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I'm 42. In high school computer classes involved typing and running some DOS program. I think I had my first legal drink before I ever sent an email. I remember the days when I would yell at my brother to get off the phone because I was hoping some girl was going to call... she never did. Lol. Well she probably did but gave up because of the busy signal. Hell I remember when call waiting was the newest technology that I had to explain to my parents when they kept asking why the phone kept beeping at them. Lol.

That article wasn't a review. It was more of a news announcement and an opinion piece. As far as EVFs go it's best in class. That is a fact! Nothing controversial about that. Zacuto never gave me a loan unit. Count the number of Zacuto articles on EOSHD - what is it - something like 1 or 2 in 5 years. Hardly shill like behaviour. And for internal recording I'd much prefer to use the Zacuto Eye on a small camera than a whopping big field monitor. The SDI input isn't a problem. You can get tiny HDMI to SDI converters for $70. Blackmagic do one. https://www.bpm-media.de/Studiotechnik/Konverter/Mini-Konverter/HDMI-=/X/Blackmagic-Design-Micro-Converter-HDMI-to-SDI::372209.html?language=de&gclid=CLa706XAztICFQIL0wodRvkFEg The irony is you critisise me for criticising C5D then call me a shill! But I'm willing to let it go as you were a great mod over at the Cinema 5D forums... You put a lot of passion into that place. Surely, were you not just a bit pissed off at Seb and Nino when they decided to offload the entire forum to Planet5D on the condition the idiot over there would monetise it? That community sold into the gutter for a penny. And I would never sell my members to anyone - they are not mine to sell. Like I say, you can use the Zacuto Eye on DSLRs with a $70 HDMI -> SDI I don't know why Seb thought he could trade people's forum activity for money... That's the crux of that little matter. Yes I do have a chip on my shoulder but in this instance mainly because they slated the GH5 without understanding the technical reasons behind the macro blocking in 10bit. Yet they are in direct contact with Panasonic about this and leading them down the garden path to announcements, firmware updates and god knows what else. Quality feedback is extremely important. I advised Panasonic not to put a statement out about it because it would only draw attention to a negative from a flawed test, which basically claimed the GH5 was unusable for professional work, when the truth is the opposite and it is actually an incredible piece of engineering with a few normal compression artefacts in VLOG if you grade it wrong. Facts bro. If you need the broader picture about my supposed 'chip on shoulder' then you need to consider the full history of what Cinema5D has done for the DSLR video community. Here's a brief outline - 1. Nino and the other Seb plucked out of obscurity by Philip Bloom to intern on the infamous Red Tails shoot. Nino and Phil have remained friends 2. The point being he did not get noticed out of the quality of his work, rather by association with who he knew. 3. Cinema5D started with Jared Abrams in L.A. covering DSLR video, hence "5D" in the domain name 4. Nino instigated the shift to professional cameras and a professional standpoint on everything, completely jettisoning the fun aspect and alienating enthusiasts, as well as damaging the democratic aspect of the whole community at that time. Meanwhile Jared was dumped out in the cold. 5. Nino gives seminars and talks for money at trade shows every year and has been at almost every one I've ever been to in some kind of manufacturer or dealer sponsored capacity... BVE, Photokina, etc. Nothing wrong with making a living of course but to then turn around and claim you're giving unbiased advice on Cinema5D is a bit rich in my view. You can't do both. 6. The forum was offloaded to Mitch at Planet5D, the most clickbate resource in the whole community, he of course made a huge fuck up and it haemorrhaged users. Seb I believe did this because he couldn't be bothered to maintain it despite the fact he had a team of mods to help him, and he wanted to off load it for cash. Disgusting. 7. The general content there is just so bland. Yet because of all their manufacturer associations it floats the public's attention like sponsored content. 8. Even during the years when we were on good terms, in the past Cinema5D rarely if ever mentioned my articles in their coverage... mean spirited. 9. Rather they saw me as a bitter rival to be crushed. 10. Way before my first ever article criticising their actions, they have been extremely rude to me behind closed doors... dismissive and argumentative.

I was wrong. I was a fool. I bought a Ursa Mini 4.6k EF mount. A week before the Ursa Mini Pro came out. Opps. But, still, this camera is incredible. I was an idiot for criticizing them. And now with the pro, they have delivered an ideal camera - capable of Raw or log for only $6000. That looks like an alexa. That is built well. That is small. That seems to not overheat. A really amazing camera. Blackmagic has done what Red had dreamed of.

Hallo @andy lee! Because off you I got a Panasonic G6 and GX80 now. Latter one has beautiful tactile feel, though it´s a about 0.5 - 1inch to small in height and width for my hands. G6 has very nice HD, better than GX80 I would state. And bought a G70 last week- to me the perfect ergos for a photo/video hypbrid, but not the same beautiful tactile feel of the GX80. So because off you I got three Lumix cameras now. I think you "owe" me now some great pleasure of seeing more screenshots of you film "Pandora". Even better some teaser footage! Everyone of us wants to see you Nikon 28-70-200 lenses in action with the cool Lumix G7/70 cameras! Of course you don´t owe me anything. It would be the other way around cheers Hey Jonpais! Beautiful colors. Fuji comes first but around 50 sec I thought G85 looked just as good as Fuji! 1.27, beautiful! But you´re right, Fuji mojo seems hard to beat.

Not alone. It's my favorite procrastination tool, among other cons. Feel like it often diminishes my quality of life rather than enhances it.

Of course, the "chip on the shoulder" is the exact reason why this place has more authenticity than others and feels more real. Its why the articles that do appear actually are entertaining and don't feel like slogging through some PR brochure. Its why the forum has some juice behind it. Its not self censored for safe or broad corporate appeal. I, for one, appreciate that, and the culture it allows, if nothing else.

Thanks for all the posts asking me not to quit EOSHD. It's been a long time running this blog by myself - 7 years now! I am completely disillusioned with the industry, the direction it is headed in, the lack of creativity, the focus on pros, the lack of quality online rivals, the bitterness that exists in the blogging community and the amount of clickbate out there. It's going to take a miracle for me to get my passion back.

As im considering getting rid of my NX Gear Ive put it in boxes and am trying to act like I don't have it for a week or two.... we are separated not divorced... Finally got a ND Filter for my FD len only things I can get on my Pocket atm ATM Shot this stuff RAW trying to figure out what is the best exposure on the histy I suppose on RAW you want a flat valley not peaks to the left or right? Its all hand held with some serious (bad) stabilization all done in Resolve Im learning that just just because I have all that dynamic range perhaps I shouldn't keep the Whitest whites and the blackest black alot of grades have milky blacks.... All Canon FD 24mm 2.8 + $13 NDfilter

Hi guys, with friends we decided to give ourselves a challenge and see what could be done in 1 hour shooting. That's what i've done with my A7SII : This is a joke. Big big big slowmos... too much slowmos.. but this was the goal, with the dramatic music !!! If you have some videos to give, shot in 1 hour only, no more. Color grading in Lumetri, première pro, with a custom LUT made in photoshop. Hope you like it. N.B. : LAPIPA does mean nothing... lol. N.B. 2 : a bit of hommage to MARION COTILLARD...

Not a big fan of moving a camera, but if you must, see below for inspiration! Just because you can, does not mean you should...unless you can do this!!

To be fair, Andrew didn't provide any evidence either because he doesn't have the camera yet, he probably is right but his reaction seems more based on a frustration that Panasonic didn't send him a unit, the same as with the Gratical Eye Yoclay mentioned, also there he forms an opinion based on specification only and telling us how great this unit would be with a gh4 or a7s while "forgetting" and not even mentioning it has a sdi output only, even ignoring it when Yoclay mentions it. This also looked to me like a sugarcoated article with a "buy here" link in the hope that Zacuto would send him a unit which apparently never happened as I didn't find a "hands-on" article.

Has BMD addressed the magenta cast, corners and fpn even at 800 iso? If so, this camera looks like a beast for the price.

I just want to share my experience with getting rid of the blocks artifacts especially on a sky, I've found out that it's all to do with ISO value! when using the gamma DR profile and a low iso this introduces very ugly blocks or artifacts on the blue channel so I tried with a high iso either 500 or 800 and turns out it reduced this by a large margin if not completely. however high iso means overexposure, so ND filter must be used, if you're shooting a talent then you'll need to reflect light on your subject too. The picture shows you the difference, look at top left corner, I've maximized the color grading to be able to see it. I also tried adding grain to the 100 iso image but that still didn't fix the blocky image. The blocks are due to the compressed 8bit only video quality and the nature of h265.

I concur with everyone here. It's not worth quitting over it. I don't post much here, but I enjoy coming here and other sites dedicated to indy and enthusiasts in video/filmmaking. The Panny GHx years intrigued me in the early 2010s and it was you that made it possible for me to try out videography. Opinions are just that... opinions; everybody has them. Creativity trumps all of that.

Please don't quit Andrew! I love your reviews and honest approach to informing your readership. I have over 10 years of experience in Hollywood, I have a GH3 and have bought your GH3 shooters guide. I saw the Cinema5Ds review and was also puzzled a bit as to their conclusions. Please keep up the good work on here. I am looking to upgrade from my GH3 in the near future and will be relying heavily on your thoughtful critiques and reviews. Thank you again for this post about identifying industry fakers. Best of luck to you good sir!

Well, in my case that's true as well...although we eventually got basic cable when I was in high school. My mom kept the household at a temperature that rivaled the refrigerator. Maybe that was her plan. Save money on heating and keep the meat chilled simultaneously. I wish I could use this excuse for my lack of youthful companionship. I had more challenges than a landline could affect.

Yeah, I'm of an age that knows a history without the information super highway mobile World Wide Web, so I had a life untethered. Maybe I romanticize that nostalgia a bit, but, among other things, I do know what it was like to have a conversation with friends about stuff before an easy answer was in everyone's pocket.

Maybe saying something obvious, known for a century now... But what makes an image cinematic is the image before it and the image after it. It's the arrangement of those moving parts that works in our brains and eyes... and souls.

That looks really cool. The Pocket is such a wicked camera and those FD lenses really sing on it. Which lenses did you use? Did you use any IR filtration? And finally, did you grade this in resolve?

Hi Andrew...we just watched Knight of Cups the other evening...Director Terrence Mallick and DOP Emanuel Lubezki....the moire on any stairwell scenes were so bad, it actually looked like a special effect....yet they don't seem to give a shit...because they're making a feature and overall Mallick makes visually some of the most stunning films in contemporary times...and in a way that's what I appreciate the most in how you view cameras in EOSHD....as a tool...not something to be squinted at at 400 percent zoom, but something that's possible to operate under the rigors and schedule of making a feature...not a single frame...because a frame represents 1 24th of a second in a 2 to 21/2 hour film....whether the tool overheats while you're shooting ....or is limited by how long you can shoot or is reliable, or can shoot while you're stumbling in the dark, are all choices the individual has to make for themselves, but if I had to say one thing that stands out for me in any piece of gear you write about, it clarifies for me as a filmmaker whether that piece of gear would work for me as a tool or not, and that as a resource is at least for me invaluable!

Hi Andrew...my 2 cents worth...you are both a gifted writer and have a great eye with a camera, and have somehow managed to maintain integrity through the years....regardless of your decision, there has been much benefit to the EOSHD members as a result of your work....as you will get your GH5 long before I get mine, I am definitely looking forward to what you do with the camera, as well as a shooters guide for it, if you choose to do one!

a haiku by @Ed_David URSA Mini Pro So good but Blackmagic tho Ah, buyer's remorse

The panny 14mm is as lens I use a lot especially on steadycam rigs for walking shots and for wide establishing street shots too, its pin sharp aspheric so I'm looking forward to getting the 12mm it will be useful extra wide lens , I do try to use wide angle lens asleast as possible as I'm not a big fan and as a rule I like to be on the longer end of lenses where ever I can , but certain shot do require these wide lenses .

This has to be the craziest BMPCC rig I have ever seen. Envy in a sense. http://www.bmcuser.com/showthread.php?18136-Huge-BMPCC-ENG-style-kit-for-sale

Well, that was a pretty nasty little article. Why bother ? The guys over at Cinema5D are trying hard just like everyone else. Andrew, you talk about them basically as if they were corporate shills, but on the other hand I remember very clearly you promoted the Zacuto eye, saying what a great small EVF for small DSLR cameras and when I pointed out repeatedly that it had no HDMI input (only SDI so really not adapted at all to those cameras) in your forum, not once ever did you respond. The point is that your criticism can be extremely harsh, yet I don't see you holding yourself to the very same standards you ask of other people. It's obvious that not once did you try the product with the DSLR's you mentioned or even consider such a glaring error, so what was that article? Nothing but an empty promo in the end, right ? I don't point this out to shame you, but merely to say that your article seems harsh, strident and unfair. You really seem to have a chip on your shoulder. You could have just as easily rebutted their findings with the points you made in a more gracious manner. In the current climate do we really need more harsh hate filled rhetoric these days ? Maybe they got it right, maybe they didn't on the GH5, but it's important to cut everyone a little slack now and then.

Adding my voice to the don't quit chorus. More voices are always better, especially when they add to the discussion. What's weird to me about all of these discussions about a technical issue is basically, who cares? I'm not trying to be flip about it, but ask yourselves, who cares? If it informs your choice of cameras and when to use them and how, then great, but other than that... the GH5 10 bit unusable? Hardly! I regularly see cases of aliasing and other more obvious problems on shows I dearly love that are very successful, but it doesn't matter. The writing, the directing, the acting, everything else (god even the cinematography in these shows the rest of the time) are fucking great! So I don't care, nor do the millions of other viewers who also love these shows. Focus on writing, focus on directing, focus on creative shots and impactful story based cinematography, focus on finding other creative people to collaborate with and make something that you give a shit about with whatever camera you can get! Rant done, thanks.

okay, amigo.

Don't URSA Mini 4.6K EF owners get a hefty discount on the new camera, bringing it down to something like $3500 so I heard and you get to keep your existing camera.... bargain. 4.6K sensor looks nice, it's a custom design and not off the shelf scientific. And the old Mini 4.6K is still nice.... Pro is just the same camera with NDs and more buttons!

I think more and more rental houses will start buying them once we start shooting really beautiful stuff with them and show them to be reliable. I bought the Ursa Mini 4.6k EF - after my stupidity on this forum - and I couldn't be happier.

I'm working on it now, the G85 is just a little too tall to fit into the G7 cage, by a couple mm. The Smallrig G85 should be out soonish, they have it up for preorder on their site, only $40: http://www.smallrig.com/SMALLRIG-Cage-for-Panasonic-Lumix-DMC-G85-G80-1950.html

Or get a M43 native lens. Or, better yet, just shoot with a fast prime? Lots of folks seem to think that a variable is the only way to go with video shooting. However, there's a quality that leans "cinematic" when the focal length stay consistent through a shoot/footage. On a lot of my work I often favor one lens and that's it. Something around a 50mm FF equivalent would be perfect for weddings. Not too long, not too short. Great for shallow DOF. Of course, that's not the advice you're interested in! Good luck, regardless.

Early test single focus for 35NAP family. (35NAP 2-2 | Helios 44-2 F:2 | Sony A6300) At the moment, there was a test of possibility of a single focus on these large lenses. The test is done on small lenses, large diameter lenses will be manufactured. Sorry for jitter, pic of DIY body for single below And question, my friends - how do you think, you need a single focus for 35NAP family, these large lenses?

Lol! Clearly, you haven't shopped for many lights. Aputure are dirt cheap compared to Kinos, HMIs, plasma, and most comparable LEDs.

That's because you're not using a larger lens circle. When you put a full-frame 35mm lens on an APS-C camera you're not using a full-frame lens the way it was intended. You're only using the center section of glass in the lens. I have different systems BECAUSE they are different. I didn't buy them to try and get the same result and often use the SAME lenses across systems as it saves me buying more lenses. That said, IF there is a lens available, then you can match them all else being equal*** Trouble is, there are no 12mm f0.7 M4/3 lenses that would be needed to match a 24 1.4 lens FF or 42.5mm f0.6 M4/3 lens you would need to match an 85 1.2 FF. You would probably need to be shooting in something besides air to be able to match a FF f0.95 lens with M4/3 (though an f0.5 lens would get close). Using focal reducers with the fastest lenses doesn't get you any benefit in speed either as there seems to be limits. https://en.wikipedia.org/wiki/Lens_speed#Fast_lenses If you have a faster medium format lens, the same also applies against FF but again, apart from some rare and expensive mostly aerial lenses, that isn't going to be available and wide angle lenses in particular are not going to be (easily) matched (let alone beaten) by what is available for FF. For me, "equivalence" favours smaller formats for telephoto use (as long as it is "good enough"). *** The day M4/3 can match my A7s in low light/high ISO is likely still quite a way off though wouldn't it be nice to see and of course by then FF low light cameras will be better still. The Government does create jobs!

Thanks for sharing this. That will save me a tonne of time when I finally get around to using lights for the first time (probably this summer when doing interviews). I've watched a few videos on the subject but it's far easier just to look at that one single page. Still pictures cannot waffle.

Wow, "extremely brightly" sounds like a blowout from hell on their faces. You are going to have to diffuse it a little somehow, maybe move them way back, or your sensor is going to go into meltdown LoL. Naked light sources on a face, ahh I don't think that is a plan. You are going to have to have a camera like a Arri to handle the DR. Try this website for some good suggestions. About the eaisest page I have found to see differnet looks that work. https://postimg.org/image/c3e3dnmht/

Agreed. And even with the adapted stuff you need a really comprehensive selection if you want to cover your desired focal lengths on all systems. Even with focal reducers you don't get the exactly same results. FF = 1 APS-C = 1.5 x 0.71 = 1.1 m4/3 = 2 x 0.71 = 1.4 BMPCC = 2.77 x 0.58 = 1.7 It's annoying. I have some Sony APS-C lenses now and I'm satisfied with them, I even get colors I can really live with out of SLOG, but I am not willing to shell out 900€ for the 24mm 1.8. I would really like to stick with Sony APS-C but I'm afraid they will never give us a more professional MILC (10bit, higher bit rate, no overheating, no screen dimming, bigger battery, less RS, ... basically the GH5 in Sony APS-C), if something comes it'll probably be full frame in A7 / A9 line. And I think it's delusional to think there're many more APS-C lenses coming from Sony. I'm kinda teased by the GH5 (even though I hated m4/3 when I tried the GF2 back in the day, probably not skewed because my main camera then was a EOS 1Ds III). It does everything I need & even more and will be way more reliable than the A6300. But I'll wait for NAB before I decide anything.

The cheap easy option is un diffused red heads lamps and put black bin liners on the windows to block out the sunlight

GH5 demo reel filmed in Yokohama https://www.youtube.com/watch?v=5RacTSKuNuo&t=2s

Just did a search on Vimeo. Thanks. Found some great footage by James Miller. Anyone who say this camera is "unusable" needs to shoot something other than tests. The IQ IMO stomps on my A7s II in terms of color space. In fact, it gets a depth I don't see on the FS5/7. I'm torn. I plan on selling my A7s II in the coming weeks to help finance either a BMC UMP or GH5. Both have their up and downsides. But lately, I've been going smaller and more discreet so I'm leaning towards the GH5. With a speed booster - outstanding.

Pentax 645 75mm 2.8/Kipon Baveyes/Sony A7s Last one is Pentax 645 45mm 2.8 Quick test as I just received the adapter today. I had to get the Leica M version and adapt it as I needed it for a shoot and the Sony version was sold out on Adorama. Now I have to return it because the 45mm only focuses to 1 meter. I hope the extra 10mm in the Sony adapter will fix this.

Yes...I understand...and it's really about getting the image to a place you can live with...so it 's not a distraction, but the camera just gets out of your way so you can tell the story...for me, I guess I'm lucky that I like the image LOL...just bought the Leica 12-60...never thought I'd spend that kind of money on a Panny lens!...anyway I saw the footage you shot at the Santa Monica Airport? with the Micro...you made that footage sing!

Hallo Zak, Martin shot and shoots nice videos on the Lumix range of cameras I think. For this one he used CineLike V 0/-5/-5/-5/0, Master Pedestal +10, Luminance Level 0-255 (copy and paste from his description) As experience has shown, one should not mess with master pedestal. Also, h264 Inter Frame is not a beautiful thing on even surfaces, additionally very low light didnt help the 150mbit codec neither. By the way I really liked your CineV and VLog footage, even if it was a GH4

Yeah that was a pretty lame article over at C5D in my opinion. Having had an opportunity to spend a little time with the GH5, it is already the most technologically complete / best camera I have ever held in my hands for the type of work that I do. I've been a pro for the past 25 years and have lived through film, Hasselblads, Nikons, Canons, DSLRs, Cinema cameras, and more. Truth is you can do far more with this camera than meets the eye, and if you can't do it on the GH5 you need a new career choice. It's quite an amazing camera, and at the $2K price point it's a no brainer. Here is a little real world test of my own for anyone interested in focusing on how cool the camera is rather than technical specs and BS.

The camera's face barriers to higher end acceptance because a lot of camera rental companies don't even stock them. You can't rent them from Panavision. They're just too cheap to be worthwhile to rent out. They're cheaper to buy for a production than to rent. I haven't bought a camera for a show for a long long time. I only rent. I own two of my UM4.6K bodies because the production bought them for the show I was shooting and "gave" them to me at the end because they'd written off the costs, which were, in the scheme of things very small for camera. JB

Seems like they are trying to really change the game like maybe you keep the same body for years and they sell you a 6k sensor to stick in it in 2 years.... I just came across this vid @ 30min he talks about URSA Pro he was sponsored by them last year and says he has some connections and claims BM is DEFENETLY releasing more gear at NAB What else could it be? Must be BMPCC 2.0? or a capture card for Ipads...

Sure. I don't usually do formal tests like shooting charts, color charts, etc. I might come to my conclusions quicker if I did this, but my test is usually just taking it out and shooting anything and everything, combined with my paid work (weddings, corporate videos, events). I have owned and used 4 cameras extensively. Panasonic HMC150, GH2, GH4, and Blackmagic pocket. With all of them, they have strengths and weaknesses I find. It's not as simple as one is better than the other in every category. The lowly Panasonic HMC150 still wins on motion (CCDs, and all) and has color science second only to the pocket. Yet technically it's far inferior in other ways. With all of them, I come back with footage that i'm sometimes thrilled with it, okay with, and outright disappointed with. Takes me a bit sometimes to see the variables. The GH2, for instance... over time, I noticed that under daylight, it was always great. Generally good under tungsten. But flourescant and mixed lighting, it took a big dive. And I would encounter this alot at weddings and events. Sometimes a second shooter would have a 7D, and it always handled the color on mixed lighting better. Same with the pocket and tungsten. Brilliant in daylight and florescent, but goes to the shits under tungsten. Even the stuff with an IR cut helps, but doesn't seem to cure it. That sensor really wants to be at daylight, it seems. I shoot for this woman who does canine aqua therapy. Her pool is lit by these crappy mixed tungsten and florescent lights. I've used all 4 cameras there. I can *never* get the GH2 and GH4 to look good, color wise. Every profile and white balance setting, doesn't matter. HMC150 always did a much better job with the color, only exceeded by the pocket raw. HMC does a ton of stuff wrong, like resolution, dynamic range, highlight handling, but it always had nice color. So that's kinda what I mean. Rather than definitely say Camera A is better than B, which is better than C... each seems to vary depending on the conditions. Only constant is that the pocket raw exceeds all. *Especially* in harsh sunny conditions. It blows them all away, there. Though in tungsten, especially the 2800k tungsten, that gap narrows. And it takes a lot of using them to work this out.

What the Mini Pro shows me the most, is that BMD is really listening to the crowd. When they made the BMCC and saw how everybody rigged it up, they made the Ursa (major) so people didn't have to rig it up and big crews could make it. When people said that it was too big they made it smaller with the Ursa Mini. When people said that they wanted NDs, swabble mount, external control for power on/off and better preamps, SSD cage they gave it to the people.. Just like the Pocket, they made the Micro for POV mounting when people wanted that.. Sooo... Try to ask for the same with Canon :-D The problem with this is.. people always want more - for less. I hope BMD won't break their back doing this. Look how sexy the Ursa Mini looks.. and look at how not sexy the new "Pro" looks. It looks hacked if you ask me. I know aestictis is not the most important feature but BMD has always made sexy cameras if you ask me. Their designs are so unconventional. The mini Pro looks like a hack between Ursa mini and Panny hvx 200. But atleast they can deliver on time as its not a totally new design. They have given so much to the community if you ask me. I have an exellent A7Sii i use for almost all projects. However i still love the image coming out of my BMCC much more. Don't get me wrong the A7Sii is superb! But i still have trouble with the colors.. i don't know why. QC issues... well.. Remember RED when they came?.. And yes the price does convince some that it is a inferieor products and it also is (you almost always get what you pay for - maybe not in physical material - but often it more thought out - not always) but not at the things people think it is at. ------------------------------------------- I made some calculations.. If they take a MFT cut of the 4.6K sensor you get ~3145 x 2363 pixels (+/- few pixels depending on actually size).. So thats with M43 format (4:3).. if you would want to use a 16:9 of that sensor it would yield a 3145x1769 pixels sensor. Just like RED does with fx the RAVEN. It's just a cutout of a bigger wafer in a smaller size of the Dragon sensor. They could essential make a 3K pocket/BMCCv2/DSLR MFT camera. The biggest problem is power consumption. BMDs firmware is very power hungry. But i think with Canon LP-E6 batteries they have a better chance then with the smaller Nikon Pocket battieres.

The a6500 smokes them both for autofocus, with the Olly performing terribly at times. Just a shame that the Sony makes Max's brother look like the Hulk.

I think these camera chase politics and obsessions slow down the progress of many. We're at a time now where sticking and investing in the system of one brand is the best way to go. i currently shoot with the FS5 + Inferno, A7SII and A6500. I can do pretty much everything with these cameras. I have Sony as they cover a much wider spectrum of uses than any other brand. You understand the operation, the dynamic range, color space, the community, the workflow, the lenses etc without having to change your mindset and learning development much. I'd love a GH5, but it would be a camera too much in my kit, and the odd-one out. Plus I'd need native MFT lenses to get full performance. That money can be spent on native Sony lenses, a new soft light or even marketing. If you're not invested in a system, the GH5 is a no-brainer.