The Chris

So I decided to look at 1080p a bit since that question has come up. I shot a boring subject - the contents of a cabinet - because its raining outside. Everything was shot at ISO 6400, same shutter speeds, same aperture, STD profile 0,0,0 and AWB because this crap takes time and I didn't feel like messing with it. I have three images of combined screen caps. The first is 1080p from the A7rII in s35, FF and 1080p from the A5100 to compare. The second is 1080p quickly downsized from 4k on the A7rII in s35 and FF. The third is the full rez 4k frames.
Note - all the 4k was shot at 60mbps because I took the day off and I left my U3 card at the office. I used the FE 70-200 to try and match framing as close as possible. I left it at f/8, despite the differences when moving between FF and crop modes.
S35 is the cleanest in either 4k or 1080p, and downsized its clearly better than the others. Its a push between the s35 1080p on the A7rII and the A5100. FF is the worst at high ISO's, its much better at 1600 and below. 4k to 1080p really pops compared to 1080p in cam.
Its not the best scenario, but it gives you an idea of what it looks like. I don't have anything else to test it against. Right now the A5100 and A7rII are all that's in the bag.

I'm still waiting for the NX1 IBIS hack, or a fast prime wider than 85mm, or a parfocal cine zoom with stepless iris and no focus shift...
Your trolling is still sad.

Well the internet says the a6300 overheats after just a few minutes, WTF is up here?
Sarcasm.
I have 1.10 and my a6300 hasn't overheated yet. I live in Florida, its hot as hell here, I even shot a wedding in Tucson AZ, where its even hotter. 
Zero overheating.
But I didn't have any issues with the a7rII either, I shut my camera off between just about every take to preserve batteries. That's always worked for me, even with the a5100 and the Nex7 which overheated more than any E-mount body I've owned.
Why do you find amusement with someone potentially having problems with their gear? That's the sad trolling part. So sad.

Not joking, I went looking for the video after it disappeared. I didn't see what the OP posted, but this one has come up as the Cinematic Pixel fake, and the poster supposedly did the same thing with the iPhone for the clickbait.
https://9to5google.com/2016/10/09/check-out-this-stunning-4k-footage-taken-with-the-pixel-xl-video/
 

If you're looking for a pocketable compact it's not superior in any way. It's a completely different class of camera, and it's dead.
So why bring it up in yet another thread that has nothing to do with it?
*Facepalm*

If you're looking for a pocketable compact it's not superior in any way. It's a completely different class of camera, and it's dead.
So why bring it up in yet another thread that has nothing to do with it?
*Facepalm*

Yet another NX1 thread hijack. How many more new camera threads are going to get the same treatment?
SMH.
It uses the new LSI, which they claimed big improvements with the A99II. This should see improvement, but how much is anybody's guess at this point.

Touchscreen and IBIS.
My a7rII and a6300 are officially for sale.
I'm buying two of these.
Thanks Sony for FINALLY listening.

Touchscreen and IBIS.
My a7rII and a6300 are officially for sale.
I'm buying two of these.
Thanks Sony for FINALLY listening.

And 35 stops of DR. And Redcode. And ice cream. Such a shame.
( )

Uh, check your math, the m43 sensor is 225 sq/mm, the aps-c sensor is 370 sq/mm, that's a sensor roughly 65% larger.
In the US the a6500 is exactly twice the price.
With the new LSI, expect better rolling shutter, less overheating and less noise - all worth the extra cost for me.
Cheers

Budget?
Native lenses or adapted?
AF or legacy?
Favorite FL's?
Too many options without knowing more specifics.

Great post, thanks for the update. 

M Carter's post is great.
I've found 4k to be a godsend when shooting interviews as well. Before 4k, I would punch in/out between questions, now its just one less thing to fuss with while shooting. If I can, I use a B cam for cutaways - but as mentioned 4k is invaluable for reframing or just creating movement.
The a6000 has a hotshoe, Sony makes two XLR adapters that work with the MIS shoe.

That looks nice, but a number of cameras can do the same thing sitting on a tripod with the subject perfectly framed, not the most challenging scenario. 
From watching The Camera Store (I think that was the one) review, it struggles in walk-and-talk scenarios, where the subject is moving and the camera op is tracking them.

Do your research before buying an audio device. Make sure that the MIC you'll buy will go well with the recorder.
I shot several documentaries in the past years with the Zoom H4N + Shure lav mic + Rode NTG-2. Both mics have different output levels, the H4N has a really rubbish built in preamp, so it did not work well with the RODE NTG-2. It was a pain in the ass to adjust those levels in the post production (one was around -6db, the other at -40 db), there is a sw update availabe for adjusting the channel levels separately, but that won't solve the shitty preamp issue. I switched to TASCAM DR-40 and everything works flawlessly.
To sum it up: make sure your recorder has a good preamp, personally I can recommend the tascam.

I do a ton of corporate interviews, musing about some doc projects if I get some free time...
The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
(#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
#3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
That's my business interview setup, but I'd likely use the same for a doc interview.
Last week, basic setup:
 
 

3 second equals 180 frames.  180 frames is 7.5 seconds when conformed to 24fps, so, hey, useful for some stuff if you want to do a slow-mo montage or some such.  Personally, I wouldn't be basing an entire purchase around RAW burst mode, just saying it would be fun to have and I could see utilizing it productively if it was there.

Lets slow the 4k/60 raw roll a bit. The em5mkII with its 14MB raws can do 50 before the buffer fills, the Pen F's raws are just over 17MB - even if they doubled the buffer size we're still only talking about ~80 frames before it fills. 4, 5 or 8 seconds isn't going to happen. And it's only S-AF, so you're only guaranteed to get one frame in focus. Thankfully its with the E-shutter, so less wear on the mechanical shutter.
Still the 24/30p bitrates are pretty nice. Everyone is talking about the 4k stuff, but the 1080p does 202mbps. Since RS on all the current 4k cameras is significantly better in HD, this could be one badass handheld cam when you just need HD as well.

If video AF only works in P mode, its not amazing, its unusable - or more to the point, its horseshit.
I'm skeptical on a number of features, need to wait for real testers to get past the Sony hype. There's a video of the 12fps burst that clogs after a couple seconds just shooting jpeg's, which means the buffer/write speed really sucks. I loved watching the guy squirm in the Cinema5d video, he clearly didn't want to talk about the shitty video AF. Live view AF is supposed to be an advantage of the SLT, after all these years I find it amazing that Sony and its vast engineering resources hasn't been able to figure out how to make it fully functional. Some say its the BionzX can't keep up, its been around for a few years too, if that's the bottleneck it needs to be replaced ASAP.
This camera feels just as half-assed as the original a99, just a bunch of pieces from other cameras cobbled together. UHS-II isn't anything new since its been spec'd on other cameras for a couple years now. If this camera is supposed to be the A-mount flagship for the next four years, it should have it. The d500's write speeds will completely crush this with some pretty amazing write speeds. You would think Sony would introduce faster hardware with the flagship, but that's just not the case. Its not even out yet and its already slow/outdated.
People love to bash Canon here, but dual pixel works really well, and it works all the time. Canon also understands the benefit of a touchscreen to pull focus, something else Sony can't seem to figure out.
Outside of A-mount users that want a new sensor, this camera is shaping up to be as much of a dud as the original a99.

If video AF only works in P mode, its not amazing, its unusable - or more to the point, its horseshit.
I'm skeptical on a number of features, need to wait for real testers to get past the Sony hype. There's a video of the 12fps burst that clogs after a couple seconds just shooting jpeg's, which means the buffer/write speed really sucks. I loved watching the guy squirm in the Cinema5d video, he clearly didn't want to talk about the shitty video AF. Live view AF is supposed to be an advantage of the SLT, after all these years I find it amazing that Sony and its vast engineering resources hasn't been able to figure out how to make it fully functional. Some say its the BionzX can't keep up, its been around for a few years too, if that's the bottleneck it needs to be replaced ASAP.
This camera feels just as half-assed as the original a99, just a bunch of pieces from other cameras cobbled together. UHS-II isn't anything new since its been spec'd on other cameras for a couple years now. If this camera is supposed to be the A-mount flagship for the next four years, it should have it. The d500's write speeds will completely crush this with some pretty amazing write speeds. You would think Sony would introduce faster hardware with the flagship, but that's just not the case. Its not even out yet and its already slow/outdated.
People love to bash Canon here, but dual pixel works really well, and it works all the time. Canon also understands the benefit of a touchscreen to pull focus, something else Sony can't seem to figure out.
Outside of A-mount users that want a new sensor, this camera is shaping up to be as much of a dud as the original a99.

Cheers, man. Got burned at the stake for simply posting samples, I actually exchanged my camera because I thought I had a dud, it was so bad.
And this one doesn't AF in video unless you're in P mode, because most video pros shoot in P. 
And because the IBIS doesn't seem to involve a floating sensor, I'm curious if there's a crop with steady shot in video, like the a9.
Dumb, dumb, dumb. 

If video AF only works in P mode, its not amazing, its unusable - or more to the point, its horseshit.
I'm skeptical on a number of features, need to wait for real testers to get past the Sony hype. There's a video of the 12fps burst that clogs after a couple seconds just shooting jpeg's, which means the buffer/write speed really sucks. I loved watching the guy squirm in the Cinema5d video, he clearly didn't want to talk about the shitty video AF. Live view AF is supposed to be an advantage of the SLT, after all these years I find it amazing that Sony and its vast engineering resources hasn't been able to figure out how to make it fully functional. Some say its the BionzX can't keep up, its been around for a few years too, if that's the bottleneck it needs to be replaced ASAP.
This camera feels just as half-assed as the original a99, just a bunch of pieces from other cameras cobbled together. UHS-II isn't anything new since its been spec'd on other cameras for a couple years now. If this camera is supposed to be the A-mount flagship for the next four years, it should have it. The d500's write speeds will completely crush this with some pretty amazing write speeds. You would think Sony would introduce faster hardware with the flagship, but that's just not the case. Its not even out yet and its already slow/outdated.
People love to bash Canon here, but dual pixel works really well, and it works all the time. Canon also understands the benefit of a touchscreen to pull focus, something else Sony can't seem to figure out.
Outside of A-mount users that want a new sensor, this camera is shaping up to be as much of a dud as the original a99.

Good to see others jumping into the ILC realm. I hope this is a huge success so we'll see a second generation that addresses all of the issues any 1st effort will certainly have.

They're so clever at Panasonic and Olympus... At each iteration of the flagship model I hope I'll only need one, but every time I can see a good reason to buy both.