Ari

I would recommend not to worry too much about future-proofing. Whatever you buy will be somewhat outdated in two years, and mostly obsolete in five.
You'll need to know what you need in the near future, and buy that.

OK, I made one more test with the tokina 11-16mm. The shots are not labelled, but they are in order 11,12,13,14,15,16mm as written on the lens, with image stabilizer, and 6k anamorphic.
The 13mm does not show any vignetting, except for a very short time in upper right corner when panning.
 

I'm awfully sorry, but all my tests above are flawed. 
I had the HOYA SUPER HMC PRO(1) SKYLIGHT(B) filter on, and it causes some additional vignetting. I'll see when I could do another round of tests for publishing..
The LENS HOOD that comes with the lens vignettes more, so that is useless. 
I was planning to get a set of 82mm ND filters, and use those with a step-up ring, but I seriously doubt that now. Maybe I should get 10cm square filters, but I have no experience with those. Suggestions?
 

OK, I made one more test with the tokina 11-16mm. The shots are not labelled, but they are in order 11,12,13,14,15,16mm as written on the lens, with image stabilizer, and 6k anamorphic.
The 13mm does not show any vignetting, except for a very short time in upper right corner when panning.
 

Ok, here you go, 11-16mm tokina lens at 11mm, and several options:
6K anamorphic 24p 4992x3744
- stabilizer off
- stabilizer ‘hand’
C4K all-i 24p 4096x2160
- stabilizer off
- stabilizer ‘hand’
- stabilizer ‘hand’ + e-stabilization (video)
4K all-i 24p 3840x2160
- stabilizer off
- stabilizer ‘hand’
- stabilizer ‘hand’ + e-stabilization (video)
 
https://youtu.be/Al-FkHgO6Ik
How do I make it show the player? Ah..
 

I tried the 6K anamorphic a bit more at different focal lengths. 14mm marker looked pretty safe from vignetting, but 13mm had a bit of dark corners.
I'm not sure what my use case for this would be..
 

Ok, here you go, 11-16mm tokina lens at 11mm, and several options:
6K anamorphic 24p 4992x3744
- stabilizer off
- stabilizer ‘hand’
C4K all-i 24p 4096x2160
- stabilizer off
- stabilizer ‘hand’
- stabilizer ‘hand’ + e-stabilization (video)
4K all-i 24p 3840x2160
- stabilizer off
- stabilizer ‘hand’
- stabilizer ‘hand’ + e-stabilization (video)
 
https://youtu.be/Al-FkHgO6Ik
How do I make it show the player? Ah..
 

I tried the 6K anamorphic a bit more at different focal lengths. 14mm marker looked pretty safe from vignetting, but 13mm had a bit of dark corners.
I'm not sure what my use case for this would be..
 

Ok, here you go, 11-16mm tokina lens at 11mm, and several options:
6K anamorphic 24p 4992x3744
- stabilizer off
- stabilizer ‘hand’
C4K all-i 24p 4096x2160
- stabilizer off
- stabilizer ‘hand’
- stabilizer ‘hand’ + e-stabilization (video)
4K all-i 24p 3840x2160
- stabilizer off
- stabilizer ‘hand’
- stabilizer ‘hand’ + e-stabilization (video)
 
https://youtu.be/Al-FkHgO6Ik
How do I make it show the player? Ah..
 

I went out and shot some impressingly boring test footage with the tokina 11-18 that also included sky. I used different settings, these affect the vignetting of it. I'll publish it later today, now I gotta run..

I went out and shot some impressingly boring test footage with the tokina 11-18 that also included sky. I used different settings, these affect the vignetting of it. I'll publish it later today, now I gotta run..

Anyone know how transferring the license works now without the dongle? I.e. can you still install it on two machines - but this time without the dongle? 

Good stuff from Jacob. I missed the frame lines and operation lock features.
This camera now has more features than ten Canons put together!

It has amazing dynamic range even in Rec.709.
It has remarkably low rolling shutter compared to Sony.
The 10bit files are amazing in low light with lots of 'depth' and richness to the shadows. It helps that it's so good in low light anyway with very clean ISO 3200.
Tons of features, I will write a guide about it but it will take a while.
Review coming soon, I know it's been ages but I will get round to it!

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

Just zoom in a little if it does... I don't see an issue here. It covers FF sensor at 14mm.

Thanks Clayton, I have significant memory problems and I had completely forgotten what the thread was about. It's people like you who make life for the disabled that much easier, you clearly have no interest in the camera, yet you suffered through the entire post and then the entire thread merely to help me out! Most people with no interest in the camera just ignored the post, yet you, Champion among men, Hero among lessers, God among sheep, Giant among hobbits, Poet among the illiterate, you sir are just amazing, wonderful and epic. I hope my gratitude makes up for the time and effort you otherwise needlessly and selflessly put in. 

Hey guys
 

Quick Review A7S vs GH4
 
Where the  GH4 is better:
Build quality Viewfinder Flip out screen User interface (by a mile) Battery life (by a mile) Color science Skin tones Rolling shutter (by quite a bit) Detail (internal 4K and 4K to HD) Noise grain (mostly pleasing monochromatic) Built-in flash for stills When lens size is included, a much smaller package Can shoot best quality on < 64GB Class 10 UHS-1 cards (A7S requires >=64GB cards for XAVC-S) Price Where the A7S is better:
Low light (it's very good however the noise grain is colored and multi-spectral; not as pleasing as GH4's mostly monochromatic fine-grain noise) Shallow DOF (add a SpeedBooster/focal-reducer to the GH4 and this isn't much of an advantage) Audio (no buzz; not tested thoroughly yet though) If a 5D3/full-frame owner: can use existing lenses with a non-focal-reducer adapter (with similar DOF) Super 35 mode allows use of many NEX lenses (some aliasing) Auto ISO After having worked with 5D3 14-bit RAW and RED RAW, where the unmodified RAW looks pretty good straight from the camera, Slog2, Cinegammas, Cine-D/V, etc., start looking like gimmicks. None of those gamma curves are providing a real increase in dynamic range. In certain cases they may provide more information for 8-bit compression, however they can be tricky to use and must be exposed carefully. I've had the best luck shooting Natural with the GH4 (and no crazy curves), though iDynamic is helpful sometimes (appears to be local pixel group based processing vs. a simple curve. The A7S has a similar feature (disabled if any picture profile or effect is active, though)).
 
Rolling shutter is very challenging on the A7S in full frame mode (worse than the 5D3): not very usable for handheld without a lens with IS and/or a solid rig. The A7S menu and button system is a mess. The FS700 has a better design! (many folks find the FS700 non-intuitive to use).
 
Both cameras have aliasing and moire in slow motion. Perhaps similar to the FS700 in 240fps mode (not as bad as FS700 480+fps modes). I haven't done a direct comparison, however the FS700 120fps and less slow motion is better than the GH4 and A7S (all slow motion modes).
 
While the A7S isn't quite a one-trick-pony (low light), the GH4 is a much better all around camera. I haven't had the A7S as long as the GH4, so there may be other elements that make the A7S more compelling, yet to be discovered.

This is comparing apples with oranges. On paper, both may have a similar DR. Colors? With BMPCC, that's completely limited by your ability to grade, and beware, few people can grade. I thought I could, having used Apples Color for years, though admittedly only with usual DSLR footage where you essentially enhance something that's otherwise pre-defined.
 
With ProRes (imo the wiser choice for the Pocket) and especially with raw you start with NOTHING. That's why you sooner or later become friends with LUTs. If you apply a LUT and on top of that perform a normal correction, it's practically as if you had dialed a DSLR preset like landscape or baby.
 
A really good colorist will get the most out of the Pocket, good colors. A not-so-good colorist will do better by enhancing some pre-defined GH4 setting. Please, don't expect too much of flat picture styles with 8-bit. That's really neither fish nor fowl.
 
The french review above says it: BM footage is easier to grade, but you must grade it. With the Shogun, you could perhaps get the best solution.

GH4 shoots also 'just' H.264. With a higher bitrate than Sony though.
 
I can understand you point regarding the Speed Booster. But it might be a nice excuse to try out some (cheap) vintage glass for the GH4 ;) No need to re-shuffle your whole collection yet.

I've been playing with the GH4 for a while now. I'll share my video's here. Shot a lot more material, still have to edit/upload it. Will do so in the following days.
 
Go over to Vimeo/YouTube for all the details in the lenses/profiles/settings used. You can download 4K files or high bitrate on Vimeo.
 
Cinema 4K mode - sunset and lowlight. The 14mm makes razorsharp 4K images. Also used a cheap 200mm f/3.5 Vivitar lens. Hard to get the focus exactly right and maybe not really suitable for 4K. For the video on Vimeo I used pretty high iso values. Shots with the birds are 3200 for example.

 

 
96 fps slomo test: with shallow dof shots it is pretty sharp. I have some slomo sufing shots as well, the resolution looks less good with very detailed scenes.

 
Short test shot at ISO6400 in C4K.

 
Anamorphic test with Minolta MD 28mm f/2.8 and Petit Cinevision 1.5x

slow motion video looks great - thanks for sharing :)