Maybe you can read that from the metadata of the file. I do that in Sony Vegas Pro with an extension called Show Recording Data, but you there would be other free tools to do it outside of Vegas like EXIF Viewer(?). I guess maybe Adobe apps (Lightroom? P Pro?) show it in the file properties.
As to the main question, it's very difficult at the moment to make recommendations. I'm not happy with the GH4 for run-and-gun style underwater shooting, which is what I do, for many reasons. I badly want to go to Raja Ampat but I actually turned down a trip this coming February partly because I thought I would be frustrated by the camera. And I think that would be true for most of the "stills" cameras that have video features.
On the other hand, the GH4 is great for tripod-based macro video, once you've worked out a working focus procedure. So it depends what you want to shoot.
The camera that interests me most for wide angle is still the Sony Z100 in a Gates housing with a SWP44 lens that Josh Jensen shot this with. A 4K 60p ENG camera with a built-in lens, ND filters, proper auto-focus, nice white balance, proper zoom, worldwide support etc.. But it's so old now! Maybe we'll get a Z200 one day. Who knows...
Fully agree on this Nick -- I'm not sure how much of it is the camera/housing/lens/lights combination as opposed to Josh's obvious mastery of it and whatever post-production he's doing that makes the difference, but his footage is excellent -- both in terms of colors, sharpness, focus, and stability. Aspirational I would say.
I'm not convinced it could be replicated with a Sony A7RII, GH4, or other similar DSLR setup, including a housed Canon 1DXII ($11000).
Of course, the Z100 ($4500 new, $3750 used) + gates housing ($7250) + SWP44 lens ($4300!) at $15000+ starts to put you firmly in Sony FS7 ($8500 body + $6400 aquatica housing + $2000 dome = $16900 + lenses) or even Red Raven territory ($10k body, $10k nauticam housing, 2k dome = $22000 before lenses). And, from the specs, it's a larger, heavier camera setup than the FS7 or Red Raven.
Which begs the question -- why did Josh pick the Z100 over an large sensor, interchangable-lens raw-capable FS7 or Red setup? I'd be curious to hear his answer. Perhaps it's the versatility of the 20x zoom-through par-focal lens with the SWP44 port allowing you to go to a full 110 degrees at the wide end. That sure would be sweet to have for run-and-gun type shooting. Does it outweigh the benefits of RAW recording and the higher dynamic range of a large-sensor camera? I don't know. Perhaps for his work, it does. I'd be really curious to hear Josh's take.
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