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If it is the same old 24/28mpbs bitrate for HD in 24p to 60p, then for video the GH5 would stay the "no brainer" film camera for me. Even more, if HD is not at least up to par with G6 or G7 HD, as GX85 was two steps backwards in that regard.

Depends on your need. I guess for 95% of filmmakers, GH5 is definitely better. I am in the market for a 4K60p small camera and not more than $2K. The pros of GH5 over G9 for video you mentionned: VLOG: I do not use it in 4K60p 8bit HLG: N/A in 4K60 ALLI and 10bit : N/A Unlimited recording time: I never record for more than 1min 6K anamorphic: N/A for 4K60p Master Pedestal: never used that G9 on the other hand has Better AF / Better IBIS and less expensive. I will take that any day thanks. Again, depends on what you need.

Just picked up an mke600 up for 180 euro, can't really complain at that price

Yeah Fuji is nice. I read Noam Kroll’s blog and although he shoots mostly with cinema cameras now, this past summer when he decided to get a dslr/mirrorless, he went with the X-T2 over the GH5. The G9 seems okay. I still think the GH5 makes more sense since they’re essentially the same price now. But I understand you’re reasoning behind the G9. My friend picked up his first 4K camera the other day, the E-M10 Mark iii and even with its measley 4 stops of IBIS, I found it better than the GX85’s. And the color was fantastic... so organic. The E-M1 Mark II has 5.5 stops, so that camera will probably have IBIS as good, or better than the advertised 6.5 of the G9. Olympus IBIS is pure insanity. I saw a video from it and it looked like steadicam footage even while walking. These cameras are crazy now. As you know I love my 5D3 but I am contemplating a cheap Olympus or Fuji. Even the 1080p out of the E-M10 Mark II looks pretty damn good and for $400 would be perfect for the hybrid hobby use I want a second camera for.

Damn Jon, put away that GH5 for a little while and pick up that X-T2. That Acros looks epic. If you throw on a little grain it will look like early press footage from the Vietnam War. Also please test out some 1080p ProRes F-Log with your BlackMagic Video Assist. I’ve been looking for a second camera... maybe I should have a second look at the X-T20. Acros and Takumar lenses could be a killer combo.

Am I missing something - why nobody doesn't comment simply blown out sky in case of GH5 and A6500 in previous Yuryev's details-test sample? Also, does a6500 always and inevitably show such strong magenta bias (I never had one to check)? GH5 color science looks here (imo) very balanced.

Man, watching that comparison makes me want the C200 even more. But the A6500 is a great camera.

So, video on the G9 comes up a tad short compared to the GH5. The video specs ain't as elaborate. However, as far as I'm concerned, the claimed improvement of G9's IS to 6.5 stops might mitigate those perceived shortcomings. If the G9 could perform closer to what Olympus offers in IS, then that alone makes it slightly superior for actually acquiring footage than a GH5. Of course, that's my perception/preference based on how and what I typically shoot. Personally, I'd take better IS over anything else. Intense pixel peeping is for folks that want to do that. So LOG and high bitrates for them is great. I do think that with dslr shooters there's just way too much over-emphasis on the IQ minutia, and not enough practice of just plain old good shooting/composition. I really doubt that I'll ever have a client in my world that complains about 12 stop vs. 13 stop dynamic range. And, as long as it's the ballpark, they sure don't give a crap about skin tone either. That sort of discrimination among low-budget productions is just unrealistic. They will, however, recognize that a poorly shot video with crappy b-roll is a poorly shot video with crappy b-roll. Bad shooting aesthetics is what it is. If you can't manage to get the footage, and tell a good story with it, then what's the point if it's technically pristine? The G9's auto focus is supposedly improved too, but that doesn't matter to me. I shoot manual glass. I'm more interested in what a camera is going to be able to do for me and my way of shooting while I'm in the field. This is why I've always had a soft spot for my old Olympus EM5II. Not great on specs, but just a good field camera that allowed me to do some insane stuff completely handheld. While I appreciate Panasonic's attempt at IS and OIS, it's not near as good as what Olympus offers. And, to be clear, IS isn't the end-all-be-all for shooting. It's a tool and a preference. Sometimes I like shooting handheld without IS; just depends on the project. These tools are cheap, so it comes down to "what can you offer me right now?" I'm not really projecting using any camera beyond a year. Why would I worry about some HDR tool if that's not even something I need to consider? Now, as a current GH5 owner, I'm only using the GH5 within the same specs range as a G9. No GH5 LOG modes or insanely high bitrates for me. Thus, a G9 looks like a rather decent camera IMHO. I'm not in the market for a camera right now, but if I was I'd give the G9 serious consideration...along with whatever Olympus can put up against it.

Of course! You don’t have to convince me about audio! Thanks for the recommendations. I’m thinking about picking up the RodeLink. RX0 II that will record 4k internal will be the one to get if this type of camera is something you need.

Shot this promo back in August on a 5D3. Using a Tamron 24-70 f/2.8 and a Canon 70-200 f/2.8 It was professionally graded in Baselight Studio, the colorist was very surprised when he found out what it was shot on. Let me know what you think or shoot a question!

Running for months. Use FCPX, Aurora hdr, Luminar, Resolve, Photoshop, Lightroom. Not Premier. Rock solid. And lately Canon RAW Light development SW.

@sondreg The 440 is very cheap too, and it is directional stereo! but yeah, do not overthink about it, a good priced 600 would be ok. @maxotics just that post production in sound is it not only about gain/volume/amplification, there are a lot of parameters that can be changed! True, I am not a friend of ADR, but try to do sound on a modern Hollywood film (with 3425 explosions around the actor, while jumping from a spaceship to a platform a few Khm above the surface of a planet!)! ADR is a necessity and a tool. I am a big fun of Italian cinema, and their un-synced sound was always a burden for me, especially in Fellini's films.

I'm curious if anyone has been cross-cutting Nikon footage shot in flat profile and Panasonic Cine-D footage. I've been using the D500, D810, and G85, and will soon add a D850 to the mix, and while the Nikons are relatively easy to match (they're not identical despite using the same manual WB and profile settings), I've had a really hard time getting the G85 footage to match. The G85 is nice because it's small and can be flown easily on a gimbal, but still has great image quality.

Meanwhile I just got a gm5, it’s such a gem! The only tiny interchangeable camera with evf, but too bad market doesn’t accept it.

I just visted a super trippy art installation in Santa Fe. Shot this in 4K anamorphic on the GH5. SLR Magic 50mm 2x Prime.

On a side note to sharpness. Same thing goes for every new iteration of a camera. I've got a 5DIII and I'm yet to produce something which looks remotely close to what some folks have already produced with this camera or even worse cameras and much worse glass than I own. I've given up on upgrading until I actually use my camera to the full potential and definitely going to skip everything until canikon release their FF mirrorless cameras. Until that, I've got a ton of other things I must improve on... Once this is sorted I hope I'll find a product which has the following: 8K RAW (for cropping to 4k) + lighter options, 5-axis IS, usable ISO 25k, DPAF 2.0