BTM_Pix

I agree with this, wholeheartedly.
For most people, cameras are beginning to get in the way.
This is the journey of an image that I take for work from it happening to a member of the public seeing it
 
CLICK
>Pick the best image from the burst 
>Lock the image to initiate the wireless transfer into the laptop
>Ingest the image into the editor automatically adding basic caption data about event.
>Edit the image
>Complete caption data listing the names of everyone that is in the picture and what is happening.
>Export the image
>FTP it to the agency server
>Agency server distributes to publications based on embedded caption data (i.e. different territories, sports etc)
>Publication picture desk receives images, picks the ones for usage, scales and re-captions and pushes to website or print
>Consumer then has to actively seek out that content (visit the newspaper website or newsagents)
 
Now, all of that happens at the fastest speed that all of the parties involved can manage (me, the agency and the media outlet) and compared to the days of film and even five years ago it is like science fiction magic but consider the journey of a picture that a kid sat behind me in the stand has to take to reach his audience.
 
CLICK
>Write ‘Goal!!!’
>Hit send.
>His consumers get it instantly and automatically because its straight in their feeds.
 
It’s a strange contradiction that a professional workflow is so much more cumbersome, slow and - as modern as it is compared to relatively recent times - feels so much more antiquated than the consumer one.
Is this kid’s image ‘better’ than mine? Of course not (well, hopefully anyway!) but in terms of how people now consume media then it is arguably far more fit for purpose. 
Its a very transient world now for content. Very, very few images have any sort of longevity now so unless an image is unique (difficult these days when everyone has a camera of sorts in their pocket) or destined to be utterly iconic it is going to be swimming in such a sea of other content then just getting it out there faster trumps most other considerations sadly. This is why newspapers are sending out junior reporters with iPhones to cover stories. It means they can keep costs down, the quality is adequate based on the criteria above and it feels like the most natural thing in the world to the reporter because they’ve grown up with instant publishing. 
For video, all of the factors above are multiplied a hundred fold and the end to end process of getting a moving image from the lens to your audience using a professional workflow are almost laughable to a generation that need to get their content out while its still warm. Even just capturing video and then pushing it onto a social media site is too slow a lot of the time and they’re now broadcasting it on there live. 
If you are in a tourist heavy area like London for example, and you see a party of teenagers on a school trip or whatever, you’ll see maybe one in ten of them have a small dslr. You might also notice that it is generally girls that have the dslrs rather than boys oddly enough. The ones with the dslrs will be studiously taking the odd shot that you just know will be ‘arty’ but it is of objects and general scenery but not of people . Meanwhile the rest of them are snapping away taking pics of themselves, their friends and the general stuff too but you can see that they look at the back of the phone, make a quick few taps and boom its on its way and already published before the dslr girl has took her lens cap off. And the story will be the same for her as it is for the professional photographer in that her stuff will have more value in one currency which is creative and technical but nowhere near the same value in the most valuable currency of the day which is speed. With people measuring themselves and what they do based on the number of likes something gets then if the dslr girl is getting fewer of those because the ’news cycle’ of these kids trip has moved on by the time she gets her images processed and out there then she’ll end up ditching the dslr as its getting in the way of that. 
The old adage of the only technique you needed to master for documentary photography was ‘f8 and be there’ has now been replaced with ‘4G and be there’.
Nikon and the other manufacturers needed to rethink the interface to get the camera out of the way and they had the opportunity to do that a few years ago when photography began a real resurgence but I think that ship has sailed and the smartphone is now too ubiquitous. The iPhone etc can and have improved their photographic offering to the point where the extra quality difference is utterly trumped by the convenience and ‘real’ cameras will be back to where they were pre-DSLR as an enthusiast product. Its difficult to think now with the boom in photography all around us that even 10 or 15 years ago it was largely a dying hobby kept alive by gentlemen and ladies of a certain age. I think its heading back there too.
As for the D7500 itself….
I use the D500 professionally on a daily basis. Its a fine camera and if you can get that performance for £600 less or whatever it is then you’ll be getting a bargain. 
I wouldn’t be too sure about people not using this professionally either. 8fps is more than adequate and the dual card slot thing is a bit of a red herring as speed dictates in what I do at least that whilst RAW on one card and JPEG on another might be a way of working, its JPEG all the way anyway. Dual slots were useful as overflow when card capacity was measured in meg rather than gig but we're way beyond that now. And the cards themselves are plenty fast enough to be writing RAW+JPEG if you have that need. The buffer is more than adequate as well to be honest and wouldn’t put me off. At 8fps, it amounts to a 12 second burst or something. If you need more than that to get the shot then its probably a video camera you need rather than a stills one. It does seem to have weather sealing as well and in terms of its robustness, my experience with Nikon over many years now is that its the lens mount that is the achilles heel rather than the rest of the body and that problem goes from the flagships down so it wouldn’t worry me too much. Would you use it as your A camera as a pro sports or journalistic photographer? No because you’ll already have one of the flagships if you’re working at that level. Could you use it as your A camera if you needed to? Based on the IQ of the D500 then absolutely yes. And as a lightweight supplementary or backup camera, its ideal. I still see a lot of D7xxx cameras being used by pros which were bought in that post D300 period when Nikon didn’t have a new pro APS-C body. For those that haven’t subsequently moved on to the D500 (and with shrinking budgets not everyone could), I can see them buying these. It’ll do OK.
 

My smartphone does all that as well. But many of us that are more than a little active on Instagram use our still cameras. They can also shoot raw, be edited in camera or phone after wifi transfer and then published.
It used to be on youtube but now days its way more common for me to be asked on Instagram what camera and settings I use.

But most of the younger demo is using smart phones to upload pics to share. I guess for video too. Damn, both are up a creek without a paddle. What these cameras need are better UI's then these menu screens with tabs and a laundry list of features. They need to fire the people designing this crap in every company, not just Sony. My iphone 5 can take great pictures and video, edit those pictures and video! and then share it on any messaging app plus upload it to youtube, vimeos, instagram, flckr, etc... Meanwhile, I'm here fiddling with my latest mirrorless trying to figure out how to take a 5s self-timer...

I've ordered the Ninja Inferno.
Expect some flog to be making an appearance here soon... 

As i will buy 2 cameras in July, I just took a look at the LS300 (@Mattias Burling has tested it) for a few hours with a friend who owns it. Some remarks:
It has a respectable 1080p quality (25p +50p too), no complains. 4K IQ is also OK.
Colours: Some kind of "sterile", no structure/texture in images - it reminds me of the NX1. Colors are pleasant/neutral, but not exceptional in any sense.
Really useful: The dual card system allows you to record in different (independent) resolutions, so you could record 4K on the first card and 720p on the second card. GREAT, because, the LS300 allows you to send your footage immediately LIVE, eg to Ustream or YouTube. For people who need this feature - very good. (You can send your footage per FTP too...)
AF is (for contrast AF) great, we've tested it with a Panasonic 35-100 2.8, the OIS of Pana lenses works with this camera well. BUT don't expect as much stabilization as from a classical camcorder or a modern IBIS + IS lens. AF + Canon (+ E2MFT adapter) lens is very slow and hunts sometimes, depending on used lens...
Turns every prime lens you mount to it to a parfocal zoom lens - just focus and push the zoom rocker button and the camera will keep focus during zooming. A very useful feature too...Focusing features are good...
The camera needs contrast (another similarity with the NX1) in low / decent light, otherways you will get very fast some noise and/or washed out colors. 4K J-LOG is maleable, no banding in the skies but we didn't push it too far.
It seems, the coming update will make the recording of 4K 60p possible - but only with a external recorder. This way you loose the portability advantages of a very light camera. Generally the LS300 feels a little bit "cheap", but hey it's only 2.800 Euros...
For a mixed usage - ENG + filmic work - hard to decide...Not enough stabilized (with IS lenses) for carrying it on your shoulder, but excellent for live broadcasting.

I honestly think in 2-3 years time when we are all done to death with cobbling together different lenses and bodies and interfaces and all the other hooch looking for perfect systems then we'll all end up buying camcorders again.
The XC10/15 has a lot going for it in this respect. 
Everyone I know who has been sceptical about it and tried it has found it quite liberating to just have a one box solution that - when you look beyond the specs - just makes decent images and makes them without fuss. 
Obviously they aren't without their issues as you'll find if you have a search on here so whether this iteration of the concept is the right one at the right time I don't know.
Canon have the wherewithal to make a Super 35 version of it with L optics with a constant 2.8 with a FF equivalent (not that old chestnut) of 18 to 300mm, retail it for 5K and it would probably be the last camera most of us would need or buy. Which of course is precisely why they won't do it! 
I tell you who might though and that's JVC if they used the LS300 as a basis. 
I've been using a G7 effectively as a camcorder this week with just one small zoom lens on it and relishing the speed and simplicity of the restriction rather than fretting about it.
So, yes, I think if you just want to get and shoot do what you've described then the XC10/15 is not going to get in your way. In that regard, it has to be a smart choice!
But....
If you're in that area, I'd also take a good look at the Panasonic FZ2000.
Its a lot cheaper, faster lens (at the long end), much longer reach, has NDs, LOG, 5 axis IS, 10 bit very good stills extraction, much cheaper media, 10 bit 4:2:2 HDMI out....
The downside is that in 4K, its cropped to about 35mm FF equivalent (here we go again) which may or may not be a deal breaker for your application.
 

I've ordered the Ninja Inferno.
Expect some flog to be making an appearance here soon... 

I have the MS-1.
The best thing about it is that its just about heavy enough to really give yourself an effective enough beating around the head to punish yourself for buying such a piece of shit without actually killing yourself.
So, it's very well balanced.
Unlike any camera that I've ever tried putting on it.
 

I have the MS-1.
The best thing about it is that its just about heavy enough to really give yourself an effective enough beating around the head to punish yourself for buying such a piece of shit without actually killing yourself.
So, it's very well balanced.
Unlike any camera that I've ever tried putting on it.
 

I've ordered the Ninja Inferno.
Expect some flog to be making an appearance here soon... 

Now That is funny!! Sounds you are a match made in heaven!

Pretty much sums up what I do myself on a holiday to be fair 

The Fuji GFX50s does HD but god knows what it looks like because oddly enough this is about the ONLY piece of footage anyone has uploaded from it.
I think I'd have to see a bit more to get the credit card out on that one
 

So I was bored enough this afternoon to shoot a quick comparison using 3 different formats and a couple of lenses.
Representing full frame,APS-C and M4/3 we have my battered Nikon Df, slightly less battered Nikon D500 and criminally underused Panasonic GX80 respectively.
Lenses are my - even more battered than my Df - Nikon 24-70 2.8G and Nikon 70-200 2.8GII with an original Metabones Speedbooster for the GX80.
A multitude of caveats for this quick comparison are 
The 24-70 shots are a bit soft but its the same for all cameras (mis focused on the Df then it was left in manual for other bodies so error followed through to them) so doesn't really impact the results. It was quick so a couple of (minor) crops and exposure adjustments were done in Aperture. These were corrective for uniformity where I was a bit sloppy with the setups and again do not change the spirit of the results. Included in number 2, because it was a quick comparison, I've took a slight rounding liberty with the speedbooster calculation to make it easier to 'centre' the tests around the APS-C sensor. By this, I mean the 24-70 should really have been shot at 23mm on the APS-C to match what the M4/3 was doing at 24mm with the 0.71 Speedbooster but, well, that would've meant a different lens and I was already losing the will to live. Everything was shot in jpeg with standard profiles and then mangled into these lowish res comps so pixel peeping is moot but, again, it doesn't impact the spirit of the results. For everything else, did I mention it was a quick comparison ? The first comparison is at 24mm on the 24-70 and is 'centred' around the D500 at 24mm/f2.8 so the GX80 is 17mm/f2 and the Df was set for 34mm/f4.
The second comparison is at 70mm on the 70-200 and is 'centred' around the D500 at 70mm/f2.8 so the GX80 is 52mm/f2 and the Df was set for 105mm/f4.
My conclusions are :
With the same (high quality but pretty soulless) lenses on three different sensors representative of popular formats there is not enough difference to be losing sleep over. I need to have the Df serviced. I need to pressure wash the patio.  

Thanks for the advice. I feel like I've gotta get the flagship though in case a project comes up where I want to rent an external recorder for 4k prores flog. I'm coming from a C100 Mark II for video and 6D for stills. 

Just my 2 cents but I'd be inclined to think that for the circa £1600 for the GH5, I'd be looking at spreading that money in different areas.
I'd be thinking say a BM Video Assist 4K at £700 which will give your X-T2 a huge boost in terms of better monitoring and exposure tools, FLOG recording, unlimited recording, edit ready Pro Res etc. This will also add functionality to your other cameras as well, so its a big win all round.
The other £900 would get you an X-T20 for vlogging and/or when you need a more compact X-T2 and/or being able to do two camera shoots with some change left over for a Zhongyi Lens Turbo to use some old Nikon or Canon glass.
Or the £900 could be used to flesh out your lens collection with the excellent 10-24mm f4 or 14mm f2.8 with enough change left over, if you shop around, for the 1.4x convertor which will I've you extra reach with your 50-140 with more or less zero impact on IQ or AF. *Apologies for teaching you to suck eggs if you've already got the 1.4!!
Or the £900 could be used for the Edelkrone Slider One and Motion module with enough change left over for more lights or audio gear, of which none of us can ever have enough!
When you add any of those combos to what you've already got, I think they are going to yield more return in terms of what you want to get to the screen than a camera body alone, especially as you've already got the Zhiyun Crane to soften the lack of IBIS pain.
Have a look and see if you can live with some of the functional compromises the X-T20 has versus the X-T2 as you are getting the IQ with enough change left over to get a couple of the f2 primes. The touch focus of the X-T20 might be something that might interest you as its slowish performance in terms of transition can produce a nice looking pull !
It might well be that there are too many compromises (FLOG being one, although thats going to cost you a LOT more to utilise on the X-T2 anyway) but its worth considering if you can live with them.

Just my 2 cents but I'd be inclined to think that for the circa £1600 for the GH5, I'd be looking at spreading that money in different areas.
I'd be thinking say a BM Video Assist 4K at £700 which will give your X-T2 a huge boost in terms of better monitoring and exposure tools, FLOG recording, unlimited recording, edit ready Pro Res etc. This will also add functionality to your other cameras as well, so its a big win all round.
The other £900 would get you an X-T20 for vlogging and/or when you need a more compact X-T2 and/or being able to do two camera shoots with some change left over for a Zhongyi Lens Turbo to use some old Nikon or Canon glass.
Or the £900 could be used to flesh out your lens collection with the excellent 10-24mm f4 or 14mm f2.8 with enough change left over, if you shop around, for the 1.4x convertor which will I've you extra reach with your 50-140 with more or less zero impact on IQ or AF. *Apologies for teaching you to suck eggs if you've already got the 1.4!!
Or the £900 could be used for the Edelkrone Slider One and Motion module with enough change left over for more lights or audio gear, of which none of us can ever have enough!
When you add any of those combos to what you've already got, I think they are going to yield more return in terms of what you want to get to the screen than a camera body alone, especially as you've already got the Zhiyun Crane to soften the lack of IBIS pain.
Have a look and see if you can live with some of the functional compromises the X-T20 has versus the X-T2 as you are getting the IQ with enough change left over to get a couple of the f2 primes. The touch focus of the X-T20 might be something that might interest you as its slowish performance in terms of transition can produce a nice looking pull !
It might well be that there are too many compromises (FLOG being one, although thats going to cost you a LOT more to utilise on the X-T2 anyway) but its worth considering if you can live with them.

After the latest firmware, my list of quirks is shortening. For example, the ability to map ISO the the front control wheel is brilliant because it means I can lock the ISO dial and not have to worry about it changing when I move the shooting mode selector.
Here's some final things that I would like to see changed. I hope Fujifilm follows this topic. 
Ability to change the Custom Setting in video mode (so strange that this is greyed out!) Video AF functions: Ability to change focus transition speed (the time it takes for the focus to go from one point to another), changeable AF area size, face recognition in 4k, ability to choose face if there's more than 1 face, reduced focus drifting in AF-C, removed focus hunting in AF-S, focus tracking in AF-C, improved face tracking (currently loses you if you move sideways). Internal F-log (or a "Light" F-log that has slightly less dynamic range and a 400 ISO base) Reduced moiré in 1080p Increase of 1080p record limit from 15 to 30 mins, 4k from 10 to 15 mins. Seperate settings for video mode (ie. when you move between stills and video mode they both have separate custom settings) I would like to see an X-T2 "S" with the following hardware changes:
Much larger grip Flip-out touchscreen screen (like the Canon 80d and many others) More accurate colour on back LCD (currently has a greenish tint) AF-S/AF-C/M dial moved from the front of the camera to the back Pop-up flash that can be tilted upwards Lastly I know that Fuji said they wouldn't do it because it would affect image quality, but I really would love IBIS. If they can't do this then they really need to put stabilisation on lenses!  

I'm glad he's waded into this with his no nonsense Yorkshire man approach. I remember his earlier one with the immortal line about Panasonic claiming he had to send his original defective GH5 to a service centre to be repaired instead of them replacing it - "So I told the Panasonic rep you can fuck off". Such a refreshing change to see someone who's just putting the camera on and giving his thoughts instead of trying to go for the big production look bigging himself up.
Maybe one day we can look forward to him teaming up with three other Yorkshire camera users in a few years to reminisce about how they had to make films without functioning face detection, or auto focus, or lenses or cameras.
 

I think I hear the sound of the X-T20 whispering in your ear!

Im sat here doing some tests with the X-T2 and the GX85 with these old Contax lenses.
The GX85 feels like you're on a safari straining to try spot animals lurking in the bush. The X-T2 is like being in the zoo!

I think at best it might be quirky (aka a potential bug). I had to go in and come back out again twice before it worked at all. If I turn the barrel I get magnification and peaking but if I just use the command dial then I only get magnification.
But nothing in video unless I'm in MF mode

I might have misunderstood what you meant I think Jon.
Are you asking for a quick way to invoke the MF assist zoom display when in AF mode rather than quickly changing its functionality?
If thats what you're after then if you have AF+MF in the AF menu set to ON then if you keep the shutter half pressed, turning the focus barrel on the lens will bring up the MF assist zoomed display and dismiss it again when you let go of the shutter. Alternatively, like it behaves when you have manual lenses on it, push in the rear command dial wheel and this should bring it up as well. 
 
SPOILER ALERT !!!
Unless you're in video mode, in which case you have to be in manual focus mode and then it will invoke automatically when you turn the barrel. Or via the rear command dial if you are using manual lenses.
So, no AF with MF in video mode is another one on to their list.

I'm glad he's waded into this with his no nonsense Yorkshire man approach. I remember his earlier one with the immortal line about Panasonic claiming he had to send his original defective GH5 to a service centre to be repaired instead of them replacing it - "So I told the Panasonic rep you can fuck off". Such a refreshing change to see someone who's just putting the camera on and giving his thoughts instead of trying to go for the big production look bigging himself up.
Maybe one day we can look forward to him teaming up with three other Yorkshire camera users in a few years to reminisce about how they had to make films without functioning face detection, or auto focus, or lenses or cameras.
 

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