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Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue. Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200. What do you mean I'm full of shit? I heard it from a Canon rep.

A well respected member at dvxuser wrote this earlier "Just got this info about the new camera. It will have a S35 sensor and 14 stops of dynamic range. 4k up to 60fps. 1080p up to 120fps. All the usual stuff like ND, SDI/HDMI out. The body is very light weight at about 1 kg. Media used will be SDXC cards with dual slot capacity. The camera pars can be broken down and the shape of the camera is a mix of C100 and FS5. As is the price in the league of a C100 mkII." Would be pretty amazing if true

@webrunner5 We obviously talk about a variable sensor, not a m43 one. I do not own or have any m43 glass or cameras while I have a lot of different lenses for different mounts, I just express the versatility of such a thing, and why not, but use some m43 glass too (even though we use EF lenses with LS300 right now!) with a smaller, and all around camera like the GH5, or other. I thought that JVC is owned by Panasonic by the way, and I do not think that having a sensor, and take parts of it is copyrighted or whatever! That would be an obvious upgrade for a lot of m43 users that started video productions with the GH series cameras, and would help (or at least support and defend) their native sales too.

Beautiful... Panasonic made a great choice signing you up. That is exceptional

Yes, either using Resolve or I think cr2hdr does a version of Log as well but it's Mac only so I haven't tested it.

I seriously considered the Kinemax...liked the image from that camera a lot...but found communication with both Beijing and Berlin a bit vague...not quite sure how else to put it....but if I was going to spend $10k on a camera, I was looking for more in terms of support and clear communication...I thought the image lovely though!

I think it would be smart for Panasonic to make this smaller Cine Camera usable with their native glass...you can still adapt any FF stuff but the M3/4 flange distance is attractive as would be s35 sensor size....and one could argue that JVC copied the m3/4 mount from Panny Oly...also the s35 to m4/3 crop would be something like etc. on their earlier GH cameras...technology they already use...and people talked about on this very forum, when speculation and features wanted for the upcoming GH5 were being posted a few months back...looking at the Leica fast primes that Panasonic's releasing now, why not...the glass is amazing...sell more of their glass for this camera and for those already invested in the M4/3 system, the attractive idea of buying a s35 camera with which they can use their already owned stock Panny glass....but hey, I could be wrong!...would not be the first time lol...??

Did something similar a while back for passenger POV and had no time to pre-rig anything. I ended up removing passenger seat headrest and ratchet strapping the tripod (folded closed) to the back side of the passenger seat. Tripod head and camera was then free to occupy the space where the headrest used to be. A bonus of the setup was that the tripod head could also pan and tilt by an operator in the back of the car, approximating the head turns of our passenger's POV whilst in a car chase. For your needs it could be similar setup...but with an extension or longer plate on the tripod to give the camera a bit more overhang, closer to where the passenger's head would be. Magic arms are good, but not the best for camera support on their own if car is moving...they tend to vibrate. Magic arms (used in multiples) are great for additional support and cranking down a grip for 'on the fly' rigs like this. If the car is to be moving, it is generally best to strap down a hi-hat or tripod solution where multiple points of support from straps and clamps can be employed...something where vibration can be minimised as much as possible.

wow i see i sparked quite a debate! hehe i want to thank everyone for their input. i decided to go with the GX85. for one, Yes, IBIS was the main selling point. i want to shoot up close, in movement. two, it was on sale for 697 usd. three, judging from what i've been reading here and elsewhere, no matter what camera i could get in this price range, it will be a better investement long term than the camcorder. the other thing is, i have a classmate who runs a small video clip production company, i'll go assist him on his projects this summer, he'll be able to teach me a lot of things. someone was worried that i'll end up another guy who does press & shoot... look, i'm a screenwriter. my priority is the story. I'm fascinated by the theories of Tarkovski, Eisenstein. Eisenstein revolutionized montage at a time where movies didn't even have sound. I tend to agree with him and Tarkovski. the real magic happens at the montage. I want to learn how to stage what i have in my head. Practice writing tthat will make sense when it's being filmed. Practice putting together shots to get the dramatic effect i envisioned. do i want to be a Super Mega Pro and shoot jaw-dropping video? sure it would be nice. but to get there, i have to practice a lot. and the investment of time spent on acquiring technique is justified, to me at least, only by having things worth shooting properly. I'll learn what i can in the process, and if i end up feeling like i could learn more/do more with more sophisticated/specialized equipment, well i'll cross that bridge when i get to it. i got the camera with its kit lens, and following the advice i read here and on some other review sites, i'll get a prime lens as my second lens once i get a bit more cash. thank you for all your help! i hope i'll be able to get as much advice in the future as well, once my camera arrives and i start experimenting with it.

ARGH! facebook, facebook, WHY?! I really wish facebook would die...

I just tested the Akitio Node. Everything run great, easy to setup and no problems what so ever. At the end I returned it, but only because I preordered the Mantiz Venus. If you are interested for an egpu solution then there is a very helpful community at https://egpu.io/ . You can find all sorts of combinations of GPUs/Cases/Computers.

It looks great!...as does the design!...beautiful production value in your film, and the GH5 delivered as well!...can I ask which of your LUTS you used?

The licensing excuse is not the real reason that camera manufacturers don't provide shallow mounts. M4/3 works fine for up to S35, and there must about 5 zillion ways for manufacturers to allow a female E-mount mount (or an EF-M mount) on their camera/adapters, while avoiding licensing problems. One easy way is to simply provide a front plate with just screw holes and the end user can purchase the female e-mount separately. I saw the Kinefinity e-mount adapter at NAB, and it is definitely the way for camera manufacturers to go -- provide a shallow mount (simple mount plates are best) and make adapters for every possible lens.

For some reason I thought you used the Anamorphot, not the primes. Anyways, I think I am not the only on who would love to hear more about those lenses. How do you find gh5's anamorphic mode after shooting on pro cameras (like red, etc.)?

I think there is a clog export option in the footage app. I haven't tried it and won't be able to test it for a few hours.

There are plenty of examples if you are willing to look: They are also at NAB:

Just saw this video, looks fabulous. Kowa 8Z, 50mm, IBIS on.

The E-mount is locked and I dont believe for a second that they have licensed it. So.... Also, this company is starting to look like pure vgaporware. No way the reason we never see footage is because its only delivered to High End Chinese Shooters... (Just my 2c)

Arguably. Depends. A shorter handle is easier to hold with one hand, whereas a longer one (or prolonged, i.e. with folded table tripod) is easier to hold with both hands - for occasions when you don't move much with a heavy camera/lens or in inverted mode. The same is true for the dual handle. Useful for certain shots, not so much for others. I experiment a lot. Screwed the Zhiyun on a monopod, screwed a hook at the other end, hung my camera bag on it as a counter weight and had a makeshift crane indeed. Wondered how to perform the perfect dolly shot on my parquet floor - too uneven for a Pico dolly, as I had learned before. I stuck a soft broom at the end of the monopod and shoved it gently (instead of wheels). Not a brushless gimbal any more ;-) Version 2 looks like an improvement. Still happy with mine, but for those who still don't have one it could be better to wait. Battery life of 12 hours seems to me kind of overkill.

Indeed. The image quality has really spoiled me on what's currently out there now. The 4k at 12fps is spectacular....it is an absolute tragedy as to what these canon dslrs are capable of.

Youtuber Luigi Baccino posted this DNG 14 bit lossless images resolution: 3840x1440. Lets pray to the ml gods that they get this preview working for at least around 3k.

Resurrecting the dead. Kinefinity is showing a Terra 5k "engineering model" at NAB. https://www.facebook.com/groups/kinefinity/ Also deja vu regarding the ProRes licensing state, on their Facebook page they have announced an active e-mount (did Sony really license that to them!?).

There are some long plates that also act as lens supports or large telephoto lenses.....if you mounted one of those on the tripod head as per Hans Punk's suggestion, and then mounted the camera where the lens support goes, it will put the sensor exactly at the eye position of a passenger...a little modification may be required (I've never used one) but it could be a sturdy rapid solution...any ratchet straps from a hardware store for luggage racks will work for securing the tripod... https://www.amazon.com/Sirui-TY-350-Telephoto-Support-Plate/dp/B00AZTCHI4 something like this

I think if Panasonic put a s35 sensor with a m3/4 locking mount capable of cropping to m4/3 also for use with their native lenses (ala JVC LS300) and some nd, xlr connections....kept the price point reasonable and made all other aspects modular...and SSD media instead of SD, they would hit it out of the ballpark, just as they're doing now with the GH5....I suspect the response to the GH5 which, if you ignore the AF crowd, and just look at how difficult it is to even buy one now, has been overwhelming and has affirmed for them that there is a market for this camera...and I suspect that they will come out with a camera that far exceeds the features and image quality at the price point they release at...they are already doing that with the Varicam LT...that camera produces image quality and features that can go up against any camera out there in the world....the Varicam 35 & LT are both Netflix accepted production cameras (Netflix is rapidly becoming the largest "studio" producing content if not there already), so Panasonic is well positioned with their Varicam line, the astonishing features and IQ they released in the GH5 (because they pay attention to what shooters really want and need) and now with the pending release of this smaller Cine camera, they will firmly establish themselves in the marketplace in that middle pricepoint that Sony and Canon are grabbing now.

Any tie down/ratchet straps will work...can be found at most DIY places. Magic arms with clamps at both ends are good for support and C-stand knuckles and rods can make lots of funky rigs possible...but maybe overkill for your needs. Maybe try the tripod and straps first for a test...as 2-3 decent straps will cost under 20 quid. Maybe some carpet or padding to go between seat and tripod if cranking the straps super tight (to stop any dents/rips in seat upholstery) If that solution does not look practical maybe look into that headrest mount.

Updated pdf. Although I don't know what the reference to ffprobe.exe is about. GH5 10 bit fix.pdf

It'd be great if e-shutter only could be enabled for nx1. I'm pretty sure it could do at least 24fps in that mode, at 4k or even 6k.

I've tried Sony Vegas, Premiere/Premiere CC, Pinnacle Studios, some "free" video editing softwares and all of those have lag or stutter issues with the live playback EXCEPT PowerDirector. PD was the only software that edited 100% lag and stutter free with my hardware for my GH4's 4K files. My Specs: i7-3820 @ 3.6mhz, 16gb DDR3 1600mhz Ram, 1070 SC 8gb, 120gb Corsair Nuetron GTX SSD But the weird this is, all the software lags with ANY resolution video I used, even 144p stutters and lags with all the settings configured to try and help video playback / smoothness. I have a feel something NVIDIA Control Panel is overwriting a setting cause the lag in most of these software. I'm just glad PowerDirector works amazing, but lacks some features Premiere has. So it maybe your software rather than hardware you may need to change?

Dave is blessed by the Sage that is visiting this forum lately!

Yes, the rewrap approach is probably the best way to go (I don't have the camera yet) The information above, and the little discovery by Justin is of particular interest to me as I am working on a little project involving V-log mapping at the moment That compressed luminance recording of v-log and v-log L is even beyond the 64-940 (0-100%) IRE envelope. I.E. exposure bottom* is intended to map at 128. And that is with the 64-940 envelope

shoot, after quiete a bit of testing the ibis with 14-45mm, tokina 24-40, 28mm FD I almost forgot to recognize how very nice the ooc color is and how awesome it is to grade. Was a fan of the G6 and how with a few tricks I got the grading I liked. But GX80 is so easy to grade and gives me what I´d call the graded Panasonic color sience. Best bang for the buck image quality wise, if A7S night owl is not necessary. For what you see is what you get approach, this camera is also beautiful for senseful low light stuff like evening in living rooms, cosy restaurant lights and stuff. oh, ibis is great for steady shots or handheld camera, but in my opinion not close in making a flycam or gimbal obsolete, not close unfortunately. But color has something I would color creaminess, gradations, oil paint, beautiful! HD is looking fine, 50p plenty aliasing. For the perfect HD alone I would love to get a GH5. And i will in a few months, because of this camera, the pretty, nifty GX85!

Depends. Different purpose cameras. If you needed all that, chances are you already have something like it. If not, it's a very nice upgrade path! Agreed. But... the GH5 still makes for a nice handheld compact shooter with IBIS and all that. Certain advantages the new other camera won't have. They probably compliment eachother really well.

Seconded, thanks for the tip!

Whoa. Thanks for the tip!

Surprisingly, Adobe Creative Suite 6 is still very powerful with a few plugins, specially in Premiere Pro I mean what the heck is new in the other Premiere Pro versions that impacts your editing flow? Premiere Pro CS6 you just need a plugin that allows you to use LUT's and then you can just use Resolve to edit a LUT for each of your footage since Adobe decided to show us the finger when it came to SpeedGrade which is so SLOOW and so BUGGY, it infuriates me it even got released and Adobe's constant issues with OpenGL from time to time. Adobe wants everyone to move over to the Cloud model, I could not handle it so I just got it the righteous way. But every release, its always so freaking buggy and it takes months for them to patch it, its so sad that this is the sort of business model they choose to run when they could have continued to add features to CS6 package and make it even better instead they gave the finger, told us "You want new features? You must subscribe to us on the cloud service instead" I have personally yet to see a CC version of the entire package that is stable, I also used the legal versions at work on Mac's and its equally buggy and slow specially when editing 4k footage, I do miss codec supports in Premiere Pro CS6 though but nothing you cannot technically get without plugins, there are also ways to get Premiere to take just about any format that exists with Windows Codecs. At the end of the day, we are crippling ourselves by getting spoiled with new tiny little features that Adobe adds, and we do not want to move to anything else because they do not have it, but in reality there is ALWAYS a way to replicate it, and its funny they edited many masterpieces with such ancient and basic software in the past when the digital age just began. They did a lot of cool stuff with such basic stuff its really mind boggling. Also its very sad that they cripple Camera RAW for older Photoshops like CS6 and CC 2013 just to force you to use their newer versions which are not very fast, I recommend just for fun try the old versions and notice the speed difference compared today, and you will scratch your head in how its possible that newer software based on same code has become slower for no apparent reason.

The monitor really looks great, I would love to have one, but for that money probably is better to add more and get a 4k external recorded....

Check out Affinity Designer to replace Illustrator: https://affinity.serif.com/en-us/designer/

Available from June http://avid.force.com/pkb/articles/en_US/FAQ/Media-Composer-First-FAQ

Bought a book for Affinity. Found, that almost everything is covered. No one should subscribe to PS if he doesn't already know it, he should start with Affinity. Some things work better (for me) like refining masks. However, there is one thing I don't like: updating changes is slow. I mainly use PS for raw stills. ACR has a page with HSL sliders (don't know the name off the cuff) where I practically "grade" my whole image. Didn't find that particular tool in Affinity Develop. But who knows, perhaps this is just the famous quest for the blue button ...

It's not so simple to say good bye to Premiere CC because of two simple facts: There is a bunch of very useful and well done third party plugins for Premiere, not existing for another kind of software than Premiere Familiarity - most people are already used to the GUIs and workflows. Getting the same abilities for another software takes time and efforts (and at the end of the day, every piece of software has its weeknesses and flaws) In my eyes, there is no "holy grail" in this market...

@Axel how do you like Affinity Photo? Why do you still use Photoshop and not just Affinity Photo? I also use Illustrator and Acrobat from time to time... Two more apps to replace (Affinity has Designer to replace Illustrator?).

I subscribe to Photoshop (13 €) although I have Affinity. And I have After Effects (24 €) although I also have Motion. Both Adobe applications I know since almost 20 years. AAE is ridiculously old-fashioned and has a terrible UI, but the thing is: I know this UI like I know the back of my hand. What about integration, dynamic link? Not a big issue. I can pre-compose everything in FCP X as compounds as part of the sequence. Since a compound is also a project of it's own, I can XML it over to AAE (I use X2CC for that, 50 € once, not sure if this was even necessary), render there, re-import it (name of the compound) and connect the finished result over the compound. Should anything change later on in the edit, I alter the compound, asf. I guess the same thing could be done with Resolve, since Resolve also knows compounds. The NLE has to be about performance and stability, not about a thousand features. Adobe has maneuvered Premiere to a dead end in this respect. In 2009, 2010 they had been very successful with the mercury engine. Other NLEs, like Edius and FCP X, used - and continue to use - every dirty trick to improve performance. Premieres 2015's proxy workflow was awkwardly and half-heartedly integrated. As if editing non-natively was a shame. Even the free Resolve had that thought out waaay better: I fully understand the frustration. GH5 10-bit footage not supported and such things. I also understand that people like to use the NLE they know best. So go the Rocky Mountains route or wrap to MXF. But nobody is forced to pay monthly for a product he feels is becoming a PITA.

Looks like Acid and SoundForge are now part of Magix software? SoundForge+Acid+Spectral Layers Pro could replace Audition on Windows. Agree rolling Pr/AE/Au into one app is the long term right answer.

I belive that I made the first cooking GH5 video :-D Shot L 709, 4K 24p and 60p + 180FPS. Lenses: Samyang 12mm T2.2, Panasonic 25mm F 1.4. Edited in Vegas Pro 14. Lets see my wife's carrot cake!

Bummed?! This is amazing news for us poor people. My adobe student version I got together with a friend who was in college a year ago ended and she does not want to continue sharing as she has gone into script supervising. So me saving 600 a year on a suite plan. Great time to head into a fully DaVinci workflow!

The Varicam LT sensor for 4999 would be amazing.

MFT mount, that awesome Varicam (LT) sensor and full Vari Log, great intra and interframe codecs, though locked to 10bit without RAW or 12 bit option, internal ND- the awesomest possible successor to the AF100. Maybe some additional innovative features such as stepless cropping options, lossless digizoom for HD and 2K and so on and that beautiful industrial design style of the LT and GH5. For 4999.99, my dream camera dream come true Edit: but then shitty display and micro hdmi and bad preamps

Must get one of those Nocticron's..

So here's a short video of some shots I put together from the first time I've brought this kit outside - Password - eoshd Shot on Samsung NX1, gamma DR, sharpness -10, UHD 25fps. Canon FD 50 f1.4 @ f2. Cropped sides and most shots stabilized, also added a bit of contrast with curves. Probably didn't have a perfect alignment of the lenses, but I think it was close. Now need to make a better mounting. Will post some pics of the setup too.

The Bolex 8/19 is the only lens i have tested and it worked. Results were subpar so I just decided to wait because John from Rectilux has something special up his sleeve. I was able to get a 24mm FOV with my Bolex. Top angle on my drum solo.