Mat Mayer

Looks like a real video monster, hopefully is has full-sensor read-out:
http://www.43rumors.com/ft5-first-images-new-panasonic-fz2000/

Finally the pics.
http://photorumors.com/2016/09/15/pictures-of-panasonic-lx15-camera-leaked/

Ah, yeah, I see now (burnt through my lasts bits of energy today, so didn't bother to look everywhere)...
http://www.43rumors.com/ft5-full-gx85-lx10-fz2500-press-text-leaked/ Does have the 180° tilt touch display I begged for and f/1.7 improved to f/1.4 on the wide end compared to the LX100. So I'd still be tempted to get swapping.

Zero excitement from me over this, except...   this should apply pressure on the DSLR/mirrorless manufacturers to add 4K 60fps to their cameras. As consumers will ask why can't it do what their iPhone does already??

p.s. The amount of cropping using the E-stabilisation can be seen in the difference of window-panes (in the test in my previous post): without E-stab it looks to me like more that 5 1/2 panes fit in the frame. With E-Stab "on" the camera crops in so that less than 4 1/2 panes are in the frame. Totally (un)scientically estimated at about a 15% crop. That makes your max wide-angle with the kit zoom a 14mm (= ca.28 mm) instead of 12mm (= ca. 24mm) for what it's worth, with the e-stabiliation ON.

Pentax lenses are some of the most overlooked lenses, when in reality they are unbelievably nice lenses... Are dirt cheap and probably have the best focus rings of any lenses I have used. Visually I believe they're as good as their Nikkor counterparts. 
Btw, the Pentax forums have an awesome review database for Pentax lenses, plus any third party lenses that came in a Pentax mount... Which are a lot. It's a great lens research resource. 

The G7 is very nice in your hands. It is like a little baby DSLR. The GX80 is newer so probably better video, but it costs more and doesn't feel nice to hold for me.
Either are very compact especially if you use Panny or Oly lenses. If you really do want a 3.5-5.6 12mm-24mm lens you should be able to get the good Panny 12-32mm pancake lens in a kit with the G7 or GX80.
But most people would recommend getting body only with the Panny 12-35mm constant 2.8, or the Sigma with Speed booster option (both much more expensive). 
If you dont need a fast lens much the 12-32 with the 35-100mm 4-5.6 (might be able to get both of these lenses in a kit) and the Olympus 45mm 1.8 is a good kit imo (will probably get a fast prime between 17-25mm too). Total cost approx. £640 all new except the Panny lens which was bought used but as good as new.
It seems that GX80 is more for people who need stabalisation. And the G7 is better ergonomically (fully articulating screen, nice dials etc...). You may miss Canon colours but at least you will have 4K video. Keep an eye out for Panasonic cashback offers (they currently have a £100 one).
I used to love the colours and general image from my 600d (t3i?) with or without Technicolor Cinestyle. If you dont need 4k maybe just upgrade to a newer Canon or look at the Canon XC10. If it was me I would go for a Panny to be future proof in terms of resolution and you can use nearly all lenses. The colour is still decent enough. The strange bright green and red on GH4 seems to of improved.

We will never bow to you, J'f'r!

@M Carter
Amazing. Of course I am only a wedding videographer who practically never needs to touch an old project. Part of the marriages go sour before I would feel the urge to free disk space. Lucky me.
I wonder why you then don't buy a Pegasus R6 or R8. They are getting faster the bigger they are.
@Mat Mayer
Agreed.

Not timelapse but 4k from space.
 
 

Love the timelapse in the OP. It is on my bucket list to view and maybe film the earth from that height one day. Reminded me a little of my favorite ever Vimeo video (not a timelapse):
 

The video crop factors of the current 4K cameras, and an easy way to calculate crop factors...
Read the full article

It's really misleading... They use a still life scene consisting of about 6 stops of dynamic range at best, shot at close focus.
The differences in resolution are minimised and it doesn't really tell us very much.
The 80D for example looks like abject shit when you shoot landscapes in video mode with it
Something that a stamp pinned to the side of a light box doesn't quite convey as well...
Wow you have low standards.
RED... What is the point!??!
Fastest contradictory statement ever on the forums?
The 5DS actually does quite good 1080p so if you have a lot of money to flush down the toilet on mediocrity it is your next camera....

Hogwash. The GX85 has IBIS in 4K, no extra crop when using IBIS, and no 30 minute limit. And it is much smaller than the GH4. It does not overheat, ever. In fact, Panasonic engineers have revealed that one of the reasons the GX85 is so heavy given its size is that there is a massive heatsink inside.

It will be a clever solution to adopt H.265 for 10-bit, I'm not sure they would roll down the option for all video formats but if they can do that at least for the internal 10-bit that's enough to not need a higher bit rate card. But that's quite an advancement for Panasonic, I wonder if they will really do that. Does Panasonic have their own HEVC 10-bit codec?

In the past, Panasonic's cameras have always featured playback compatibility with their TVs.  Their current HDR UHD TVs feature native H.265/HEVC and VP9 decoding at 10 bits.  I am not aware of 10 bit H.264 decoding support in these TVs.  So there's a good possibility this camera will actually record in HEVC and even have a built in HDR profile (HDR10?) in addition to Log profile for those of us who will grade the images offline.  I could be wrong, but it just doesn't seem to make logical sense to shoot in a codec that won't be playback-compatible with their HDR capable TVs, especially considering product lifecycles can run as long as 3 years for a GH.  Why hang on to H.264 for another 2-3 years?

Finally we have 10-bit 4:2:2 internally, this is a huge step, since others will stat to do the same, the age of 8-crapy-bit is over!!!!!! 

Reading Andrew's article - it seemed to suggest the sensor is APS-C/Super 35 - or did he mean "with the speedbooster".
It would be really REALLY cool if Panasonic had a doubled-the-bitrate H265 option in there. H265 turned out to be a great feature in the NX, once the world caught up.

Most posts and links related to Philip Bloom are still on here. So it is completely different.
There has been great appreciation on this forum for Philip Bloom and his contributions to the video community,
and that just very recently as well.

He'd also need the old version of the Image App as Panastoopid disabled the "hack" with a new version of that too, soon after it was spotted. 
Regardless, V-Log was a travesty from start to finish. The wait. The cost. The wait. The hack. The wait. The box with a code in it. Then V-Log itself, which makes any flat surface look like the stained bedsheet of an incontinent pixel person with purple pee. And no, shooting in 10 bit doesn't clean things up the stains are still there they just look a bit less like pixel pee and more like real organic pee.

Just give him a chance...
Will someone please think of the children!

Done.

I have the NX1, mainly I shoot weddings, corporate stuff, and small commercials. The Sigma 18-35 lives on my camera, absolutely stellar lens. When I need wider, the Rokinon 12mm f/2 is very small, very light, and very sharp. Mid range, I'm in love with the Zeiss/Contax 50mm f1.7, which has a certain je ne sais quoi that renders things so, so beautifully. Long end, the Rokinon 85mm T1.5 gives that jaw-dropping, ultra-shallow look, awesome for narrative stuff too.

As far as vintage lenses go, I'm not sure why some posters above have said the NX1 has a "problem" with them. 95% of the time I use the lenses mentioned above, but once I get my hands on one of those new dream-come-true NX-L speedboosters Lucubutera has been cooking up, I'll be using my full frame vintage glass much more. I own the Nikkor 28mm f2.8 AIS, gorgeous, extremely sharp lens. Minolta Rokkor 40mm f2 looks great, Zeiss Jena 35mm f/2.4 is on point, Canon FD 50mm 1.4 looks great, Tokina 24-70 f/2.6-2.8 has a very distinct, vintage glow to it with the NX sensor... let's see, what else... Ah yes, the above-mentioned Helios-44 is awesome, 58mm is kind of interesting focal length to play around with, and that signature swirly bokeh is super cool.  

I can go all day, I've got way too many lenses, I'm afraid it's a bit of an addiction at this point. But the take-away is, there is an absolute wealth of great, affordable glass to be had for the NX1 (or any mirrorless camera for that matter) that can fit a wide variety of looks you might be after, whether it be the ultra-contrasty/ultra-sharp modern look, low-con vintage haze and dreaminess, vintage swirly bokeh... There's not really any "right or wrong" answers, it just comes down to the look you're after, and how much you're willing to spend to get it. 

as an extra alternative lens for occasional use I would consider a Helios 44 (there are various versions) which is awesome for portraits. f2.0 (but you must stop down to get it sharp so think of it as a 2.8 or 3.5 lens, but with the option to push it if you really must have that extra bokeh), 55mm focal range, less saturated compared to other lenses but if you shoot RAW photos no problem, if you shoot video just dial up the saturation a bit. The benefit of this lens is the unique and beautiful bokeh. These are some of the most mass produced lenses ever made and therefore cost very little on eBay. Available on various mounts with a cheap adapter- maybe $30-40 total?

It looks great. Yeah, I am really enjoying this camera. It's just a ton of fun and the quality definitely is better than the G7 as well. My videos are almost too sharp, even with sharpness dialed all the way down.