Miklos Nemeth

I guess they were preproduction models only. When AR, PB or JB, so some reputable videographers, report their results and opinion, then I'd say we can start talking about reality and not hyperboles. I used to have the EOS R, and the gigantic 1.8x 4K crop totally killed it, I simply wasn't able to get myself used to the practice that my excellent 16-35f4L wide lens is just a paperweight for 4K video. The first version of the video AF on the EOS R was really disappointing vs what Sony had at that time even in A7III let alone A9. Today the EOS R's video AF is quite OK, even to my high expectations, too. So, I'll wait and see, if this just rumor-announced EOS R5 is really up to the hype and fanfare. I agree with the commenters that a year ago Canon wasn't even able to make non-cropping 4K, had zero experience in sensor stabilization, and suddenly they are releasing a camera that simply jumps over, leapfrogs evolutionary steps, from "stone age to rocket era" with one jump. We'll see, in a couple of months I guess.

Especially after so long telling customers that 1080p is good enough and they don't need 4K!
As U-turns go it's pretty huge.

Just humor but I really want to know what's the catch. 

Bigger, better, brighter screens. 3" lcd camera screens seem pitiful now that we have 6" oled phone screens that go everywhere with us.
Like Andrew said in his article on the Blackmagic Pocket Cinema 4K: "Now here’s a screen we should have seen on the GH-series of cameras for a LONG time:"


 

Of course, everybody has different priorities. But I specifically stated the A7 III was remarkable at the time for how complete the feature set was - including price. 
The A7 III was successful for one innovation only: comprehensive features. Every camera will have its fans who prioritize or fetishize a feature. But the most successful will have the complete shooting package, because that's what the general market is looking for: utility.
The R5, 8K marketing gimmick aside, will live or die on the same. 

As far as ergonomics & features, the Canon competition have to start implementing stuff like internal NDs..
Sony especially should include the FS5's Vari-ND tech inside Alpha series. 
I don't see them going too far up resolution/codec wise because of XDCam cannibalisation fear.
Panasonic are in the best position to compete on that front, but they really need to sort out PDAF, and maybe hire better design team (take some cues from Leica ffs)!
Fuji, I'd love them to do a proper cine cam, but make it radical by taking cues from retro 8mm pistol cams:

 

How about Panasonic getting some better AF capabilities? They need that more than 8k...

I am talking about successors of cameras that founded EOSHD as truly user-base of aspiring indie community who actually will buy it, not just blabbing and salivating about specs. Problem exactly and indeed is: they are more and more becoming as trophy items, not a really achievable tools for targeting market. I have no problem with it, but just look at results of your voting list about actually used camera here.
 

I wonder what percentage of $3000 these licensing deals actually would cost the Japanese camera makers.
Just pass the cost onto the customer and they will gladly pay. Who would turn down Alexa colour science and ProRes RAW for $300 extra?
We are talking top end cutting edge mirrorless cameras not consumer low-end.
Or do a patent swap.
The main challenge will be getting Arri and Apple to agree, me thinks.

"EOSHD" all capitals.
They are not more inventive. They just understand the appeal to filmmakers, enthusiasts and videographers, of the phrase "Cinema Camera" and the codec options "ProRes and RAW", for cheap.
Things that so far completely allude the Japanese!

Imho nothing special but to put the price way way lower. They all share and could use pretty the same technology. With 5000-7000e price range of bodies and 2000+e for lens, regarding their logical targeting market - well represented here in EosHD - it seems to me that they all lost their mind or fall in self-obsessed narcissism, looking just to each other - who has the most pompous announce and spectacular advertising. And watch  how Blackmagic and other more flexible and more inventive newcomers eat their market.

AOSP is soo much different than a company using Android with a commercial license that also licenses all of the Google apps for them. You can compile Android yourself for your personal use on any device you can make it work on, but AFAIK you can't sell it without the commercial license. 
 
As to your second point the whole thing isn't Google saying "Huawei is spying so we're closing business with them", it's Google saying "We need to comply with US law so we're closing business with them".  Whether this ban is right or wrong is another question. 

Forward progress in terms of aesthetics is relative. It is why people still use the nearly decade old alexa and pay a premium for early CCD s16 cameras. Sony may have the tech but the images are lackluster. Not sure why Canon would give up the very thing that makes their image unique and special.  

You wrote Andrew Reid in your article "However, you won’t find a full frame mirrorless camera with 4K video from any of those manufacturers at $1299." 
From Canon you won't have full-frame 4K below $33000 (it's the price of C700 FF).

Excellent review, Andrew, Thank You so much.
There is a way to do this "AF-S in video" function with the excellent Touch to Spot Focus this feature is available only on touch screen Sony cameras: A5100, A6500, A9, A7RIII. This does exactly what you just described. When you gently touch/tap the screen in Wide, Center, Zone focus area modes, the camera performs a hunting-free rack focus to the touched position with a speed depending on the AF transition speed you configured (fast, normal, slow). While establishing the focus the camera screen is blinking a label Spot Focus. After the focus is established, it changes to MF (see the left hand side indicator icon), and the focus plane remains locked there until you touch again or cancel Spot Focus. You can touch another point to relocate the focus position and the focus is transitioned to that point with Spot Focus. Or, you can touch the Spot Focus Cancellation icon (a finger with an x) or press the Center Button to return back to regular continuous AF.
It would be great, if Sony implemented a no-touch version of Spot Focus function with the joystick and half-pressing the shutter/joystick or AF-ON button, I fully agree. Can you communicate this wish of ours to Sony, please? Thank you so much.

I was experimenting with an RX10ii in a local store here for a couple of hours, and after using Sony A5100 with its brilliant touch-screen, smooth and accurate/snappy PDAF video touch-to-snap-focus, excellent low-light (APS-C), I found the RX10ii even with its 4K, ND filter pathetic. I guess I'd love the XC10 but buying a 1" video camera for $2000 without dual-pixels or PDAF touch-to-focus, no ND filter, no XLR. No way I'd buy a camera with CFast2 just to be able to shoot 4K. I love that eventually JVC/Sony/Panasonic stopped pushing proprietary memory card formats. GX80 with its touch screen, larger than 1" sensor, interchangeable lens, 4K, IBIS in video, hmm, definitely, interesting. I wonder when, if ever, Sony is coming out with the 4K version of its touch-screen operable A5100.  
Exactly, no XLR, no ND filter in XC10, and just add the hilarious prices of CFast2 cards just to be able to record 4K. Even the "consumer" Sony A6300 can get an XLR module. In a couple of months, hundreds of affordable cameras will shoot excellent 4K videos on regular SD cards. I have a decent 1" camera Nikon J5, but definitely, I wouldn't buy any camera with only 1" again, since their low light capability is way inferior to what we can have today from affordable APS-C cameras. To me 1" is dead end.

ANDREW REID: "OK first of all, assuming you might use manual focus sometimes, or often, let’s get that punch-in focus assist working which is absolutely mega on the GH5 – the highest frame rate and resolution I’ve ever seen for a punch-in focus assist."
Do you mean that punch-in focus magnification (aka MF Assist) works on the GH5 WHILE/DURING recording video? The GH5 would be the first Panasonic camera (including expensive dedicated video cameras) that would support this feature. It would be really awesome. So, again, do you say that after you start recording on the GH5, you can activate MF Assist and monitor focus while the camera is recording video? This function is pretty common on all Sony cameras, but not on any other make. 
Thank you so much.

Hey Mattias, if after everything I have posted, and everything Brian Caldwell, the designer of the SpeedBooster has posted, has not convinced you that there's no such thing as a full frame or medium format look, no worries. I wasn't trying to win an argument, only to share what I have learned with others. Have you tried working through the equivalence equations, setting up the camera and reviewing the results as I did here? If not, how can you dismiss it if you haven't tried it? If you have any questions about setting it up, feel free to PM me. It would probably make a cool video that a lot of people would be interested in seeing

On my youtube you will find that I have had an A7 before and made a very positive review.
You will also see that I bought the A7ii, A7sii, a6000, a6300, rx100, rx100ii, rx100iv and a Z3.
Not exactly a hater imo
Its just that Sony does alot of things that makes me question them. And I speak my mind about it.

I'd never expected that Mattias Burling would ever touch a Sony camera. He used to be an avid Sony hater (the only Sony I saw on his youtube channel was an FS100). And now, he is here as an evangelist of Sony technology. Hmm. On the other hand, he is really a knowledgeable guy, and worth reading his articles, and watching his videos, absolutely. On this topic he is delivering really great contents, so a big thanks, that he is taking the time of sharing his experimenting. I am a recent fan of medium format film photography, and I guess I'd change from Mamiya 6x7 over to Mamiya 6x4.5. I've been quite reluctant to buy anything smaller than FF (Kleinbild); so this thread of discussion was revelational to me: no GH5, no A6500 to me. I'll buy the first A7 with 4K and touch screen along with this adapter; touch-to-magnify for manual focusing while recording video is so brilliant on Sony.

I'd never expected that Mattias Burling would ever touch a Sony camera. He used to be an avid Sony hater (the only Sony I saw on his youtube channel was an FS100). And now, he is here as an evangelist of Sony technology. Hmm. On the other hand, he is really a knowledgeable guy, and worth reading his articles, and watching his videos, absolutely. On this topic he is delivering really great contents, so a big thanks, that he is taking the time of sharing his experimenting. I am a recent fan of medium format film photography, and I guess I'd change from Mamiya 6x7 over to Mamiya 6x4.5. I've been quite reluctant to buy anything smaller than FF (Kleinbild); so this thread of discussion was revelational to me: no GH5, no A6500 to me. I'll buy the first A7 with 4K and touch screen along with this adapter; touch-to-magnify for manual focusing while recording video is so brilliant on Sony.

Yeah, 6X7 isn't small at all. 645 is the APS-C equiv.
6X7 is what Steven Meisel, Herb Ritts, et al used in the 90s. You can get incredibly detailed prints from it.
Confusingly, in the stills world they call 645 "Super 35", somewhat confusingly. Meaning a super  version of 35mm film, nothing to do with the cinema meaning.

645 is the aps-c among medium format, 6x7 is the ideal format for printing (and larger than 645) ,etc... 6x6 and 6x9 are the odd sizes which waste film unless you really need the crop options, or use that weird ratio in some digital medium.
Fieldcurvature in a macro lens? I doubt it.

The biggest advantage of moving to a larger format, even if it is film based or digital based, is Lens Diffraction, ergo the lack of it. The bigger you go film, sensor area wise the bigger you can go F stop wise or actually closed down. I know it is always ass backward.
That is why there was a F64 club back in the Ansel Adams, Weston days using 8 x 10 cameras. You can get tons of stuff in focus without distortion. Maybe not totally stopped down but damn close. That is the big problem with m4/3 it creeps in a f8 a lot and damn sure is at F11. So this Speed Booster could be damn interesting for that reason alone.

The A5100 is absolutely not a mainstream camera; but, its touch-to-pull-focus implementation is brilliant; very smooth and accurate. Since the A5100 is the only touch-operable Sony camera (excluding dedicated video cameras (AX100, AX53, FS5,X70), of course), this feature is not available in any other Sony cameras. Whatever great Panasonic cameras are I had two major issues with all of them:
The terribly annoying shimmering when refocusing (the same thing you observed and mentioned in your article); totally unusable in every Panasonic cameras I have experimenting with (GX8, GH4, GH3, GX7). No touch-to-magnify while/during recording. That is, when you start recording, magnification is disabled on Panasonic cameras. I think for manual focusing during video recording it is terribly important to punch-in to confirm focus accuracy. I simply don't understand why this important function is simply ignored by Panasonic/Olympus. On the other hand Sony, Canon, Samsung has very nice implementations in their cameras. Can you, Andrew, confirm that magnification/punch-in is available during recording in GX80/85?