j_one

Oh yeah, if you're cool with hacks, the best option IQ wise, imo
5d mkiii RAW 10bit 60p 
Wedding example

Oh yeah, if you're cool with hacks, the best option IQ wise, imo
5d mkiii RAW 10bit 60p 
Wedding example

Yes!
Sort of a "They Live" type scenario. But with cameras instead of glasses.
Luckily Im out of bubble gum and ready to kick ass.
 

Oh yeah, if you're cool with hacks, the best option IQ wise, imo
5d mkiii RAW 10bit 60p 
Wedding example

My recommendations, as others have already stated:
d750 - the body is dropping in price, keep an eye out for a deal. Full frame, super DR and color edge over a7s, but soft 1080p.
nx1 - jack up the bitrate with the hack, invest in Luca's speed booster, and keep that ISO as low as possible...you have a excellent 120p performer. Best 120p full frame for the price (maybe the only). Great color and sharpness, lackluster DR and strange highlight/black levels when grading if you ever miss your mark on exposure.
a7s - keep it in crop mode and speedboost. Best low light, great sharpness, DR and highlight roll off but, imo, terrible white balance and strange colors. Compression isn't the best either
a5100 - super cheap, speed boost it and it's quite comparable to the a7s, a tad bit softer, a bit less dr and a bit more macroblocking/artifacts but for the price...
 
And hear me out
Bmmcc - if you can live with near apsc crop instead of full frame, bmmcc speedboosted would probably yield the most beautiful results. But that's subjective, as I value color information a bit more than compressed 60p.
 
buy an rx100 iv as b cam for superior slow mo of any of the cams. Excellent sensor readout and result for a compressed image. 1 inch sensor though.

My recommendations, as others have already stated:
d750 - the body is dropping in price, keep an eye out for a deal. Full frame, super DR and color edge over a7s, but soft 1080p.
nx1 - jack up the bitrate with the hack, invest in Luca's speed booster, and keep that ISO as low as possible...you have a excellent 120p performer. Best 120p full frame for the price (maybe the only). Great color and sharpness, lackluster DR and strange highlight/black levels when grading if you ever miss your mark on exposure.
a7s - keep it in crop mode and speedboost. Best low light, great sharpness, DR and highlight roll off but, imo, terrible white balance and strange colors. Compression isn't the best either
a5100 - super cheap, speed boost it and it's quite comparable to the a7s, a tad bit softer, a bit less dr and a bit more macroblocking/artifacts but for the price...
 
And hear me out
Bmmcc - if you can live with near apsc crop instead of full frame, bmmcc speedboosted would probably yield the most beautiful results. But that's subjective, as I value color information a bit more than compressed 60p.
 
buy an rx100 iv as b cam for superior slow mo of any of the cams. Excellent sensor readout and result for a compressed image. 1 inch sensor though.

My recommendations, as others have already stated:
d750 - the body is dropping in price, keep an eye out for a deal. Full frame, super DR and color edge over a7s, but soft 1080p.
nx1 - jack up the bitrate with the hack, invest in Luca's speed booster, and keep that ISO as low as possible...you have a excellent 120p performer. Best 120p full frame for the price (maybe the only). Great color and sharpness, lackluster DR and strange highlight/black levels when grading if you ever miss your mark on exposure.
a7s - keep it in crop mode and speedboost. Best low light, great sharpness, DR and highlight roll off but, imo, terrible white balance and strange colors. Compression isn't the best either
a5100 - super cheap, speed boost it and it's quite comparable to the a7s, a tad bit softer, a bit less dr and a bit more macroblocking/artifacts but for the price...
 
And hear me out
Bmmcc - if you can live with near apsc crop instead of full frame, bmmcc speedboosted would probably yield the most beautiful results. But that's subjective, as I value color information a bit more than compressed 60p.
 
buy an rx100 iv as b cam for superior slow mo of any of the cams. Excellent sensor readout and result for a compressed image. 1 inch sensor though.

Leica Noctilux F1 would be F0.64 brightness on this puppy... I am going to try it out.

Another time it might be useful to do in post is if you are speed ramping clips shot at high frame rates. If you shoot at 120 fps, you are going to have quite a fast shutter speed, so when you play back at actual speed in a 24fps timeline, it will look quite juddery 
You can use MB software to simulate a 180 degree shutter in these situations.

Reelsmart Motion Blur can be pretty handy. I typically work in motion graphics, and it's a common tool for 3d artists (where motion blur can take ages to render out of 3d) - and the plugin is marketed to be used in both footage and motion graphics. I've always seen is as a compositing aid really, and it's got me out of some tight spots and helped achieve a more realistic looking composite a handful of times. I'd never consider Reelsmart MB as a replacement to in-camera motion blur though. I can see how that pipeline makes sense in a green-screen heavy project like the Hobbitses where compositors will want a pretty hard edge key on the green screen to avoid spill, and then MB can be added in post to blend everything together. If it's not a green screen project, I'd just base your shutter speed on the amount of MB you want: It's a hassle to do it in post, and you'll be looking at some long render times.

I get a lot of drone footage from clients. And the drone guys don't seem to have a clue about frame rates and shutter speeds, I get lots of 60p and even, like, 40p stuff. So generally I have to retime it all. I usually use Timewarp in AE and the blur looks pretty legit; but these are aerial landscapes and so on. If you really examine the blur from Timewarp, you can see it's more of a "replicated pixels" thing than a true blur, but I doubt the average viewer would notice. And it does apply blur naturally, not just globally. Really takes the drone stuff to a higher level and allows me to retime and even do keyframed retiming. (In AE, you really have to remember to label the frame rate on the raw footage before you drop it into the comp - say it's 60p and your comp is 24p. Make sure you check the footage info - like, shift-command G or similar - and enter the framerate of 60p before you drop in the comp, or you'll get flicker.)
If you're doing important scenes and shooting very crisp for keying or stabilizing, I'd say, shoot a take at the correct speed and decide which works best.
I never shoot "wrong" shutter speed for stabilizing though - as long as I get decent marks in the frame, the software is moving the whole frame, motion blurs and all - the only reason I could see to shoot at a higher shutter speed would be if tracking marks were getting blurred. 

I'm very happy with EOSHD being about gear, it's good to specialise and to have a niche to focus on. I love the tech, always will. From my own experience, I'm just not sure how much real value can be had from online articles about the art of filmmaking, it's something you're best off learning by actually doing it rather than reading about it. NoFilmSchool built a mainstream audience that transcended the gear community by mentioning Kubrick and PT Anderson a lot in clickbate headlines - the content was ALWAYS stolen and by someone else - the aggregation of material in a massive way. Poor original content creators make nothing from exposure at all whilst the aggregators gobble up ALL the traffic and sell ads around it, in the case of NFS they even had US venture capitalists funding huge online advertising campaigns, expert SEO and very very large social media followings acquired the non-organic way, I don't even consider them as competition to EOSHD any more, they are something different and I'd never go to them for camera advice or for a singular voice. The whole site may as well be computer generated.
Despite my temporary loss of appetite for blogging and the need to get some inspiration back in my filmmaking by moving out of Berlin, EOSHD is very strong at the moment, the forum has never been busier, the cameras have never been better and the visitor numbers are still as good as ever. Don't forget, we were first or one of the very first blogs to capture the community. That's why it was such a shame that the cat man Philip Bloom stopped blogging, I really miss his longer posts outside all the social media stuff. I didn't go back to the site at all when he stopped (apart from his very occasional reviews) because his forum didn't pull me in like it does here, there's still plenty to read on EOSHD when I am away. I think the forum could go on the front page actually with the best topics in the sidebar. It's a superb resource!
The internet has changed though. People's reading habits and viewing habits are changing. Some movie trailers even now have 8 second trailers for the trailer, because of Facebook.
There is definitely a race to the bottom going on in the content world.
There's going to be some big victims too.
First one might be Twitter.... it now has such a low engagement per post because the feed is a mess and each tweet it like a grain of sand in the beach, significant stuff is so easy to miss on there, even whole conversations. Personally I won't be focussing much on that from now on. I think Twitter is going to get sidelined by a lot of people and will eventually be superseded by an alternative.
Facebook is a monster, it will continue to hoover up half the entire internet and make it worse. Already there are very active camera discussion groups on there... why people would use them over a proper forum I have no idea... it's so viral though because of the newsfeed and sharing element. The danger is that Facebook ends up siphoning off a ton of traffic from the better independent sites and selling ads around them, just like NoFilmSchool does, as the main 'go to' source for discussions and news
Philip Bloom is now much bigger on social media than he is on his blog... in fact blogs are being hoovered up by YouTube and Facebook. He has a massively high profile on Facebook and Instagram with very regular posts and I only ever update the EOSHD Facebook page when there's a new blog post - I think that needs to change. There's a ton of stuff I'm doing behind the scenes which could go on social media but I'm not enough of a narcissist to really take it to the next level
So if forums will be superseded by Facebook groups and blogs superseded by YouTube channels and Facebook and news aggregators, it will be a real loss for the internet because there won't be a motivation for anyone to create long-form original content any more or proper communities like this one, it will ALL be about 8 second trailers for trailers, gimmicks, clickbate headlines and trolling. Very sad direction for the internet in my opinion.
The thing I am most proud of over the past 5 years of EOSHD are the regular readers and the EOSHD Shooter's Guides. I get a bundle of inspiration from people and I try to put some back into the pool too.
I will get my inspiration back soon enough and EOSHD will have a bigger presence on YouTube and Facebook and Instagram.
Thanks to those in the thread who have posted messages of support! Means a lot and really does get the fire burning again.

This weekend I followed a two-day course on Resolve. When you work with RAW or good ProRes files, you can't appreciate h264 the same! ;-)

Last week I used my RX100 IV to test the best stabilization mode offered by that and although that one is limited to 1080p 50p, I think it does a pretty amazing job. Not as good as the GX80 obviously, but still I was very suprised. Unfortunately I dont have any clips to share since my Vimeo quota has been reached until next wednesday

That is handheld + stabilized lens + DIS or no DIS?
I have to say, before my biggest concern with NX1 was CTUs(bigger chunks of macroblocks) and motion cadency, which was choppy and somewhat.. Disturbing. Couldnt quite find out the cause in order to solve it. The 200mbps increase seems to solved both of these major issues. And quite well I have to say!! I have a 6 hour commercial shooting today so will post my findings with functionality of latest hack

Lol you guys talk about thickness of the image like wine conocers talk about their drink.   Please stop. You cant possibly make judgements lile this from a compressed web video. You need the raw footage in your hands and know about how it was lit, shot etc. Most people who use cameras like the gh4 arent setting up huge diffusers to soften 1k watt lights or even the sun. Thats really where the difference lays when you see footage from a 10k camera and from a 1k camera

give the crew a $60k budget to shoot, and a $20k budget to pay for the edit/post for a promo video for the nex5n and the results would be just as awe inspiring.  The level of production value on this video makes it impossible to judge the camera because in real instances with these budgets they'd just add another $2k for the rental of an Alexa Mini for the couple of days of shooting.     $80k for 8bit acquisition and a lens mount incapable of using real cinema lenses, or $82k for arriraw acquisition and the ability to use cooke s4's..  
Nothing more annoying than consumer advertising techniques selling a dream to people that they'll be using a dslr to shoot these types of projects.

Personally I think the A7s mk2 is in a tough price spot, as that is such a large chunk of change to buy an A7s mk2 when an FS5 would be so much much much better! Yes the FS5 is even more expensive, but by the point you're at this level, the extra overall cost vs the revenue you'd earn from it in the next couple of years, I don't think it is such a big difference (of course the FS5 is itself in a tough spot...  when the FS7 is only a little more than the FS5! And so the slippery slope continues.... I've seen F5 go for amazingly good prices secondhand? Or how about that F65....).

However.... A7s mk1 are now going secondhand for heaps cheaper than A7s mk2 would cost. And as you just want good quality HD, and don't care about 4K. Then it seems A7s mk1 is the obvious choice over the A7s mk2. 
 
The BMMCC is the most interesting of them all. It is very new so not that much info out there, but already a few interesting ways to rig it up:
http://cheesycam.com/custom-mods-for-blackmagic-design-micro-cinema-camera-w-diy-remote-handle/
And with time even more and more will be made, by third parties such as Zacuto or Wooden Camera (and then knock offs from China after that, at a fraction of their price). 
Am especially looking forward to rigs with handles that communicate with the BMMCC!
Plus the BMPCC has already been favorably compared with and shot with RED cameras, the BMMCC is following in the BMPCC's heritage, I'm sure you'd like the BMMCC in some role or another. It would make for a great B cam on RED shoots as well! (such as an action camera, or drone camera)
Final thought for high quality 1080 footage:
Sony PMW-F3 with BMD Video Assist (or Samurai Blade). 

Don't think there is a better bang for buck 1080 camera than that! (can go for as little as US$1500 or less secondhand)

Is the one I own and frequently shoot on myself. Together with a BMPCC (and have a Panasonic G6 for the ultra low budget shoots :-P ). 
 
EDIT: Final final thoughts:
How about a Kinefinity KineMINI 4K? A battle tested one loaded with all the options is available now for a mere US$3.5K!! :-o 

That is a downright insane deal for so much camera! It has the option of interchangeable mounts, raw 4K, slow motion, uses cheap standard off the shelf SSDs, can use focal reducers to get that VistaVision / Full Frame look. 
Could be perfect for a RED shop where the productions doesn't have the budget to use their RED.

I used to think noise reduction was the key and holy grail to professional standard delivery when I first started handling footage in post.  It helps sometimes, but now I'm so used to making sure I'm exposing with base ISO and adequate light to avoid the need altogether.  I can't stand the plastic look that sometimes comes from it, and it really bogs down post-time for all the system resources it eats up.
I hate 'color noise' or the digital blotches that come from compressed video.  Guess that's why I hate seeing rainbow moire but can live with simple aliasing.  Desaturating shadows helps.  And as you said, a little noise never hurt anyone. 

I used to think noise reduction was the key and holy grail to professional standard delivery when I first started handling footage in post.  It helps sometimes, but now I'm so used to making sure I'm exposing with base ISO and adequate light to avoid the need altogether.  I can't stand the plastic look that sometimes comes from it, and it really bogs down post-time for all the system resources it eats up.
I hate 'color noise' or the digital blotches that come from compressed video.  Guess that's why I hate seeing rainbow moire but can live with simple aliasing.  Desaturating shadows helps.  And as you said, a little noise never hurt anyone. 

Do you take many stills on a professional level?  Do you not mind the h.265 codec, along with it's macroblocking artifacts and slightly limited ability to push in grade?  Then the NX1 will perform will excellence.  It has better rec709 colors popping right out the cam moreso than the G7.  'S' lenses are great to use.  S35 sensor off the bat.  Currently it's resolution is king.  Use some kind of filter that can diffuse the image and cut down on the in-camera sharpening.
OTHERWISE
I'd say get the G7 and speedbooster.  Options for lenses are overwhelming, considering the m43 native mount alongside all the speedbooster mounts.  Codec holds up well when pushing the grade if you expose right and get white balance spot on! Getting rid of this 'plastic' yellow/green cast and skintone look I keep hearing about can be dealt with in seconds.  Also mostly avoidable with proper white balance.  But it's hard to save h.265 footage with strange milky blacks and limited color info coming from the NX1.
 
TBH same goes for most cameras talked about on this forum even Sony.  But again, as mentioned earlier, which one is a breeze to shoot with and get you the results you need?  This is subjective.  I'd say both cams are excellent in handle and usability.  But in post, I'd feel more comfortable working with the h.264 panny files.

Do you take many stills on a professional level?  Do you not mind the h.265 codec, along with it's macroblocking artifacts and slightly limited ability to push in grade?  Then the NX1 will perform will excellence.  It has better rec709 colors popping right out the cam moreso than the G7.  'S' lenses are great to use.  S35 sensor off the bat.  Currently it's resolution is king.  Use some kind of filter that can diffuse the image and cut down on the in-camera sharpening.
OTHERWISE
I'd say get the G7 and speedbooster.  Options for lenses are overwhelming, considering the m43 native mount alongside all the speedbooster mounts.  Codec holds up well when pushing the grade if you expose right and get white balance spot on! Getting rid of this 'plastic' yellow/green cast and skintone look I keep hearing about can be dealt with in seconds.  Also mostly avoidable with proper white balance.  But it's hard to save h.265 footage with strange milky blacks and limited color info coming from the NX1.
 
TBH same goes for most cameras talked about on this forum even Sony.  But again, as mentioned earlier, which one is a breeze to shoot with and get you the results you need?  This is subjective.  I'd say both cams are excellent in handle and usability.  But in post, I'd feel more comfortable working with the h.264 panny files.

Do you take many stills on a professional level?  Do you not mind the h.265 codec, along with it's macroblocking artifacts and slightly limited ability to push in grade?  Then the NX1 will perform will excellence.  It has better rec709 colors popping right out the cam moreso than the G7.  'S' lenses are great to use.  S35 sensor off the bat.  Currently it's resolution is king.  Use some kind of filter that can diffuse the image and cut down on the in-camera sharpening.
OTHERWISE
I'd say get the G7 and speedbooster.  Options for lenses are overwhelming, considering the m43 native mount alongside all the speedbooster mounts.  Codec holds up well when pushing the grade if you expose right and get white balance spot on! Getting rid of this 'plastic' yellow/green cast and skintone look I keep hearing about can be dealt with in seconds.  Also mostly avoidable with proper white balance.  But it's hard to save h.265 footage with strange milky blacks and limited color info coming from the NX1.
 
TBH same goes for most cameras talked about on this forum even Sony.  But again, as mentioned earlier, which one is a breeze to shoot with and get you the results you need?  This is subjective.  I'd say both cams are excellent in handle and usability.  But in post, I'd feel more comfortable working with the h.264 panny files.

For me thats the important question.
A BMCC might get me the best image I can produce.. scratch that.. Film gets me the best image I can produce.
A camcorder get me a very nice image, but it does it so fast and easy that the quality drop is worth it.

I agree that most modern cameras are just fine.
But I dont agree that skin tones are the "least" of the problems for shooting interviews. If I where using it for interviews it would be my number 2 priority after audio.
All the cameras produce the frame rate and resolution needed. Handling and build isnt very important for locked down interviews. The only two specs to care about is audio and skin tones