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New info I am told they are indeed using a multi-aspect sensor. It measures 18.9mm x 13mm in approx. 3:2 aspect ratio 20MP stills but the total resolution of the chip is 24MP 24MP 3:2 is approximately 6000 x 4000 (just like the Sony A6300 in 3:2 stills mode). Then the 6K photo mode is 3:2 with full sensor readout up to 30fps burst. The normal stills mode is a 20MP 4:3 crop of the sensor. This is why 43rumours say 20MP sensor. The 4K video is a 16:9 crop of the sensor using the full 6K width but downsampling on the chip. Absolutely take this is a rumour until confirmed. But it makes total sense to me... There is *no other way* of getting 6K photos from a 20MP 4:3 sensor like that featured on the GX8.

Can't wait to shoot with this in 720p120fps in 2035! LEL.

New news, it is shipping :-D http://www.newsshooter.com/2016/08/31/birtv-2016-kinefinitys-6k-terra-starts-shipping-and-gets-new-accessories/

I really hope 6K isn't the GH5's defining feature.

Has anyone heard anything from Vasile?

"Dramatic dynamic range improvement" "Back when we were briefed by Canon about its update to one of the most popular line of digital SLRs in existence, Canon told us that dynamic range was one of the top concerns of current 5D-series owners." "A major leap forward" https://***URL removed***/news/3229755227/canon-5d-mark-iv-brings-dramatic-dynamic-range-improvements-to-the-5d-line ... So let's take a look at the reality behind the hype... Oh hey it's their own test scene... +6EV shadow recovery on a shot exposed for the highlights Samsung NX1 has it for breakfast The A7R II turns up and has it with milk and tea And the D750... 2 years old... Mentioned NOWHERE in the DPReview article, is an order of magnitude less noisy at +6EV recovery All in all meaning the 5D Mark IV has less dynamic range than the Samsung NX1. I double checked... Yeah it does. And that my friends is why in a nutshell I stopped being a writer for DPReview.

Coming to a cinema near you... But probably NOT destined for a cheap camera near us! http://www.canonrumors.com/canon-announces-cmos-sensor-with-global-shutter/ I am pretty sure they will use this in high-end industrial machine vision rigs at first, before a slow roll out to broadcast cameras begins. But the pixel structure, design, patents, general tech looks very exciting, it seems they have solved the global shutter issues with dynamic range and noise completely, even turning the situation on its head so that the new pixel structure results in increased full well capacity for better DR!

To be fair, they are only saying it is a massive improvement over other Canon's. At the end, they do say this- "How does the 5D Mark IV stack up against some of its other peers? Its performance is much better than any other offering from Canon, but it's still not quite as ISO-invariant as the Nikon D810 or D750 (refer back to widget above as you click links). You're unlikely to notice these differences from ISO 400 upward, but below ISO 400, the 5D Mark IV, while competitive, does fall slightly behind in performance". I m not an apologist for DPR and think it is not so much what they have said as what they have NOT said.

My guess he has moved onto other projects. Its a shame as I fee like he could have squeezed more out of these fantastic cameras. Oh well I am happy with where things are at.

If Panasonic doesn't put IBIS in the GH5, a lot of people will be very mad about it. If the GX85 has it and it can record 30min of 4K, I don't see why the GH5 wouldn't. There should be at least the option to get no time limit in 4K without IBIS and 30min with IBIS if that's the case.

About 6k: since it is (now) mentioned as a "photo mode", probably they are considering it in a 4:3 aspect ratio - than the quantity of pixels is approximately the same of a 6k DCI image (and sounds better for marketing, and is in line with Panasonic 4k photo modes). My concern it that IBIS was not mentioned in the specs...

Yeah, this sounds like hype. This is nothing more than wishful thinking until panasonic make an official announcement. Might as well claim it will do 8k 12bit 444 @ 240 fps and be priced at $1499. That's not happening either.

That spec is total clickbait- 43rumors gets crazy traffic from all the GH5 rumors.

That doesnt make sense...there is no "30fps photo", and it wouldnt do 30 single photos even for a short burst because...thats called video. These settings are so over the top, you might as well include "If you buy the GH5, you'll get a new car, for free!". Heres what I think will likely happen, 1080p @ 120fps, 4K @ 60fps (with noticeable rolling shutter), probably 8 bit 4:2:2, I'd love 10 bit, but I dont think we'll have that much. Anyway, when is this thing being announced?

6K, 4K - don't really care to be honest. Give me 1080P 10bit internal at 48/50/60FPS (minimum), V-Log, 5-Axis IBIS, for $1200USD and you have my money. But then again, the Blackmagic Micro covers all that (except the IBIS). The GH5 (assuming it has GH4 form-factor) would definitely win the ergonomics battle, however...

Upscaled to 4k in Sony Vegas, Neumann Luts used for color grading , Neat video used for cleaning compression noise, Magic Bullet used for 4k grain. Shot on the Canon t3i with the Rokinon 24mm f1.4, and the Canon 50mm f1.4

70.6mm standard rear thread, as all the big 35mm film projector lens.

Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time. And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). All their moves have helped the independent filmmaker. Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively. They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there.

After much work and many sleepless nights, I have almost finished my work and I think I have brought the lens NXL to the point of being sold to the public. I thought if the test this week will be positive to produce it with Canon EF mount dumb to which you can add a Nikon adapter with iris aperture control. At this stage it allows to mount all Nikon and Canon lenses, in the future I will continue to work to enable the electronic control of the lenses.

Love it. FT4 rating... That's like changing your relationship status on FB, so you know it's legit. No crop in 4K. http://www.43rumors.com/ft4-first-panasonic-gh5-spec-4k-422-10-bits-internal-recording/

Wow... Unbelievable.

Highlight recovery doesn't count then?

OK... don't take it wrong... so why not just getting rid of the B&H module and pair its anamorphot with a proper $F Module? if not for experimenting? B&H16 wasn't designed at all for filming purposes either as none of the anamorphic projection lenses were... If I'm not mistaken Alex Diehr modded a Rectimascop 64 (or 80?) and a Moller 63 with the glasses from the SF module of a Panatar (based on the same plano concave/convex optic design than the B&H). Seb Farges uses the SLR Rangefinder on the Baby Hypergonar. I've tried it myself both on the Baby H and the Sankyoscope. Right now I'm not happy w the Baby's results, but I get a sharp 1 meter to infinity at f1.8 with the Sankyoscope... no streak flares, but real organic textures, ovals and waterfall bokehs From a lens that shouldn't deliver better than 2 meters close focus at f4.0/5.6. Just saying if the B&H formula is not ideal, it's 46mm diameter glass is a start to go on with the idea of a Micro SF Module. No? I wish I had better knowledge in simple Maths, Optics and Mechanics to produce a better formula. Just thought I could share the idea here... and maybe get some feedback from others experimenting Anyhow, Many Thanks again for sharing your work with that "Open Source" Spirit. You can be sure if I succeed I'll follow your example ont that matter. Best!

There are other factors too, like "penumbral sweep" that affect motion rendering characteristics: http://nofilmschool.com/2010/09/the-red-report-adam-wilt-on-epic-hdr-and-the-future-of-cinemaphotography http://nofilmschool.com/2011/06/tessives-time-filter-brings-films-dreamy

The verdict from users seems to be coming through that this might be the best tool so far for mirrorless cameras in the affordable price range. Maybe not so much if you are shooting with a DSLR, but given that you can get a Sony a5000 with lens for £279, you might as well get a dedicated camera for gimbal shooting if you normally shoot with something bigger, looking at the money you save with this gimbal over anything else that is as reliable.

Amount of rolling shutter, quality of interframe compression (or lack of ideally). They effect the perception of motion in video.

It does say 6K only for photo mode, it does not have to be 16:9 ratio. So the calculation part in the article for video is not so relevant.

But isn't it a bit weird? I'm not sure Panasonic would offer or advertise this 6K 30fps burst only for stills, all stills things Panasonic has done has always had 4:3 as a priority. For me 6K Photo Mode is just something the source called it by itself, in the end it might just mean that the GH5 can do a full sensor 30 burst in multi aspect for a limited buffer.

it'll have IBIS, this is their flagship camera, IBIS and their Dual OIS feature is on lower end cameras and it's a must on their best.

Indeed because it could not output the full 18MP in any mode. You couldn't make use of it. But on the GH5 it can and we need to make a distinction between the actual total resolution of the sensor and what the different aspect ratio windows of that give you.

Panasonic did it as recently as the LX100 with its MFT sensor.

Yep, its the rumored multi aspect sensor from may. It has the same sensor dimensions as the previous GH2.

Agreed, I really can't see this being 6k video. But I also doubt 4k@ 60 FPS. Maybe 1080p 10 bit. Still I hope all the hyped rumors are true. I would love to have a Red Dragon for $2k. I wouldn't count on it though.

Are there somebody who wait for Kinefinity Terra 5K real world capabilities more than GH5?

Enjoy

A full readout of the sensor, no matter the resolution at 4x3 would make one heck of a tasty anamorphic camera.

Here's how I think it would work (scroll to half way) http://www.eoshd.com/2016/08/exciting-true-panasonic-gh5-sounds-like-bomb-including-6k-20mp-sensor-something-not-add/

I was just about to put my mft lenses out for sale. Might hold on to them a bit longer.

Stacking two 1.33x anamorphic adapters will result in a 1.77x anamorphic adapter. This is close to the ideal squeeze of 1.79x that you would want to convert 4:3 to 2.39:1 . A Speed Booster will shorten the focal length.

I'll be very very surprised if there's anything more than the audio connector - I just can't see Canon adding 4K 60p, or even DPAF without more of a redesign of the body and so soon after initial release (was available for sale June 2015) -this is Canon not Sony we are talking about.

Already mentioned in posts before yours. I think the addition of a shoe mount XLR adapter is a good upgrade but I hope they also add ND adjustments as well.

Neither RED nor ARRI make their own sensors. They have them outsourced and made to their specifications. Just like BM do with their 4.6k sensor. BM make their own circuit boards. They don't outsource them. Then make them from scratch. They make the physical bodies themselves. They rely on commodity items for the chips and screens but they manufacture more than most other companies in house. They have an active policy of not outsourcing. You're just guessing or making things up when pass mis-informed opinion as fact. Maybe think about qualifying your guesses next time so those reading will understand that you're guessing or making something up. How does anyone know what the margins are for Blackmagic ? A company that don't tend to outsource but do tend to keep as much as they can in-house. Just like the first post that posited that few would sell when thousands have already been sold. It's just guessing at best, and most are way off. They're doing fine. Compare them to AJA and the Cion. Similar sized company to BM, they made a camera based on the same sensor package, but one that was considered to be the much better camera. Look how well that went for them. Why is it that Cion failed ? Everyone who was a "pro" breathed a sigh of relief that a "real" camera would be made and yet... Axiom ? That was going to show everyone how an open source market/ ML style approach would make a camera right ? Show those Blackmagic clowns how to do a camera OS. Look how grindingly slow that's been going because Canon didn't do all the heavy lifting on the sensor front end. or DB ? Why did they fail ? Again, they have an apparently loyal following and unique features. Again it failed. Panavison have failed at least twice to launch a new camera to replace the Genesis. Dalsa, who everyone forgets made the first 4K cinema camera have gone out of making cameras. Aaton went bust trying to make a digital cinema camera. Ikonoscope went bust using the same DB sensor. You armchair quarterbacks are all posting guesses but you actually have no idea what it actually takes to make a camera from scratch. I sure don't but I know that after seeing Blackmagic do it up close for the last few years it's way more complex and intricate than I ever imagined. I know that when I ask about a feature or aspect that I like or don't like of the engineering team they've spent a long time already thinking about it or trying to get past the hurdle. Making and developing cameras is a very expensive game and there's no way it would be some kind of loss leader. It's just way too expensive. At least they're still in the game and offering choices. They continue to innovate, and I think if you look at their first efforts, compared to now, they obviously listen to what their customers want even if it doesn't appear to be so. They have certainly hit some pretty big bumps in the road too but they are still here and trying to compete with the big boys, something a lot of others have failed to do. I find the "qc" issue hasn't hit me. I guess I'm lucky or maybe I don't expect to have my camera working or repairable after dropping it but in years of using all the BM cameras I have on commercial and paying jobs, I've not run into most of the problems that are cited as being their weakness. I mean honestly the camera doesn't overheat and yet it's constantly written as a problem on review sites or in the mythology. In the early days of RED they had to educate their users about how to get the most from their cameras and how to shoot RAW. I think BM need to do the same thing because you still get people who have no idea about a RAW workflow stumbling into using RAW for the first time after having only shot 8bit 4:2:0 previously. This community more than "pros" is where BM cameras do the most for filmmakers. Which other big box company gives you ProRes or even 10bit ? JB

JPEG can even be 12 bit if you have a look at the standard. But seeing how most displays are blah, I see why we're stuck with the 8bit implementations.

I think what BMD does is amazing. There's a huge gap between the segment of 8bit 4:2:0 cams (Sony, Samsung, DSLRs, etc.) und then the high end with RED, ARRI, Sony FS7/F5, etc. There are workarounds like F3 with external recorder, C500 with external recorder, etc. but they are the only ones making affordable cameras with high end images/codecs that are actually somewhat integrated and don't need to rig them together with x different devices. I think the UM4.6k is great piece of technic but I'm wondering if BMD aren't spreading their R&D too thin with the amount of product lines. You get the BMCC with 3 mounts (EF, PL & MFT, S16), the BMPCC (MFT, S16), the BMPC4k with 2 mounts (EF & PL, APSC), the BMMCC (MFT, S16), the Ursa witht he 4k turrent (Only EF?, APSC), the Ursa Mini in 4k (EF & PL, APSC) and 4.6k (EF & PL, APSC) and the studio stuff. I can see how it gives customers choice but wonder if it would make sense from an economic point to trim it down a bit, after all there's economies of scale at work when it comes to quality vs price vs production numbers. I'd love to see an update to their middel segment in the future, i.e. the BMCC and BMPC4k. The image out of these is great and they still have the size that DSLR-shooters feel home at when upgrading (the Ursa Mini isn't that Mini in my opinion). If the BMCC would come with exchangeable batteries (Sony L?) and a 60p framerate, who would say no? I'd love that sensor, like many people I don't actually need 4k but most 1080p recording cameras fall short because of lower than 1080p resolution with moire and aliasing. I'm still on the fence if I want to buy a BMMCC or not. If it had the 2.5k sensor it would be a no brainer. But with the 1080p sensor I'm afraid of moire because I really want to shoot raw.

Panasonic Lumix GX80.

@M Carter Amazing. Of course I am only a wedding videographer who practically never needs to touch an old project. Part of the marriages go sour before I would feel the urge to free disk space. Lucky me. I wonder why you then don't buy a Pegasus R6 or R8. They are getting faster the bigger they are. @Mat Mayer Agreed.

Hogwash. The GX85 has IBIS in 4K, no extra crop when using IBIS, and no 30 minute limit. And it is much smaller than the GH4. It does not overheat, ever. In fact, Panasonic engineers have revealed that one of the reasons the GX85 is so heavy given its size is that there is a massive heatsink inside.

12 bit 4:4:4 external?

I hope the GH5 comes in 2016, it may be delayed to 2017. Indeed Super 35mm CMOS from Panasonic would be great. They have already made a full frame sensor for Leica so have the raw material in-house to do it Micro Four Thirds should be the APS-C of Panasonic's range Where would Canon be without full frame?!

Such an underrated camera... Ergonomics of a Canon or Nikon without the 1970's mirror SHIT Smallest 4K file sizes on the planet but the highest quality compression..... THANK YOU H.265 YOU ARE THE FUTURE IT IS JUST NOBODY ELSE KNOWS IT!!!! Ultra clean and noiseless ISO 800, acceptable 1600, falls off a cliff after that but who cares? So does a RED Epic! Great battery life, great EVF... heck it has an EVF... Unlike my 1D C!! Guess which was cheapest! Articulated screen but still feels like it is built like a tank and I had mine out in the pouring rain.... didn't pose an issue. Weather sealed yet articulated screen.... Canon take note. Just look at the images... lovely! Great colour and detail The S lenses... some of the best Super 35mm this side of PL cinema $30k stuff. It is a goth of a camera It is discontinued Nobody cares about it but the ones in the know... The GX85 has fantastic colour... Just the right balance between natural 'scientifically correct colour' and memory colour.