tweak

The A6300 was a dog back in 2016 when the competition was far less, no X-T3 or G85 back then, or E-M10 III.
X-T3 is a similar price now to when the A6300 was released back in 2016.
The X-T3 today is $1399 new (less used) and the A6400 is $900 so a difference of $500 max, the price of a low-end Sony E-mount prime. The 23mm F2 and 35mm F2 Fuji X lenses are cheaper than their equivalent Sonys and the 18-55mm F2.8-F4 zoom is superior to any Sony APS-C zoom equivalent for just $300.
I don't see why people would be interested in paying more for the A6400 + primes + decent zoom than the equivalent Fuji kit.
If you look at the A6400 body in isolation, sure it's cheap-ish. But it's also naff-ish, 2-3 year old tech with terrible rolling shutter and bad ergonomics.
The target market is a prime area to do some innovations... flip out 5" touch screen for example. All-new user interface and menus suited to touch screen operation. Better touch-pad AF interface. Better smartphone integration and Bluetooth LE.
Sony took the easy option and did nothing.

Exactly!
Did it? I don't remember  , although I recall the a5100 being better than the a6000 which is why I got it. 
 
Huh?? Nikon is arguably leading the pack right now, it is everyone else who needs to catch up!!
Or are you meaning that Nikon needs to "catch up" by offering an affordable DX mirrorless? Well, I could not agree more! 

All my friends that are consulting me about cameras are asking for camera to vlogging, tutorials or to film their kids. None for stills - these usually buy a Canon T5/T6 or a Nikon D3xxx/Dxxxx with a kit lens, without asking.

And for the first group, the most wanted feature is good AF - never even consider to use manual AF. If Sony nailed it in the A6400, they could have a very good seller (external mic could be used with a bracket without covering the screen - and a lot of vloggers use lavaliers).

I thought the same, but then I realised there's actually a ton of people who are aspiring vloggers and/or buy a camera with the hope that one day they will "vlog" with it. It also has a lot of overlap with your average family shooter, they want similar things IMO.

G85 Autofocus sucks (it sucks on GH5 as well, I have one). 
EOSm50 DPAF is a game changer for vloggers, my partner couldn't give a toss about 4K (or IQ much in general), she just wants reliable AF and a file she can edit on a regular laptop computer (same as most other vloggers out there).
For the reccord I would never buy an EOSm50 as my sole camera, but I'm not a vlogger  .
Most regular people don't vlog in 4K (even Casey doesn't anymore). EOSm50 autofocus in 1080p is amazing.
Vloggers want reliable autofocus unfortunately. I'd agree a G85 is a much nicer camera otherwise, but it's falls short in the one key feature in which most vloggers care about most.
p.s. Also if you've ever used an m50 you'd see how intuitive and helpful it is to use for people who aren't super into cameras. The scene specific timelapse modes is also a great touch.

G85 Autofocus sucks (it sucks on GH5 as well, I have one). 
EOSm50 DPAF is a game changer for vloggers, my partner couldn't give a toss about 4K (or IQ much in general), she just wants reliable AF and a file she can edit on a regular laptop computer (same as most other vloggers out there).
For the reccord I would never buy an EOSm50 as my sole camera, but I'm not a vlogger  .
Most regular people don't vlog in 4K (even Casey doesn't anymore). EOSm50 autofocus in 1080p is amazing.
Vloggers want reliable autofocus unfortunately. I'd agree a G85 is a much nicer camera otherwise, but it's falls short in the one key feature in which most vloggers care about most.
p.s. Also if you've ever used an m50 you'd see how intuitive and helpful it is to use for people who aren't super into cameras. The scene specific timelapse modes is also a great touch.

Not bad really.

Use the program in that post (MLVapp) or MLVFS if you don't want to transcode (you still need to transcode with an EOSm though because of the focus pixels I think).

Honestly I still transcode everything with a GH5 anyway, so I don't see much difference. I like MLraw image better than anything I've used, but all these high res modes lack proper monitoring solutions (also they are all cinema ratios already pretty much which isn't ideal for me shooting anamorphic lenses). I'm really excited to see what they can do with the EOSR, 5Dmk4 and the EOSm50.

I still have a few EOSm1s around (was also my first MLRaw camera), I might have a poke around and check these developments.

The EOS-M is the camera that just keeps on giving. It was my first foray into ML Raw and I failed miserably with it. Soon after I tried my hand with the 50D and thought hmm. With the 5D3, I am a full convert and won’t even think of buying another camera until I see what happens with the 5D4 developments.
However, somewhere in the back of my closet, I still have my EOS-M, a few batteries and a slew of SD cards just waiting to be used. This could be a fun way to cure some Mid-Winter Blues. I look forward to your update, Andrew.
On another note, I almost bought your 5D Mark III 3.5K Raw guide a couple of hours ago, but I don’t know if I can go without a clean LiveView. Has there been any updates on that front?

For sure i'd go nuts if that were to happen (mini compact Super35 cine cam with 16mm bolex style hand grip design housing extra battery, XT3 sensor, XH1s IBIS & X100s NDs). Made in Japan. Please Fuji!
Who knows, they did revive their medium-format system out of thin air..

Fuji used to make very handsome cine cameras.
If they did move back into dedicated motion cameras, carried on their retro styling cues of the stills range and put the X-T3 internals in this then I suspect many people would wet their pants.
I'd be one of them

Yep. Honestly my Canons often over heat shooting in direct sun here in AUS on a hot day shooting stock firmware. When I shoot Raw they don't get noticeably any hotter than otherwise and if we are to believe the ML team; less processing with Raw should actually generate less heat.

Canon don't include Raw because they don't want to and if we are to seriously believe they can't (and can't do it reliably) but a team of part time hackers can reverse engineer their whole system to do it... I don't know whether I should really support such ignorance. 

My 2cents. 

Yep. Honestly my Canons often over heat shooting in direct sun here in AUS on a hot day shooting stock firmware. When I shoot Raw they don't get noticeably any hotter than otherwise and if we are to believe the ML team; less processing with Raw should actually generate less heat.

Canon don't include Raw because they don't want to and if we are to seriously believe they can't (and can't do it reliably) but a team of part time hackers can reverse engineer their whole system to do it... I don't know whether I should really support such ignorance. 

My 2cents. 

I've shot continuous 1080 ML raw on a 5D with a 256GB Lexar card on occasion with no issues whatsoever. This was simultaneously on a 5D Mark II and III. 

Yeah the 5D3 and ML Raw shoots continuous 1080p 14bit Raw. Since I shoot narratives, I’ve never recorded super long takes but I have shot upwards of 5 minutes without any hiccups.

They said it should have the same codecs, so I assumed that meant if E2 has Prores so will this.
Yeah, I feel you on that front, but the features I'd be most excited about are in the E2 haha. I don't need anything straight away, so I'm going to do a little waiting.
 

I personally think it’s genius but if it doesn’t suit your needs, then sure buying one would be insane. The EVA1 is an amazing camera, and from the looks of that grab, you made a wise choice. 
Oh God... sorry but it is replies like this that has kept me away from the forum lately.
You can use the camera all you want and I’d say it was a moronic decision to use this camera for event shooting or whatever work you do.
Forum fairy tales... haha... you’re the one who sits around here and argues the benefit of using a Raw cinema camera for jobs that don’t require Raw and then complains that it’s not a good camera...
Sorry... not sorry. 

I read also this comment elsewhere about the Z Cam E2 and this particular test video demonstration.

HLG out of the GH5 is a pretty big difference. Also 5K 4:3 if you use anamorphic. If you're just shooting 1080p or 4K for web upload it's probably not a huge difference, but it's enough difference for me to choose the GH5. Your budget and needs for a project will determine the answer I guess.

If you like the GH4, the obvious choice is a GH5, you will love the upgrade.

That means his review of it will be out in about 10 months.

In my experience, one can throw math at a forum until the cows come home, but until you actually set up a particular focuser/scope/prime/speedbooster/sensor combination, there’s no real way to know. 
If the sensor size is that important to you, start there. Get the camera that you want.
then get the scope you want, and a focus solution.
finally, start auditioning prime lenses until you find something you like.
the factors/equivalencies/etc. are ultimately crude ways of approximating the complex physics of the optics. They’re great for making a strong educated guess, but won’t really give you a definitive answer as to the “ultimate” setup. 
If you want a real scope for s35, just save up and snag a LOMO. Or sell your car and get a Hawk. There really is no quick path to assembling something that will perform exactly like a real cine anamorphic.
same goes for s35 cameras. Get a Red, Pretty sure they save stills.
The math...
1. look up the sensor dimensions 
2. multiply by the focal reducer’s factor
3. Profit

Can this please get back to Panasonic FF. I don't give a shit about these average memes on Youtube.

Hey all! I just got my V2 Aivascope baby 1.75X lens and really excited to put it through its paces.  I know there are some excellent posts recently from JSD about this lens but just wanted to start a dedicated thread for anyone new looking, or if anyone wanted something specifically tested.
I'll be mainly using it on a BMPCC4K but will also be using on my A7S2, and possibly my BMPCC.  I'm still waiting for my Rapido FVD and presently without diopters so there's not much to test yet but hopefully everything arrives soon - in the meantime will try and collect everything I need to get shooting some sample footage

I think the challenge will come from China. It will probably get fierce... Look at the drone and gimbal market. There are not shortage of contenders. Competition is good for the consumers. 

I don't think it's just a grade. If the detail is not there the grade will not have any information to recover. In the video he is demonstrating the WDR of the Z-Cam. If it was nothing exceptional, I'm pretty certain he would mention that it was no better than say his GH5. I have perused a few of his videos, and I see no "secret sauce" regarding highlight/shadow recovery. It's one thing to have shadow detail with blue skies It's another thing to have shadow detail in cloudy conditions where you want to get the richness of the blues, with the grays and bright whites that are not blown-out... all while maintaining detail in your subject. Try this with the GH5 or X-T3 or P4K for that matter and you will likely see blown whites in the clouds. Without the DR, something must be scarified. Assuming he is not using a graduated filter.
While I would be the first to agree that all of these cameras can produce great output in the right hands, I think you might be oversimplifying the matter... which is, the Z-Cam seems to have the advertised DR. I see you have posted a link to some HDR footage... have you had a play with it? I have a fair idea of what is possible with all the cameras I have owned. I'm quite certain the Z-Cam's footage is more flexible than most... if not all the cameras at this price point and below. Reliability, and needing to send the camera to China for repairs is the most concerning issue imo.
Except, there is no one in the foreground and no cloudy skies to contend with. 

If we start going down that path of logic then we could say crazy things like "and in maybe not so long ish the Z Cam E2 will be on sale for $400" which makes the BMPCC4K "twice as much the way I look at it"