noplz

FWIW, one of the favorite docs I shot was with a GM1 handheld.  There's a lot of things to worry about with making movies.  Sure, camera mass is one of them, but, to me, pretty inconsequential on the priority list.
 

I'm not sure why everyone is certain it will have 4k? The 6DMk2 doesn't. It would seem this camera is being pitched as a stills camera, not a hybrid.

No word about video specs, maybe they are waiting with the surprise of 1080p only...

I mean don't act suprised.

people who sent Ebrahim money

Wait & see, unless I missed something all the rumors said was 26MP & no touchbar.
But Canon isn’t silly, they know how to segment and are not going to give a lower end model better (video) specs than the R.
The 26MP is probably the same 26MP sensor as in the 6D2 (just like the 30MP on the R echoes the 5DIV).
So what does this indicate? Probably no 4K! Or maybe 4K with no DPAF (a la M50)
Other possible limitations could be: 
No touchbar, no flip-out screen, no top LCD, no C-Log, no ALL-I codec, no 10-bit out, less AF points, less DR.. etc
Again I highly doubt the RP will have anything better for video than the R.
Canon are just applying the same formula & release strategy than their 6D, 5D, 1DX2 FF models imo: mid market first, then lower end, then pro.
Plenty to hate about Canon but nobody is going to end up crying.. you guys sure like to jump the gun!
 

The fine gentlemen are wrong.
I could select 4K60p in the internal codec menus and record to SD card, at 150mbit

Nice piece.
Oh and the cheque is in the post for this plug

Mind you, I hope the notes he was taking were along the lines of "lets track this maverick down and license it" rather than "lets track this cheeky bastard down and sue him" !

I have the Voits.  They're nice, but wide open expect spherochromatism a bit.  A FF with a sharp lens @f1.8 still can't be beat.  That's physics.  Still, I shoot interviews all the time with M43 'cause that's what I got.  When I feel I really need FF on a shoot, I just go and get FF.  DSLR rental is cheap.

not interesting for video really, same variable bitrate codec as EM1.2. I think maybe Panasonic and Olympus fell out and Panasonic didn't share any new codec.
Panasonic cameras as so much better IMO, the 10bit ALL-I codec is solid and Panasonic IBIS works better for video (Olympus IBIS warps the edges)
I do like Olympus f1.2 lenses though, so I do hope Olympus do well
Olympus should make a compact XT-3 like camera, with a new H265 10bit processor and latest AF performance, that would be nice 

XT3 has AF-C in video. It even does face & eye tracking.
I'd buy an XT2 (or XH1 if you need IBIS) over this mess of a camera.
Rolling shutter alone (36ms!) makes it a no go, especially for the intended travel/vlog market its intended for.
Of course the cluelessness of that demography probably has never heard of RS and will be swayed by the hype/pricing.

The A6300 was a dog back in 2016 when the competition was far less, no X-T3 or G85 back then, or E-M10 III.
X-T3 is a similar price now to when the A6300 was released back in 2016.
The X-T3 today is $1399 new (less used) and the A6400 is $900 so a difference of $500 max, the price of a low-end Sony E-mount prime. The 23mm F2 and 35mm F2 Fuji X lenses are cheaper than their equivalent Sonys and the 18-55mm F2.8-F4 zoom is superior to any Sony APS-C zoom equivalent for just $300.
I don't see why people would be interested in paying more for the A6400 + primes + decent zoom than the equivalent Fuji kit.
If you look at the A6400 body in isolation, sure it's cheap-ish. But it's also naff-ish, 2-3 year old tech with terrible rolling shutter and bad ergonomics.
The target market is a prime area to do some innovations... flip out 5" touch screen for example. All-new user interface and menus suited to touch screen operation. Better touch-pad AF interface. Better smartphone integration and Bluetooth LE.
Sony took the easy option and did nothing.

Sony still sells shedloads of the A6000, so I think that is the target market for this. From a serious video point of view, I would look on this only for pointers to where the next prosumer models may be going. It is aimed at the sub $1000 market, and at this level all the kit zooms have stabilisation anyway. Sony often starts their upgrade rollouts with the cheapest, best selling models - remember when the A5000 had better quality 1080p video than the more expensive models? The higher end version will be along soon. Animal eye-AF - I would love that! Come on Nikon, keep up...

I thought the same, but then I realised there's actually a ton of people who are aspiring vloggers and/or buy a camera with the hope that one day they will "vlog" with it. It also has a lot of overlap with your average family shooter, they want similar things IMO.

IBIS would have made sense in this supposed vlogging camera. But yeah they are saving money while delivering a subpar product IMO.

Sony....  the next Canon?
 
 
 
It exists. Is called "the Panasonic G85".

+1 for what @mercer said.
I played with ML on my 700D and found the workflow with MLVApp to be quite straight-forward.
But.. ML isn't for everyone.  Some things to consider are:
ML isn't one thing.  It's a modular software system with different versions across different camera models.  Each of those versions can contain features that are fully-tested and bullet-proof, but may also have features that are cutting-edge with limited testing or even bleeding-edge with zero testing.  Depending on what features you use, there may be risks of errors or bugs, or in the bleeding-edge stuff, potentially crashes and loss of footage.  There has been some buzz around ML killing SD cards or other hardware, but the reality is that this has happened in very few instances and isn't really something you should be concerned about. The higher-resolution RAW functionality is still quite new, although lower resolutions are pretty well developed now, so there's the risk of bugs. There is no manual, and it's pretty technical.  In most companies you have product development teams who work out what customers want, and designers who will tell the developers how to make things easy to use, and support teams who deal with customer enquiries and write manuals.  ML only has developers, and forums.  On the forums there are users who help each-other and developers who answer questions when they get time, but if you're in the threads about the cutting-edge or bleeding edge stuff, you'll find that a large percentage of the conversation is developers speaking in machine code to each other.  You can ask questions and sometimes you'll get answers, but sometimes you won't and maybe searching will help but maybe it won't. It moves pretty fast.  Certainly faster than the third-party resources such as YT videos or blog posts can keep up with.  Often if you're looking for help with something you will find a how-to and you'll follow it through but get to a point where it no longer works because they changed something and the tutorial uses a menu option that doesn't exist anymore or whatever.  You have to kind of work things out for yourself sometimes. I love ML, I think it's great and I wish them every success.  But it is a very different experience to the standard firmware that comes in any consumer camera.

As @tweak said, it’s fairly simple. I also always have transcoded everything, so even turning the MLV files to CDNG was faster than turning h.265 files to ProResLT when I owned the NX500. There is also a filing system someone developed that installs on your Mac (don’t know if there’s a Windows version) that will instantly open the MLV files as if they were CDNGs in Resolve... from that point it works like any other codec except you have full Raw control. Honestly, there is probably more online support for ML than any other camera. There’s a bunch of apps that can work with the files directly and they can even output ProRes with a LogC curve. If you’re a low budget/no budget filmmaker and are looking for a way to have FF 14bit Raw in 1080p, there is no other option and if you are patient, you can get near Alexa quality results with it. IMO. 
To add, there’s also a level of craft and choice involved that got lost somewhere with consumer 4K. I feel, others’ mileage may vary, that I can get distinctly different looks with ML Raw just by using different lenses.
With consumer 4K cameras, I always felt that most lenses looked very similar... it was either modern lenses or vintage lenses unless you were using something really particular like a Helios or an Anamorphic on the GH series, otherwise there wasn’t much of a difference.
But I will add that the workflow and storage requirements aren’t for everyone... even though with MLVFS you could literally work off the card, color correct in Resolve, and export the footage as ProRes to a hard drive to save storage space but as I said, it isn’t for everybody. If you find you really love the Sharpness and resolution of a 4K image, you will probably be disappointed but if you really like a traditional film look, it could be an option for you. 

I just wanted to quickly pop in here after reading the article. It's not that I disagree with Andrew's words on the A7III, or that it's ranked in the number 2 spot but that you had nothing positive to say about it. Again, it's not that anything you said was necessarily wrong. But how about giving it credit for shaking things up. For being the new de facto for "Entry level" full frame. For not holding back where other camera manufacturers would have.
Yes, the Fuji has some of the best video quality but I'd say it's only just 'Slightly' better than the A7III. I have a feeling that a lot of the time you won't notice the difference. It's got the Sony beat with color straight out of the camera but most of us do a little grading anyway so I'm not sure I could fault them for that.
But I get it, Fuji deserves the #1 spot and Sony deserves the #2 spot. I agree with that. It's just that it would have been nice if you had mentioned some of it's stronger points:
With the A7III, Sony brought highend features like IBIS, 10 FPS, dual card slots, amazing low light performance, amazing auto focus, beautifully detailed 4K video, improved color science, and far better battery life ("Amazing" I should say) to a platform that many people where on the fence about. And I think they also forced Nikon and Cannon to show their hands. Maybe even before they were ready. The A7III showed the camera world that Sony were serious about about being #1. Even if they only made #2. ;-)
But yes, you're right,  it's a boring looking, utilitarian, working photographer's camera. It's menu's are crap and the screens are average at best and don't flip out and around. But your argument that it doesn't inspire artistic photography... again, I'm not sure I can really fault them for that. Sony has a very subtle, clean, and flare-less design language.  And just like the car industry, some people appreciate flare like BMW while others like the subtlety of Audi.
I have to say, I do feel inspired by my A7III. It's perfect for me because I do a little of everything. Portrait, landscape, still life, street, plus tons of video. it's small size paired with the right lens, makes the A7III great at all of it. To me, Sony hit a sweet spot with this one. Just enough high end features where it matters and skimping on the features that aren't as good as the competition but are ultimately "good enough" to keep the price down. This is the first camera to tick off all the little camera features that I wanted and it did it in a $2000 body. That works for me. Take my money!   

Fuji did a spectacular job this year, except for the puzzling X-H1 release. Panasonic continues to be racked over the coals for giving, imho, the best ergo, codec, features, in a camera. It’s a workhorse but people are still complaining about its very useable (as of Oct) autofocus. Canon shit the bed, plain and simple. Nikon did OK. Sony A7iii weak sauce all almost everything but price. 

Well now we know magic lantern does not brick the camera. So now def the time users can step up and test.
- [extremely easy] find out whether photo capture works (this didn't work from FIR; just try the intervalometer sample code)
- [extremely easy] play around with FPS and resolution overriding registers; document what works and what not
- [easy, important] update the codebase to 1.1.2 (easy coding tutorial following task, still open, can be debugged in QEMU)
- [easy] log various things in Canon firmware (such as photo capture, entering LiveView); the digic6-dumper branch has logging enabled by default.
- [moderate, important] figure out how to print things on the screen (look up 5DS experiments, posts from Ant123 and read the CHDK threads on this topic)
- [moderate?] fix the emulator to run these things properly
- [moderate?] port io_trace to ARMv7 (can be debugged in QEMU)
- [moderate] try to understand the communication between the two cores (main and AE)
- [hard] understand the Omar secondary core (it appears to handle the image capture pipeline) 

I do not know the others, but came from another winner the NX1. I have the X-T3 since a few weeks and I am really impressed about filming with the Fuji. Only the size and feeling in hands, battery life ... NX1 still winner. The X-T3 produces colourfull footage also when there is less light. I filmed recently at 'Winter Efteling' in the Netherlands, most shots during evening and even night. Very colourfull and even at ISO 6400 good. For (professional) photography I think perfect... for me ;-)
 

A few of my 2018 winners would be :
"Signpost Award" : Insta 360 One X, not for its actual 360 necessarily but for pointing the way to how much that omni-capture can bring to the table in terms of stabilisation and re-framing for regular flat content. I picked one up just before Christmas and whilst its not my first rodeo when it comes to 360 cameras, its the first one that has really delivered on the shoot now frame later concept. Don't get me wrong, it is full of flaws but it is very close to being there for being the first choice leisure/travel/vlogging camera for a lot of people. It doesn't take much imagination to consider the possibilities for other type of film making as well if manufacturers like Pansonic, Fuji, Sony etc were so inclined.
"Hannibal Lecter Award" : Fuji for cannibalising sales of its video centric X-H1 by having better video specs on the X-T3. 
"Bob Marley Award" : Jointly won by Sony for making everyone Wait In Vain for the A7Siii and Blackmagic for the Pocket 4K batteries Jamming.
"Horticultural Award" : The Blackmagic Pocket 4K for sprouting more plants than the Chelsea Flower Show in this forum in September.
 
 

There is a (debatable) school of thought that says that downscaling perfectly from 4k 3840 x 2160 to HD 1920 x 1080 ensures that there is more colour information and less noise, and in thus in theory, the equivalent of more bit depth. There have been lots of articles to push this theory forward. I agree with some of the viewpoints, but I have neither tried it nor an I am sure of how much the inage quality improves. 
 
(Translated this page cause it's in German). 
https://www.slashcam.de/artikel/Grundlagen/4K---Von-RAW-bis-4-2-0.html
And 
https://***URL not allowed***/best-way-downsample-4k-smartphone-footage/
 
 

All I want is Phase Detect AF for video 4k on a MFT body. Olympus makes great glass and has amazing IBIS and color science. Would love to use one of their cams for 4k video....but I want good AF!!!