vaga

Look at the new Sony RX100IV or RX10II. $1000 and $1300. Both do 1080p120 at the same quality as normal speeds, and even go higher, up to 960fps, but with image compromises.

16-50 is about 650gr, 50-150 is 950. Body is about 600gr.
 
Specs say 'up to 1.2kg...

Ronin m is too expensive for me. And I preferred a one handed gimbal :'( 

​-No overheating
-No record limit
-A larger library of smaller, lighter lenses
-Longer battery life
-10-bit recording
-Faster AF
-Faster burst rate
-Larger buffer
-Fully articulating screen
I may be missing something. Still, that's a compelling enough list for some to stay with Panasonic. I'd stick with them for the next product iteration if the GH5 has internal 10-bit and V-Log L.

alpha4k ;-) 

Thanks for the awesome information as always, Andrew.
I do wholeheartedly disagree that the GH5 needs to be Super 35, though. Panasonic should stick to their guns and their strengths of a small hybrid with incredible video controls, features (like anamorphic mode that nobody else currently offers) and reliability. The smaller sensor and its better heat dissipation allows best-in-class battery life and limitless recording time which are paramount features for someone who uses the GH4 for their business like me.
The GH line has matured beautifully over the years and I don't think "bigger is better" on the sensor front. I would say a Super 35 sensor (or m43 sensor with 8 or 12mp) would make sense in an AF100 successor though.
Don't get me wrong, I'd love better lowlight capability and more DOF options in my GH camera, but not at the sacrifice of the aforementioned positives. This new Sony is a beast, no doubt, but it's probably still going to be quirky in places. However, I'm really watching Sony's progress with interest because on this trajectory the A7s II will probably be impossible to resist adding to the arsenal.
 

With LOG comes great power and it is down to the user how good ends up looking. There's a lot of terrible looking LOG footage out there due to the individual grade rather than any codec weakness and I don't think 10bit ProRes LOG from the Blackmagic Cameras looks significantly different or better to 8bit LOG. 10bit is overrated for everything aside from keying. I have graded 10bit from the GH4 to Shogun and didn't see an advantage in the grade even when pushing it to extremes to see what was lurking in the murky depths!! In my view, it doesn't suddenly benefit skin tones. That is more down to the sensor and image processor than 8bit vs 10bit.
Take for example 14bit raw as one extreme in terms of colour / bit depth... only way you can go more extreme on the specs than that is 16bit on the Sony F65! To make use of 10bit let alone 14bit and 16bit the sensor has to deliver an extremely wide dynamic range AS WELL AS a massive colour gamut. Now, we already have experience of 14bit with Magic Lantern raw. Is it significantly better than 10bit raw from a Blackmagic in terms of codec or grading flexibility? No. The sensor makes more difference. The sensor in the 5D Mark III is very good, very clean, wide colour gamut. The one in the BMPC is noisy and has a harsh run off into the highlights. Great codec, yes, but 10bit vs 14bit with that same sensor performance would have made very little difference.
Now we have a shining example of how good 8bit LOG can look for colour... he is called Mr Canon 1D C. You saw how it compared to the NX1 which I previously sung the praises of for being actually very very nice indeed at capturing vivid, rich, satisfying rec.709 colour.
What LOG does for a camera, regardless of 8bit vs 10bit, is quite frankly magic and should be highly regarded.
There's 'light LOG' like on the 1D C by the way, which doesn't go as flat as S-LOG and doesn't dramatically change colour, leaving it very saturated. I think S-LOG does go to extremes in terms of dynamic range... but it is not 8bit which causes the weirder colour vs the 1D C is it? Because they are both 8bit codecs! A7S owners, indeed RX10 II, RX100 IV owners can do an experiment. Shoot 4K 8bit LOG video. Shoot a raw still. Grade to match. Compare. Difference will be smaller than you think!

Nowadays cameras have so many features, not always working 100% that it is a mess to buy one and know that it will work in your application!!! You could point a cheap camera to the LCD of the Samsung and feed that to Video TX... 

I think that no such thing as a nx1 mk2 is going to arrive sooner than late 2016. Rather they could implement new and better profiles via fw in the existing nx1, which as such a powerful hw that could do a lot.

Depends on how powerful is your hardware, and also if future software updates will support it !
Hardware decoding just makes it possible with most compatible software and faster.
 

​The 120fps is 720p... but then the Canon C100 doesn't do that either. Product segmentation. 
Have you seen this? ...Great short!! (nice footage too). 
https://www.youtube.com/embed/mhw_LGfvigc

RX10 II footage is now shot and all done. Got the RX100 IV as well so will be doing review of that.
So expect final part of RX10 II review today or tomorrow.

​Here are some graded versions of this footage. A compressed version is available to download from vimeo. Just playing around, but it looks very nice.

I really hope they can add a 120p mode that performs as well for the upcoming A7000. RX10 II is very tempting, but I'd prefer interchangeable lenses.

Lumias have been shooting 24 in UHD for a while. No cinema 4k but they have manual focus while recording.

If you have access to an RX100 iv please could you confirm what the maximum record times are for 50/60p and 100/120p?  (Or at least confirm if they go over 5 minutes).
If they are doing a full pixel readout I would expect the limit to be 5 minutes like the 4k due to heat.
No-one has yet discovered this information.

​My OnePlus One (€299) does 4096x2160 @ 24 fps.
Not my footage, but it can look pretty good:
 
 

There are focus by wire lenses for Canon, Sony, Samsung, Panasonic, Olympus. It's not specific to the camera, its dependent on the lens.

Sorry, the antecedent for "this" was pretty unclear. Mercer has my intention correct. 

I think Vaga was unsure about the G7, and wanted to do a comparison between the 3. 

Go Pro I believe is only 9ish. Roughly the same as most so smartphone cameras

​I'm sure this tutorial can help you : http://www.premiumbeat.com/blog/color-grading-tutorial-luts-in-davinci-resolve/

Richard's photos are pretty nice. In general, the lowlight performance for stills looks pretty good. 
I still hope Panny improves the final video specs. Likelihood is low, yes. But I, and I'm sure many people would jump on this camera if they gave it higher bitrates and 1080p slow mo.
It seems like most people would buy the Sony RX10ii or Samsung NX1 instead considering the price/performance ratio.
Only benefits I see with this right now over the other 2 are Tilting EVF, Fully articulating screen. 

Quick question: does this camera do 24fps in 4k? It seems, according to B&H that it only does 30fps in UHD with no DCI 4k option.