We made the same choice, but these are different tools that excel in different areas and one is not inherently better than the other without first defining the context in which it will be used. This video explains some of the convenience wins of the G85 over the A7s II.
We generally don’t like going beyond 24mm for wideness on video, and even at 24mm when things come to close to the lens they start to appear abnormal in a way the viewer will notice. Yet one cannot make hard rules for film making and ultrawides can produce speciality looks as like seen here:
We haven’t mentioned much about the Sony A7s II lately. We’ve spoken with several people who went to this camera from the GH4 and stayed with it. We were really hoping that we would have rumors about the version III by now. Let us hope that the GH5 puts pressure on Sony to be more generous with their codec. For the record, we like both the Panasonic 4K cameras and Sony’s. They each have their place and advantages and disadvantages.
All the buzz has been about the Panasonic GH5, but let’s not forget that the Sony A6500 is still an interesting option. It’s the rolling shutter that we hate about this camera, but if you can’t fight that off the image is very nice. Perhaps the next iteration will improve upon the rolling shutter and offer 10-bit color like the GH5.
We don’t find this camera suitable for handheld use but we still like the image that comes from it locked down.
The Sony A6500 will work for those that can live with the time limit to recording and the rolling shutter. The 4K image is great even if we’re not crazy about the color science. The 1080P on the A6300/A6500 is weak. We sold our A6300 and are waiting for the GH5.