The Chris

You're blind if m43/aps-c are almost equal. It's improving over previous generations, but so are larger sensors. There will always be a DR gap. Same with FF vs aps-c.
https://***URL removed***/reviews/image-comparison/fullscreen?attr144_0=panasonic_dmcgx85&attr144_1=sony_a6300&attr144_2=nikon_d7200&attr144_3=sony_dscrx100m4&attr146_0=200_4&attr146_1=100_4&attr146_2=100_4&attr146_3=125_5&attr177_0=off&attr177_1=off&attr177_2=off&attr177_3=off&normalization=compare&widget=351&x=0.13161460498548422&y=0.9816256977809582

Maybe so, but I do a lot of B2b corporate stuff, which may be half-hour interviews cut to a minute or two, motion graphics, animation, etc. I do a lot of animation (which I use mostly AE for) so there are folders full of image bits and pieces, storyboards. Average final gig folder is anywhere from 60MB to 200MB, and I do need to keep every last little bit, and keep the folder structure preserved. ProRes does keep my overall projects size a good deal larger, but the benefits outweigh that in my case, and it would really take something amazing for me to drop ProRes as my default across the board.
I also do some master-planned community stuff, but these are sometimes 10-year to 15-year sales spans over hundreds of acres, and we pick up stuff again and again. So keeping track of things is critical, and I need to get to 'em fast sometimes. So spinning drives and a dock are optimal, with text or excel files for content lists. So I can search a folder full of text files (drive1.txt, drive2.txt and so on - I'm up to drive 18 now I think) to find the file with the disc contents and grab the drive.
I don't like the idea of all that archived work being powered-up and live. Since all discs eventually die, I try to keep them sealed in drive boxes and not run them unless needed. if I had a pile of big drives always spinning, that could be 10TB or something... and then I'd need 10TB of constant backup. 4TB is a good size for me right now, a 2x2TB Tbolt2 RAID and a 4TB USB external for backup. I generally have the RAID around half full, but if I get buried in a lot of projects-that-refuse-to-die, I have some headroom. Main thing for me is to try to archive in 500MB or so amounts, which is more time-manageable. When the finder says "Estimated time: 9 hours", that's worrisome - our 'hood was built in the 20's and if there's a thundercloud ten miles away, the power goes out (they've improved that now). Backup batteries only last so long and I have a lot of stuff plugged into the UPS.
Again, these sorts of workflows are insanely unique to the freelancer or mega-huge effects shop or first-year DSLR shooter, and every case is probably different. A HUGE driver for me is cost and ROI - I'n in an enviable position of mostly working on fun stuff for good, long-term clients and I don't have to go out and beat the bushes every week - but that means I don't work some days at all. It's interesting to me to read the different solutions people use.

That spec is total clickbait- 43rumors gets crazy traffic from all the GH5 rumors. 

That spec is total clickbait- 43rumors gets crazy traffic from all the GH5 rumors. 

The overhype machine is churning at full speed. Prepare to be letdown. 10-bit 4:2:2 and IBIS in a $1500 body ain't happening. That's a $3000 camera, if not a $5000 camera.  
Prepare for 5d4 levels of disappointment.

I don't begrudge anyone for getting paid, if someone is willing to write the check take it. Everyone here would take $60m to slough it through shit like Fast and Furious, anyone saying they wouldn't is flat out lying, because you would then have the freedom to do pretty much any project you want. Hats off to The Rock for becoming the most bankable star on the planet right now.
Tentpole movies aren't bad because they're made by Americans, they're bad because the major movie studios are all owned by giant conglomerates like Disney, Sony and Viacom. All they care about is keeping shareholders happy, and safe movies with a built in audience does just that. As long as people eat up numb nut Star Wars crap and various cinematic universes, it's not going to change. Just look at the he slate of tentpoles over the next three years - an endless barrage of Marvel/DC/Transformers/Star Wars movies  
And remember, most of a blockbusters' gross comes from markets outside the U.S., cars blowing up and dudes in tights are easy to translate. 

I don't begrudge anyone for getting paid, if someone is willing to write the check take it. Everyone here would take $60m to slough it through shit like Fast and Furious, anyone saying they wouldn't is flat out lying, because you would then have the freedom to do pretty much any project you want. Hats off to The Rock for becoming the most bankable star on the planet right now.
Tentpole movies aren't bad because they're made by Americans, they're bad because the major movie studios are all owned by giant conglomerates like Disney, Sony and Viacom. All they care about is keeping shareholders happy, and safe movies with a built in audience does just that. As long as people eat up numb nut Star Wars crap and various cinematic universes, it's not going to change. Just look at the he slate of tentpoles over the next three years - an endless barrage of Marvel/DC/Transformers/Star Wars movies  
And remember, most of a blockbusters' gross comes from markets outside the U.S., cars blowing up and dudes in tights are easy to translate. 

I don't begrudge anyone for getting paid, if someone is willing to write the check take it. Everyone here would take $60m to slough it through shit like Fast and Furious, anyone saying they wouldn't is flat out lying, because you would then have the freedom to do pretty much any project you want. Hats off to The Rock for becoming the most bankable star on the planet right now.
Tentpole movies aren't bad because they're made by Americans, they're bad because the major movie studios are all owned by giant conglomerates like Disney, Sony and Viacom. All they care about is keeping shareholders happy, and safe movies with a built in audience does just that. As long as people eat up numb nut Star Wars crap and various cinematic universes, it's not going to change. Just look at the he slate of tentpoles over the next three years - an endless barrage of Marvel/DC/Transformers/Star Wars movies  
And remember, most of a blockbusters' gross comes from markets outside the U.S., cars blowing up and dudes in tights are easy to translate. 

I don't begrudge anyone for getting paid, if someone is willing to write the check take it. Everyone here would take $60m to slough it through shit like Fast and Furious, anyone saying they wouldn't is flat out lying, because you would then have the freedom to do pretty much any project you want. Hats off to The Rock for becoming the most bankable star on the planet right now.
Tentpole movies aren't bad because they're made by Americans, they're bad because the major movie studios are all owned by giant conglomerates like Disney, Sony and Viacom. All they care about is keeping shareholders happy, and safe movies with a built in audience does just that. As long as people eat up numb nut Star Wars crap and various cinematic universes, it's not going to change. Just look at the he slate of tentpoles over the next three years - an endless barrage of Marvel/DC/Transformers/Star Wars movies  
And remember, most of a blockbusters' gross comes from markets outside the U.S., cars blowing up and dudes in tights are easy to translate. 

I am guessing the price would be more in the ballpark of $2500, if it has 4k 4-2-2, and 5-point IBIS (and most likely a lot more tricks up its sleeve). 
Edit: $2000 not $2500. We shouldn't give Panny any such crazy ideas ;-)

If the GH5 is as loaded as speculated, I bet its closer to $2000.

Owned the NX1, outside of the S zooms, the rest are mediocre, the pancakes are especially dreadful if you want to MF, no BB AF either - a basic staple of just about any decent camera including the most basic Canon Rebel from 2003. Fuji's lens selection is vastly superior - and its what attracts many shooters to the X-mount. Samsung's are a joke in comparison.
Nobody shopping Fuji cares about a dead system with a limited lens selection. Fuji's ergos, exposure controls on the body, the MF clutch mechanism and actual aperture rings are miles better than the NX1.
Let it go, its a Fuji discussion, nobody cares about your precious NX1.

Five star thread here guys

I wouldn't write out Sony too fast.. the Japan earthquake that affected their sensor factory completely messed up their 2016 release schedule but A7 III series & A9 should be serious contenders.. 

I'd take the a6300 + Zihyun Crane over the XT2 since they cost the same and 4k from Fuji is looking completely uninspiring. The XT2 required the grip for extended recording as well. Plus you don't have any of the Xtrans watercolor issues with stills on the a6300 - which are still present on the 24mp sensor. Wish Fuji would dump that and just go bayer. 
Will be interesting to see what Olympus and Panasonic do with the GH5 and EM1mkII. 43rumors keeps saying Oly worked to reduce RS in the new EM1. Then again they also say the LX200 may be released at Photokina, but there's no confirmation, no known name and no specs - in other words they don't actually know anything. At this point reality is anybody's guess as it appears most of the content on that side is just fabricated clickbait.
PADF seems unlikely on the GH5, especially if it uses the Sony sensor.
Among other places:http://www.cameralabs.com/reviews/Fujifilm_XT2/

I'd take the a6300 + Zihyun Crane over the XT2 since they cost the same and 4k from Fuji is looking completely uninspiring. The XT2 required the grip for extended recording as well. Plus you don't have any of the Xtrans watercolor issues with stills on the a6300 - which are still present on the 24mp sensor. Wish Fuji would dump that and just go bayer. 
Will be interesting to see what Olympus and Panasonic do with the GH5 and EM1mkII. 43rumors keeps saying Oly worked to reduce RS in the new EM1. Then again they also say the LX200 may be released at Photokina, but there's no confirmation, no known name and no specs - in other words they don't actually know anything. At this point reality is anybody's guess as it appears most of the content on that side is just fabricated clickbait.
PADF seems unlikely on the GH5, especially if it uses the Sony sensor.
Among other places:http://www.cameralabs.com/reviews/Fujifilm_XT2/

A new vid with the GX80/85, lots of people and wide shots
https://vimeo.com/168318144
And a good example showing the stabilization. But that moire, yikes!
 

DPAF and the pimpy touch focus pulls along with 5-axis. A faster lens with less reach would be welcome - something like a 24-105 f/1.8-2.8, or even something a wider like the Nikon DL's 18-50.
XC15 instead of XC10mkII makes me think its a second XC camera to sell alongside the XC10, not a replacement.

I dump all my footage to the SSD and edit, then move finished projects to external drives. I don't save unedited footage, just high quality versions of the finished piece or clips trimmed down for B-roll if I need to repurpose. I have about 800gb of free space on my 1tb drive, that's usually more than enough for what I do.

Here I am thinking my external SSD around 450MB is extremely fast..... Thank you sir for lettming me know I am living in ancient times.......

That's exactly what I do. Have enough cheap 2tb and 4tb externals for storage. For my projects, the least internal storage I had before exporting a finished version from FCPX was about 450gb - that was a wedding with two hours or so of XAVCS 1080 footage from my A7sii in events and a 40 minute film on my timeline all graded.
Biggest 4k projects are all under twenty minutes, so not a problem either.
I nearly fell for the need for an external array set-up (which would have cost over £1000), when I noticed that the 2015 iMac came with a possible 1tb SSD inside. 
The main reason I went for the iMac over a Mac Pro was the screen. Researched loads of monitors and they all had their issues when paired with the Mac Pro. Turned out that for most of what I would be using it for, the iMac was faster as per Max Yuryev's much viewed comparison.
 

Sounds like he's already shot with one. Geez, he's polluting other forums with his BS.

I haven't been let down at all, don't know what the hell your warped analogy is supposed to mean. Canon had the first 4k DSLR, they have the best video/live view AF, and they now have the first 4k/60p DSLR. Plus they have the best Native lens lineup and shooting ergonomics nailed, something Sony really needs to revise with future a7 bodies. If you're looking for a hybrid body, the 5d4 spec looks really good. As always I'll reserve judgment until actual samples are available.
I guess if people on this board keep saying Canon doesn't innovate and the image sucks, one day it might actually be true. 

What about Sony not putting a touchscreen on the A7rII or a6300? Or only offering 8-bit 4:2:0 internal? Or not using UHS-II? Or not allowing users to assign a custom button for FF/APS-c mode or formatting a card? Or not resetting all video file numbers to 0000 with a card swap, so if you use three cards you have three files numbered 0001, 0002 and so on? I have a number of other gripes about my A7rII, but that's for another thread.
Many Sony complaints fall into your line of code bitch slap logic, they fix bugs (sometimes), but I'd hardly call them responsive to customers demands. The grass isn't always greener.