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Fuji X-H1 is coming. It will have 4K for sure, maybe 60p. F-LOG and IBIS are confirmed. Sounds good to me. Fuji color is great so is Fuji ergonomics and lenses. If the Fuji X-H1 has 4K60P, IBIS, F-LOG and a good AF, it will be a great competitor to GH5s and A7SIII. Maybe the sweet middle between the 2 later. Basically a A6500 but better (ergonomics, colors, lenses...).

Here is a gif comparison of the unaltered GHa Tungsten Main conversion, and original V-Log color with matched contrast and saturation:

Casey switched from Canon and Sony to using the Panasonic GH5 almost 90% of the time. He still has other cameras but it's the GH5 that really turned things around. Canon failed to give YouTubers like him what they need... 4K, small file sizes, articulated screen, all in the same camera... so the 5D Mk IV for all it's Dual Pixel AF goodness languishes in the corner as do the 1080p Canons - Big up-swing in noticeable quality when Casey switched to the GH5's 10bit 4K. Hopefully though, the number of out of focus shots in Casey's video where the camera selects the background instead of the subject will whip Panasonic into action to sort out some form of Dual Pixel AF competitor technology. Or maybe Casey doesn't mind... vlogging is a raw style, doesn't need to be formal and correct all the time. I do think AF in video mode is the next thing for Panasonic to get right though. It's a priority in my mind.

"GH5 V-Log and Hybid Log-Gamma are transformed to precisely match the color science of the Alexa, without compromise." "The GH Alex conversion completely transforms the GH5 image, addressing every nuance of color reproduction (from shadows to highlights, low saturation to high saturation, for every possible hue). This includes an organic rolloff which fully eliminates channel clipping." EmotiveColor.com PDF YouTube

That is why the Focus is a brilliant option. It is meant to be used by single shooters. Not only that, but from its own battery, you can power your camera (there are dedicated bundles officially, by SmallHD for most cameras. I have ordered the GH5 one, even though I do not have one, everyone around me seems to getting, or have one, so there are plenty of cases that this may help somehow, and it is only 100$ more). Blackmagic Video assist 5" is 143x90x30.5 and 362and the Focus is 133x83x19mm and 106gr, do you get the point here? As about the focusing, people were focusing without Canon Dual Pixel for 100 years, and they did fine. I am a big fun of Canon, and nothing is even close right now, but you can do great things manual, that not even Canon can. Recently I was doing focus pulling on a feature documentary, Canon C300mkII and Zeiss/Arri lenses, most of the times I was doing everything by the eye looking through a TV Logic 7" on the camera rig, which is worst in daylight than the Focus (and cost a few times more). The problem here, is most people using photographic lenses, which are not right for our job. That is another issue though.

I sold the GH5 because of AF, it does not compare to A6500. My point of view is that Canon DPAF is the golden standard, it just works and is reliable enough for pro use. Then you have Sony A9 level. It is very good, just one step under DPAF but it works well and is enough for gimbal work. GH5 is not enough for gimbal work from my use. To many shots were it would hunt or just loose focus for 2-3seconds, and even when it is spot on you have some micro hunting happening in the bokeh. This is due to contrast af technology. I guess Panasonic did a great job for CAF type, they just used the wrong technology.

Aaah. Thanks for pointing it out. I have been reading stuff in interludes for the longest. They should hurry up with the release. 15th December is too far.

Been talking to Salim a bit on PM about the Atomos I have. The more I think about it, the more I believe he has adequate equipment for his shoot. An external monitor may help with getting shallow focus, but it will will create a host of other problems. First, shallow focus: I'm sure others have more experience than me here. I find it difficult enough in photography. In video? Unless the person is very still, shallow focus is almost impossible to track. When I see it attempted on TV there's always a second or two when the subject gets out of focus (and that's after they've picked the best clip from a bunch of footage). What I find difficult about shallow focus in a moving object is determining the direction of someone moving from a 2-dimensional screen. Having stereoscopic vision allows us to make the determination, somewhat. A monitor is like looking at the scene with one eye. So, though I can see when the focus pixels fire on the screen, getting them back once the subject moves, that's a challenge unless I know the marks they subject is going for. Generally I don't. So I can't quickly figure out which direction the subject is moving. Camera autofocus doesn't have some magic in this AFAIK. That's why Canon came out with new STM lenses for the dual pixel (which have special, quiet, focusing micro motors). I believe the camera essentially focus hunts back and forth, but so quickly that you don't notice it. This is the same reason Nikon struggles in video focus. The autofocus system is designed to find focus as quickly as possible, for the photo, not keep in focus once it's there. So the question, often posed here on EOSHD, is, can you manually focus as well with a Nikon say, as Canon's computer can with its DPAF, or even the new Sony cameras? My 2-cents is, not any more. I either use DPAF or I zone focus. All that means an external monitor, to me, has marginal benefits over either the focus peaking on the camera, a magnifier on the back LCD. Salim might be better putting in time practicing with what he has with talent that is given marks to hit. The A6000 has very good autofocus with the 35/1.8. The reason I stopped using the Atomos is mounting it puts you between a rock and a hard place. You with use a small swivel, which due to the leverage of the screen, always threatens to come lose and the monitor crashing down onto the camera, or you use a cage where now you have a big rig that will CERTAINLY draw attention in the tube, or any place where cameras are not welcome. The cable to the camera adds huge mental stress to me, at any rate. Then there are the batteries. Like light rays, every additional wire or battery you add to your rig exponentially raises the risk of some failure if not your anxiety. That why such setups need a crew. You need to delegate those worries. Some proof to what I'm saying is I never see youTube videos with a single shooter using an external monitor. It's always a crew of some sort. Once you get into that, then you really have to balance your investment in the monitor with everything else. And if you have a crew, my guess is the talent will want to put time into learning their marks so as not to get cold looks at the evening post party

Panny, I know you’re looking for that 3 CCDs Magic but have you ever used a BMPCC? I think that would be a camera you might love. Throw some old c-mount primes or even the Panny 14mm or 20mm and keep the thing pocketable and you would probably have a blast with that footage in post.

DCI 4K and Z-log footage coming soon. Meanwhile, The Z returns to its roots - in Shenzhen: Lumix 14-140mm lens.

That anyway then you have to calculate the sensor differences with the lenses. That is, it is true that between S35 and m4 / 3 there is little difference ... but I work with S35 sensor and s35 lenses it's all another work ... https://www.abelcine.com/fov/ 49.6 mm: http://i65.tinypic.com/azcpqr.png

According to Fujirumor's trusted source, the new camera will have a better grip compared to the xt2 and other ergonomic improvements. And there will be internal flog. The advantages over Panasonic will be the colour science, native aps-c sized sensor and more reasonably priced glass (eg 35mm 1.4, 23mm 1.4, 56mm 1.2 are all cheaper and more compact than m43 equivalents whilst having more character (i.e. imperfections)). As well as phase detection AF. Im not planning to get this camera since its out my price range ($2k) and im not a working video guy but if it was id buy it.

Man, bus shelter digital displays are vertical, shopping mall digital displays are vertical -- it's not just phones dude, I've worked with plenty of rigs designed to pitch the camera 90 degrees to shoot for those kinds of displays. If I do any more I might even get a GH5 and shoot 6k so I can shoot for both horizontal and vertical formats at the same time.

I think it makes sense for Fuji to enter the video market. I do like fuji colors and the flog looks closer to clog than either slog or vlog. That being said, I agree with @jonpais that the ergonomics of their current cameras are quite poor for video purposes. So a larger X-H1 with a better grip would make sense. They will also have to do something about that awful rolling shutter ...

omg... its so much worse than i ever expected

his GH5 videos have less camera shake with the GH5 IBIS than his Sony/Canon, so they look better to the average viewer even if the AF isn't as good. I agree Panasonic have to fix the AF quickly, even if it means releasing a PDAF GH6 next year. Much as I like the GH5, I need AF for gimbal work so have to use NX1 or A6500.

Where have you been watching it? Vimeo on demand? These 3ccd HD cameras are more expensive than a Sony F3, I said that before in anstonishment. There is someting exiting in having a camera with 3ccds larger than the ones in the EX1 with a 422 codec, even available in 10bit AVC Intra flavor. Just something from the guts. Also having a real shoulder cam with these stats is appealing. Just a yummy package. That deal on adorama is tempting though:) This is another documentary about Bmovie filmmaking, about the lengendary Roger Corman, with legends like Jack Nicholson, Ron Howard, Julie Corman and the likes, a whole bunch of very delightful people. Jack Nicholson is especially charming.

Go you Attila! That's actually a pretty close description of my first process. What I've done since is the hush hush part ; ) Hang in there. Indeed, I intend to beat that price ; ) Its a tale of two markets; before I added HLG support, which reduced the effective price by $100, people told me the price was low. After HLG, it seems that the market opened to those who wouldn't have considered it before because V-Log was a no-go (it was originally going to be V-Log only) Its best that the market for the pro variation is smaller. A neutral color science shift is a subtle thing, and only those who feel that this price is a giveaway, have worked with Alexa footage and know what to expect should get it. I want to include powerful looks with the lower cost version, as well as reduced technical complexity.

Hmm, instead of cinemascope we need a catchy name for real vertical videos. Maybe vertiscope, hmm nonono we need better. Maybe GravityWell cause it's so deep. Or Astrospect as it will reach the stars if you film the horizon. Oh Oh Oh, Highroller to get that analog connection to film.

Shot on a phone, viewed on a phone - get over it.

interesting, but I meant this one https://www.bhphotovideo.com/c/product/1261643-REG/ikan_dh5e_5_signal_support.html the one above seems like a 7" one. Honestly, I was looking for something at the 500$ segment most which could be very small and light, so a 5" and the difference in brightness is huge vs the Focus. You should check the Ikan thought, if it enough for you, that 299$ price is excellent; in Europe it is still around 500euros (so, it is a no brainer to go for the Focus). I can get an Ikan for 300euros slightly used (maybe used once or twice) and I am still thinking about it, but it seems to me the Focus is a better option. (I hate those Secced tripods by the way, I have seen a lot failing terribly through the years, and the sound man needs an indoors mic!)

I am quite satisfied by the quality of the SIGMA 16MM F/1.4 MFT GX-80 and Sigma 60mm F/2.8