webrunner5

If Sony whips up a full frame 4K 60p DPAF camera and throws in that electronic ND filter for good measure, I’ll buy it . . . price tag and color science be damned. 
Barring that, I’m looking for the next MF Fuji to do 4K, or to just bite my tongue and run around with a Canon Cinema camera. (I’m no fan of Canon’s approach to their pricing/lineup/feature set, but a tool is a tool and DPAF is hard to ignore when nobody else has it.) 
I don’t know why, but I prefer cameras that are a little off to the side of what most people consider the norm. I was a GH2 shooter way back when Canon DSLRs were the flavor of the year, and stuck with that until switching to the NX1, and the other camera I was considering at that juncture was the Fuji. 
Truth be told, all else being equal, I would argue that Fuji’s color blows everything else out of the water, south of RAW cameras (Arri/Red/Blackmagic). Canon’s colors are okay, but seen so often that the look is worn out. The NX1’s color is decent too, great even once you know how to reign it in, but it tends a bit too punchy and overstated for my tastes. It can have a way of (for lack of a better description), simplifying colors. Red is just red. Green is green. Colors tend to look primary, and complex shades sometimes feel lost or overpowered. For many shoots, this works great and is no issue. Also, it correctly handles skin tones right out of the box. I’m talking video of course, the photo side shooting RAW is very pleasing and malleable in post.

I haven't used any of those (C200 and EVA), so I will take my words with a handful of salt! To be honest I do not use viewfinders at all, so the exclusion on the EVA is not a big deal for me, for the money they should have put one though, just in case. Ergonomically, the sound buttons on the EVA are the fewer I have ever seen on a camera, you have to go to menu for most of the sound related options.
My points were: 1) the 7.500$ cameras, cost 10.000$ in Europe 2) there is a huge gap, or no option between the 2 aforementioned cameras and their lower tier siblings (or the lack of them)3) the 5000$ market is a viable one, the 2 most prominent cameras of that price bracket, C100 in all their versions and FS5 have sold a lot, they are just a bit old fashioned at the moment (for different reasons each), I would rather wait (and that I do) one more year for their next versions 4) C200 is missing some middle codec for the price/EVA is missing some -modern- futures (such as the touch screen dual pixel AF), for the price.
@jax_rox we obviously have different views about the markets (and the world) and how they(it) work(s), that is just fine and I respect your civilized approach, we just do not agree 100%, that is perfectly fine. A lot of big companies have gone bankrupt in my timeline, for exactly the reasons I mentioned, not reading the market right and keeping their nose up in the clouds. I was pulling focus on a documentary recently -ironically, for the connection of European and Chinese philosophy- and we had C300mkII and Arri 18-80 or Zeiss primes for landmarks, 80% (at least) of the focus pulling could have been done easier and faster with touch focus Dual Pixel. Also, I put "cine cameras" on quotes, because, what does that even means, but Canon C line, is their Cine line.
I will come back after using these cameras, a little bit unfair judging from the specs and my imaginary expectations. I know there are a dozen of C200 in our market currently, not one EVA, as it is just recently available. Very good releases for sure, I truly respect these 2 brands so I am eagerly awaiting their next moves.

Forget about it. Not a realistic approach for most people to shoot always in ML raw.
And the 100D is not a good choice for ML raw anyway.

So what? Nothing ultra super special about Canon lenses specifically anyway.


Go for Panasonic G80/G85 (or a secondhand G7, if on a very tight budget). 

OHHH NOOOOOO OMG LMAooooo
im deleting this account

That's a good question, why?

But can't be used with the OP's existing Canon lenses

A7R2 + canon ts-e 17mm. Badass

Well... can't sell both because I have lots of stills photography gigs coming up soon. 
G9 I am sure is a great camera. But since (for video) I think that dynamic range and high ISO performance would be more important than even 4K for me, I think that an a7s original shooting at 1080p might be a better video camera for the type of work I am LIKELY to do in the near future.
Unless I can line up other types of video work...

Lumix G7 with nice HD and 4K(UHD), if you can find one for under 300, then G6, which you can even find for much cheaper. Great video qualiy and usuability. Usuability is best by far for the price.
A6000 has a sensor close to S35 Film, so using lenses give the same view as on S35. On Lumix one has to use focal reducers to get the same fiel of view (FOV) with the same lenses as on S35.
Myself, I am using Lumix cams with focal reducers, because the video quality is so nice. They are nice for photos as well. Like I said, very nice to use with swivel screen, mic in, nice grip, EVF, good battery life and so on. You should be able to find a G7 with all that and UHD video for around 300, but for 350 for sure. Oh, and G7 has much better HD than GX85 btw.

Shot with a BMCC on a candy bar and fizzy drink budget. Fun way to spend a Saturday  - Best watched in the dark with earphones. 
Color grade based on my BozBMDFilm to Rec709 LUT. Suitable for ALL Blackmagic Cinema Cameras. LUT Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/
 

I like the way the iPhone processing handles highdyanmic range scenes without HDR. I wish my Nikon could spit out jpgs/video the way the iPhone does, it actually renders similar to the way your eye sees it, but the small sensor just can't deliver such DR so it looks desaturated and noisy/noise-reduction.
The big cameras really need to catch up on the software side,  and even the raw processors are falling behind (adobe camera raw,etc)

Good to know! And thats $1500 Canadian, which is still really steep imho. I could buy another 5D MKIII for that price!
Actually all-in I could've bought a 1DX MKII at this point!!!

Yeah WTF is this? $1700 and it doesn’t even have the 200mbps 1080p?!?! The pricing of their camera lines make no sense. This is a $1200 camera at best.

I need on board RAW[some form of] and Autofocus and great low light sensitivity. Eva cant offer anything what i need. So please dont get angry over a pice of plastic box. 
Its ok EVA can have Great 8bit codec for slowmotion and no viewfinder, crop slowmotion, Can justify all that money. good for you, good for panasonic. Its my personal opinion also i have done several projects on Varicam 35,Pure And LT. 

I shot on my A7s extensively for three years before upgrading to the II and I can't say that I was ever lamenting the lack of IBIS. Certainly, if it was a choice over IBIS or low light, I'd go wit low light personally (at least in the case of A7sII) despite the fact I agree with: 
It's a rare situation that I shoot over 3200ISO. Too much obsession with paper specs these days. 
That said, the sensor size of the A7sII is what secures it for me. And the benefit of its low light abilities is that you can shoot at 800, 1600, 3200 ISO very cleanly, not something you can do much on other DSLRs. That's a much more useful feature than being able to shoot a mess of noise at 409,500 ISO.

If you are a solo shooter and not doing fiction work, honestly, get a camera with video autofocus, like a canon c300 or c100 mk2/c200/Canon XC10, or a sony  a7r2.
Some people will make fun of you or won t understand, but at the end of the day you will get a lot more usable shoots and a lot less stress.( and if you plan to use a gimbals, it is very helpful)
Get a small B-camera, and good quality batteries ( I fried a camera on the first 10 second of a paid job once, I wish I had a B cam that day) like a Canon XC10 /a6500
Also try to stay as compact as possible, just buy what you need, and fast zoom are a good idea, like the sigmas, you will never have enough light, and time so you want flexibility over fancy equipment.
Lightweight equipement is a bit more expensive, but totally worth it if you are a solo shooter, you can get compact rigs/sliders from edelkrone for example .
 
I went all fancy with a blackmagic 4.6k and vintage/modern cine glass, but today I almost exclusively shoot with a a7r2 and two photo primes, because of the auto focus and the compactness.

Hi, everyone, and thanks for contributing to help me solve my issue.
I talked to Atomos today, and after a bit of back and forth the guy asked me to check my HDMI cable--and see if it worked for 4k.
Now this seemed futile to me, because I KNEW it did.
But I pulled out my XC15 Canon to test the cable and BOOM, the Shogun was recording 4k like a top!!
Back to the Sony--Bupkis. 
But I did recall I had another micro HDMI cable, so,.....  just for laughs I decided to try it--and BLAM!!! The Shogun screen lit up with the Sony 4 K and I was recording on SSDs. 
So, here's the deal. Just because a mini or micro HDMI feeds 4k into your external recorder for one camera or brand of camera does not mean it will feed 4 k into another. 
Capisce?!?
Try to remember this...because it will be on the test.

Ampliscope Hypergonar with a single focus adapter, Belomo Vega enlarger as taking lens with an heliopan VND on 5D3 with ML.An improvised test to share with you the character of this anamorphic lens as I haven't found much on internet, forgive the wrong camera frames and shaky movements as the missed focus.
 

The 24-105 does sound great. I tried the 24-70 GM a few months back and the clarity, sharpness, whatever you want to call it, made a huge difference. If the 24-105 is even close to that it would make sense. Native glass, no metabones problems, smaller size, lighter, actual autofocus. For docs it makes a lot of sense and I'm pretty excited about using it.

95% Gh5 and handheld, i always use elctronic shutter (except nightshots), it s such a great thing. Only the GH5s levels are shit, but it is one of the best cams for timelapse in my opinion. I often find myself using the kit lens, because it s such a light setup. The 5d gave me back pain.
 

We should rename this thread to "Actually, you can make the GH5 do slow-motion"

I think the A7R3 looks pretty damn sweet.. it takes the best features of A9, fixes all of A7R2's shortcomings and even adds stuff on top (HDR, 5.5 stop IS, pixel shift, usb-c).
Very promising for A7S3 which will probably be out next..

Sony already killed the C100 (& C300!) years ago. With their FS5 & a7S mk1/mk2 releases.

This is an issue with Panasonic’s Log profile and the only reason the GH5 got 10bit video. VLog with the GH4 was a nightmare but to compete with Sony, and even Canon to some extent, Panasonic needed a Log profile, so they used tech from their cinema division in the GH5.
Unfortunately, now every videographer in the world, despite their discipline or skill level, believes if they don’t get 10bit color, they’re getting ripped off.
Panasonic jumped the gun by one or two product cycles and that is good for GH5 owners, but the other manufacturers shouldn’t be held liable for Panasonic’s inability to get a Log profile that worked within an 8bit space.
And at this point, for the money, if I wanted more than 8bit color, I’d go with a BM camera for the better codec and DR or a 5D3 with ML Raw for 14bit and a good color science... which is one of the reasons I did. And I’d definitely choose higher DR 8bit over 10bit.
And the only reason I mention it is because there is this misconception that Panasonic gave the consumer 10bit color out of the kindness of their heart because they care about videographers and low budget indie filmmakers, yet Canon and Sony are heartless corporations that only care about their bottom line... they all only care about their bottom line and a Log profile was needed in the GH series to help theirs.

Who the f#@ can afford a Lecia SL?? That should not be included in this list, you're just bragging now!