so terrible not filmic, and unrealistic that i dont know if it really worth it. But i have never grade a footage from that camera so....)
And you have a nokton 0.95 thats really great.
I shoot With the Blackmagic pocket in a very low light streets with a rokinon 16mm f2 and for me it really look very well.

Battery times
The baterry is really a problem, but yoou can use a externa batery or even buy a lots of then.
I buy on ebay 10 EN-EL20 batteries for 8 dollars each and they are good enough for a day of shooting.
For long time shooting go for an external battery

File sizes
Even the prores proxy is much better than a 8bit compressed file, it is 10 bit.
If your shot has a lot of movement like foliage you can switch for the prores LT
And if you shoot raw, sometimes i do that: Convert the raw whit camera raw with a similar look to the prores BMD log and render it as a prores for small file sizes and gaining the much greater latitude, colors and grain form the raw file.
With 3200 dollars from the A7r II you cam buy a Pocket camera with lots of cards and battery an even buy the new 10.5mm 0.95 voitglander and have a great low light wide lens.
4k is good but a 1080p camera with good colors dynamic range and latitude worth it, really worth it.

Thats my opinion, choose wisely before you sell your lenses, and sorry for my not so good english.