TwoScoops

It will certainly be pixel binned 4K like Fuji X-T20 and A7R II.
When done well like on the A99 II it can look very nice.
And Nikon's flat profile / colour / processing pipeline is very good.
Hopefully they won't forget to put the Super 35mm 6K oversampled crop mode on there... HINT HINT!

A nice piece showing off the GX85 in combination with a 25mm CCTV lens. I enjoyed this very much and really like the colors.
 
 

they unapologetically and unashamedly show that they use RED for their anniversary short film  

"Put your hands on the car and get ready to die!" 

Thank you. A small 4 wheeled table dolly 

Really nice. What did you use for camera movement?

It's been a while since I've seen such brilliant acting associated with the BBC.

BBC Earth director being hanging out with animals too long lolol 
 

Shot with the Blackmagic MIcro Cinema Camera with the Angeniuex 12-120mm 16mm lens, a cameflex mount modified to micro 4/3rds.  For color, I brought into Da Vinci resolve and used Filmconvert with a Fuji Eterna film stock and softened it even more to Super16mm softness.  Added a tiny bit of grain and that gave me a great starting point to harken back to a more organic look.
 
I zoomed in digitally mostly around 20% - and it still was too sharp of an image.
Why not shoot it anamorphic instead?   Well, I am in love with documentaries of the 60s and 70s like Grey Gardens, etc. And they used this lens I think, and it has a certain feel to it that’s pretty beautiful. 
Let me know what you guys think of this.
 

Just shot an ad for a bank using the GH5 and SLR 2x anamorphic 50mm prime. This is pretty much my go-to combo right now outside of the Ursa + Sigma Cines.
 

Nothing worse than having to hide your boom pole. I say flaunt it as long as there are no children around.

Yeah, if BM dropped the price to $500, I would buy my 3rd Pocket and keep it this time. Or maybe a Micro summer price drop would be nice. 

A reduction back to 499 indefinitely would be nice. 

Not sure why people are so confused by this article... Maybe it's just a reflection on EOSHD's demographic. Clearly more videographers, hobbyists, and people that shoot MOS material/b-roll.
Incredibly useful suggestions, IronFilm. Been meaning to pick your brain on audio for a while, so this saves me some effort. Would love to see another topic/post on what mics to pair with these sexy recorders, and maybe even some pointers on boom/lav technique. Keep up the good work!

Welll.... that is one way to misinterpret it and put a massive negative spin on the situation! 

All they're doing is further expanding the range of D750 that they're accepting back.
That is *not* the same as a recalling it for the 3rd time.

This is extremely generous of Nikon!
If only other manufacturers could have as good customer service as Nikon has..... do we ever hear about Sony offering a recall for the overheating a6300? (just to pick out one Sony camera, but really, it could apply to ***ALL*** Sony cameras! They've all had some issues or another with them)

Clearly Nikon is being a good corporate citizen here, is head and shoulders above the others. Yet people repay Nikon by ripping into it? Sad. 

The Nikon D750 still stands strong as arguably the best choice DSLR for stills in its niche (i.e. the $1.5Kish all rounder FF DSLR).

Wrote up a little guide for people new to this and looking to buy their first recorder. And is the way I see the world of low budget recorders is they're ranked like this (starting from worst/cheapest to best/expensive):
Tascam DR22WL / Zoom H1 (I'd suggest skipping right over this tier of recorders! But hey, my first ever short film I did years ago was with a chinese shotgun running straight into a Zoom H1!! :-o Shocking but true... everyone starts somewhere!)
Tascam DR60D mk2 (the DR60D mk1, before the mk2 came out, is what I myself started out using for no budget shorts as a budding location sound recordist)
Tascam DR70D (the *minimum* I'd recommend for a location sound recordist, even if you're just a student / no budget guy. Although in desperate cases, you could scrape by with getting the DR60Dmk2, but doing the opposite and stretching for an F4 is very worthwhile. Certainly, I could travel back in time I'd just have gone straight for the Zoom F4 from the starts! *Except* the F4 didn't come out until a few years later...  you live in a very lucky time with so many wonderful options to choose from!) or Tascam DR680 (these can be found at bargain prices secondhand, which is what I did before I then later on purchased a Zoom F4 once that came out & I spotted an F4 at a good price)
Zoom F4 / Zoom F8  / Sound Devices MixPre6 (I skip right over the MixPre3, as the MixPre6 is very similar yet does so so much more at only a relatively small extra cost. Also I regard the three of F4/F8/MixPre6 as all on broadly the same level to each other, just varying slightly from each other in one area or another that ones might have a small lead over the other one. This is the tier where I'd see you're now reaching the semi-pro level)
Sound Devices 633 / Zaxcom Maxx / Sanosax SX-R4+ (finally you have now got up to the "industry standard" when it comes to recorders people use for small shoots, especially when mixing from the bag. If you're doing this full time as your job or hiring someone who is, then likely this is what is being used. Either that or similar gear, or even something better above this)
And if you considering ones priced above those last three....  you're surely doing this full time as a sound recordist and getting a healthy income from that, so why are you asking us here on Frugal Filmmaker? ha! :-P But yes, tonnes and tonnes more options exist at the higher end as well!
Finally, if you're considering something in the budget range within what I just covered, but isn't one of those that I mentioned, then it probably is *not* a good idea to buy if you're intending to be a location sound recordist. 
Something else only might *maybe* make sense if you've got in mind some other purpose for it, such as perhaps you want to record a band in a studio (which has very different needs / constraints), or you're the rare exception which proves the rule, or you are getting lucky finding some amazingly priced deal which can make an otherwise bad purchase decision then make sense if "the price is right".
For instance I didn't include the Roland R88, as I feel it is extremely poor value for money in 2017! However.... there was a time at the end of 2016 when the Roland R88 got a huge price drop because it was being discontinued. Even with that massive price drop, the Roland R88 probably still wasn't a smart purchase vs the Zoom F8, but the big drop in price at least made the R88 a somewhat competitive option worth mentioning in a round up of all the various choices. However, that sale is now long since ended, and the prices I see on eBay for a Roland R88 is even higher than what you used to be able to buy it new from B&H Photo! Clearly those eBay sellers are dreaming. 
Anyway, that was just one example which might have been applicable but isn't now, so I don't rule out the possibilities of something like that perhaps popping up again in the future especially if you very keenly look around for secondhand deals. But for over 95% of people reading this, that won't be applicable, and just stick to going with one of the main ones I mentioned earlier.
 
http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

Hey Oliver,
great topic. Thanks for posting. I don´t use luts on REC709 footage, which I´ve mostly been shooting so far other than some FS700 8bit SLOG tests.
The only ones I used with success are from Juan Melara, his free Kodak and Fuji Print Luts. Some interesting results can be achieved.
But after two or three months I started to grade all my footage by hand. More reliable workflow with much better control and achieving better results regarding the final look.
Here is my latest example of 8bit REC709 footage, shot with the kewl and always fresh Panny G6:)
By the way, Oliver, we would love to see more of your awesome work in context with the cameras you shot them with.
I think you could give great BTS glimpses into the trickery of small cam big result magic! Well here my latest shot and hand graded piece:
 
 

It's a pity the Nikon Hacker raw video thing never seemed to go anywhere. Imagine ML-esq raw on the D5300 or D750 etc.. 

Thanks. I couldn't believe I won the auction that low, tbh. Someone else is offering it on there right now for 750.

Congrats! As far as I know, the ZF is sharper at the edges when wide open and sharper for distant shots when wide open. Flaring is also much less.
Great buy, you got yourself a modern "Hollywood". Oh, yeah, and show us some footage please, if possible. Beautiful lenstest vids are the best!
 

I just got the Zeiss ZF (not ZF.2) 28mm F2 recently. Is this considered the same optically as the Contax Zeiss 'Hollywood' 28 F2? I quite like it, regardless, and it only cost £300. 

Absolutely. It's my vision, I'm in control of how well (or not) I craft my image/scene. This is my rate, and my techincal requirements. This philosophy is hardly anything new. 
I don't typically place myself in artistically-circumstantial situations out of my control, largely speaking. There's always the tendency for small fails here and there, but those are usually logistical unknowns.  
Again, I'm the artist. If I have no control in what I place in my viewfinder, who does?
If I have a shoot scheduled outdoors and it suddenly rains and clouds block all my golden hour light, I wait, or adapt the setting to the narrative. I don't shrug my shoulders and capture subpar images because I feel like I should be shooting something or because my camera has near militaristic capabilities. 
Now, I'm not ignorant to the fact that not all shooters are cinematographers shooting narratives in a mostly controlled and planned environment. Some have to document the moment as it is because it doesn't typically repeat itself or reoccur often.
Sports, weddings, nature, I get it. But these subject matters have been captured long before digital ISO was a seed in anyone's mind. Ask yourself how this was done in those times. And I bet you will conclude it was done with really good logistical scouting, planning and set up. 
What high ISO has done is it allowed the removal of darkness as counterpoint to lightness as a narrative. It's traded a technological advatange in for an artistic disadvantage. Our we merely documentators?  
Is a good image about technically "seeing in the dark", or using darkness as a tool to envoke an emotional response and give light more meaning and context? You as the artist and curator of your vision must decide.
Each to their own indeed.

Yup, the low prices which both the D750 and D500 are reaching are unbearably tempting me....

You can get the D750 now in the UK for under 1000 on ebay. I think it's quite a bargain at that price, probably as good as the 5D4 (for stills) to most eyes.

No, there are more people today taking pictures with a Samsung smartphone, that can also take pictures. No one refers to a smartphone as a camera. They call it their phone. And in any case, this comparison is not between as Samsung phone vs a camera... I already did that shootout, and in some respects the phone was better. But that said I would not consider it my goto tool for video, on a real project. It's mainly used out of convenience. 
As a former NX1 owner, I can tell you it was a great camera. The touch screen /UI was far and away the best I have used. The camera felt balanced. And I have many great pictures from it. As a video capture device it was capable. Though I found it had a tendency to crush the black levels. Lens selection was somewhat inflexible. And frankly build quality was subpar for it's place in the market. In the end I left that system for the Sony α, then later I turned my attention back to Canon (still great btw), and most recently I have been exploring the GH5, which might be the best of breed to date. 
There can be little doubt that if Samsung had been determined to own the market they could have. They have the tech, and I would have put a NX1MK2 on my short list of must have cameras. It's a shame that  Samsung bailed on their user base. I know I will never trust them again in the camera space, and I am certain I am not alone in this thinking.
The take away here is none of this matters. Better, worse... Samsung no longer makes enthusiast cameras. And if they ever come back, they are going to need to do something to assure users that they are in it for the long haul.