Liam

1. Because it looks better.
2. Because it suspends your disbelief. 
3. Dreamy is a form of imagination.
4. Imagination can create great art. 
5. Tell A DJ that vinyls are history. Now tell a filmmaker the same thing about 24p. 
6. Just my opinion. 

​So which is GH4?

Interesting. I definitely have done this and like the look, but is that what people here are talking about for the most part? Seems like there's the idea here of 24 frames per second, each frame being held for the exact same amount of time. Like in some cameras you might not get "frame, frame, frame.." you'd get "frame, fraame, frame, frame, fraame.." which shouldn't have anything to do with rolling shutter. Though obviously that affects motion. And there's kind of a charm to a perfectly choppy low frame rate. Idk, are we talking about all these things added up? Feel like maybe this is too general

Did anyone ever do a test to compare motion cadence between different cameras?
I don't really care for the mathematics, numbers and graphs either, but I can't really compare when just watching random clips of random cameras.
 
 
 

A6000 is the first that comes to my mind too. Great for stills, good sensor, nice EVF, decent video quality/options.
A5100 is even better for video (XAVC-S) and cheaper, but less practical for stills (no EVF).
Nikon dslr's are no options since your Canon glass won't fit. Canon dslrs are no option anyway A6000 beats Micro Four Thirds for stills.
I don't think there's a better option.
 

Again, all I was asking is specifically what the DR was like without SLOG. I wasn't asking whether or not SLOG should be used 
​

you kinda did it too jfr, and tons of people here love the nx1. I'd rather we get off topic than nasty

Thanks a lot for all the feedback guys. I've been using the Metabones Nikon to MFT and it is absolutely rock solid and I haven't once removed it from my GH4 - it is like a part of the camera. Unfortunately, I can't find anything similar for Nikon F to EF, perhaps this is to do with the flange distance?

Anyway, I will try a few out and let you know how I get on!

​I would not bother wasting another second waiting for Canon Rebel to be worthwhile, never really has been. And next to zero chance any of the next couple of models will be some amazing breakthrough. 
Cut your losses, and get yourself a Sony A5100 with a focal reducer (cost me US$410 in total for this combo), it will blow the socks off in low light and overall video performance compared to whatever Canon Rebel you're currently using :-)
 
Yes. Also, don't rule out getting an older D5200. Is what I'm often using, and it goes for very very cheap these days, even though it is a great camera:
http://www.eoshd.com/2013/02/nikon-d5200-vs-canon-5d-mark-iii/
https://www.youtube.com/watch?v=EANtxttUjIo 

It's unfortunate that so many of the replies here come from a spec sheet formed opinion.  I personally couldn't afford to invest in this camera, however if i were an artist/film maker who values the benefits of true monochrome, or one who's art practice is purely in b+w this is definitely the cheapest option.  It's sad that so many seem to compare this to the bmpcc and the currently not released bmmcc.  It's also sad that it seems ISO's are more important than image quality to strong mouthed eoshd-ers.  Rag the hell out of a b+w sensor and i imagine the grain is rather pleasing - as it is when you rag monochrome film.  it;s only colour noise that looks nasty.  film grain looks lush      

I bought the regular D16 (not the M) since its imo pretty much a bmpcc mkiii (the micro is the mkii) and priced similar to anything Blackmagic if you look at what they charge for specs. 
The way I saw it was bmpcc + SDs for 2h raw + a Tascam DR 100ii + The battery I use for my Blackmagic + a rig to hold it and to help with handheld = $1-1.5k.
Then it's the added Global Shutter which is another $500 if you go micro. Of course then you need a monitor also but let's call it even for the 60fps.
Then there is no more Moire. What that is worth is individual but I would gladly have payed $500 for it in a bmpcc update.
Some other small things like higher resolution, last clip deletion, full size HDMI, off load to CF and such might be worth a little to some. 
And lastly it's the CCD and the look that gives. And this is the whole point actually. Either you want it or you don't. I did and its worth atleast $500 for me.
When I added it all up its imo worth around $2,5-3k. Pretty fare for a cinema camera with those specs if you ask me (I paid 2.3k for the 500gb version and an mft mount is $350 if I decide to get that in the future).
That's atleast how I viewed it. For those that don't I totally understand. We all like different gear and looks.
So if I was buying it for the same reasons but with the intention to shoot B&W only I would of course consider it because of the extra stop of DR it gives.
Ive only seen I think one demo from the M but that looked really good. 
 

​Here
 
 
 
 
 
 
 
 
 
 
And the color version is very appealing:
 
 
 
 
Bob

you kinda did it too jfr, and tons of people here love the nx1. I'd rather we get off topic than nasty

you kinda did it too jfr, and tons of people here love the nx1. I'd rather we get off topic than nasty

you kinda did it too jfr, and tons of people here love the nx1. I'd rather we get off topic than nasty

Yes it is, although most people know the drill on that by now right?
Here's the first part http://www.eoshd.com/2014/11/shooting-4k-pocket-camera-exceptional-panasonic-lx100/
I still love it. The best small camera by a mile.

Very interesting documentary about the evolution of documentary cameras and the early versions of run and gun. 
Refreshing to see what kind of cameras they considered as "very light and portable"
 

https://m.youtube.com/watch?v=uy5iH56s2is
^about 2 minutes in, dslr video shooter tests what you're saying, and i thought there was still a little vignetting throughout, maybe...

Screw gear Tell your friend to take a trip around the world with that money.

Being able to change the aperture in live view would be nice but not a deal breaker.  ​I don't mind the extra crop in 1080p60. Any added reach in video is fine by me most of the time (especially when I'm shooting skylines from a distance). 
​Sounds good but I still dunno if I should better spend that extra $200-400 on glass.

the ntsc one i guess. 59.94 hz?
Heres some footage I shot right after i updated, ungraded. 4k downscaled to 1920x818. all shot wide open (2.8) except a few that were at 3.5, had a ND 8 on though, with an old FD mount sigma 35-70mm with a dyaliscope junior 16.
 

this is so much fun. driving my wife crazy. she's trying to watch the untouchables on hbo go while I frame her up in various CUs.

Caveat: I don't own either.
However, I've had to match many cameras before.
Trick is to first nail your white balance with a proper grey card (do this religiously, in the full light that your subject's faces will be reflecting) and THEN shoot a colour card (in the same place your grey card was). The LX100, from what I've seen, looks pretty good. Shoot it with settings as close to the final look as you can, and shoot the BMPCC in either RAW if you have the time or ProRes if you don't. You won't go wrong either way, since the LX100 will be "driving" the look as it will be more limited in it's ability to adapt in post. As long as you find a setting in the LX100 that looks close to what you intend to end up with, you'll be great, since the BMPCC can really stretch to match it. However, the LX100 can be made to adapt pretty well to the look you want to begin with. Try playing with the photo settings, and then fine-tune contrast, saturation, etc. to get to where you want.
The pros do test shots with both cameras under a variety of settings, then match in post and see what works the best for them. This is highly recommended for anybody trying to get two cameras of different ilk to work together.
And don't forget to control your lighting as much as possible. Help the camera out rather than forcing it to deal with high-contrast situations it may not be suitable for.

​I don;t fall for consumer selling techniques very easily.  Sony and the bloggers will tell me my A7S is redundant and to buy the new model.  The gear heads will tell me my A7S is redundant and that I should buy the new model, I'll be outside shooting with my redundant camera and doing fine.