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You nailed it. I see the G9 at $999 almost everywhere. In terms of hardware it is superior to the GH5, has better photo capabilities, better low light imaging, much better burst modes, HiRes Mode, much better IBIS, better design etc. After the S5 at under $2000 with free Vlog(?), Panasonic should just resume the GH lineup, with a price between the G9 and GH series, and preferably much closer to G9. Smartphone sensors are getting bigger and their zoom and low light capabilities are growing exponentially. That's the biggest competition to ILCs. And FF cameras at $2000 are the other issue. Panasonic needs to move fast. Outline the roadmap instead of sounding confused in interviews (IR interview).

For MFT and GH6 to survive now that everyone has caught up with the GH-series but in full-frame (10-bit, All-I, 60fps in 4k, etc) is to offer things that will take another 3-4 years for other manufacturers to do (especially since Canon and Sony have just put out their mirrorless video flagships): - high frame rates (for sure), including 120-180fps in 4k at good bit rates (and not insane ones like R5). Maybe even 480fps in HD? - e-ND - they HAVE to have internal ND filters. - GH5s or better low light - just to at least be in the same ballpark as Super35/full-frame (meaning usable to 6400 ISO, which is 98% of use cases) - Internal raw or at least some form of 12-bit compression that gets you close to raw quality (BM Raw?) - Great XLR capabilities - perhaps a better version of the grip that is also dual XLRs? I would prefer this than the hotshoe one so there is still a place to mount a microphone without a cage (or to keep your monitor centered over camera). - Global Shutter or miniscule rolling shutter - MFT has always been good for this, but now to take it a step further. - $1799 or lower - Has to be cheaper than entry-level full-frame and something like the XT3. - Tof AF? - I don't care a ton about AF (always seems to fail me in critical moments with Canon/Sony so I don't use it), but so many people care A LOT, that they have to do something. - Insanely good IBIS - This has always been Panasonic's strong suit, but Canon has caught up. So 8-10 stops of IBIS and improved mechanism for walking forward to create close-to-gimbal like movement. Pair this camera with the 10-25mm f1.7 and video shooters are set.

\ As is wrote above, despite 60W of Peltier cooling power supplied, with a copper heatspreader covering the whole back of the R5 behind the LCD screen and cooling it to -5 degrees Celsius, risking internal condensation, it has ZERO impact on the time I can record in 8K RAW, with my R5 with firmware v 1.0.0. I was willing to walk around with this ugly contraption if it would give me longer recording times. I need a full NP-F970 battery per hour for the maximum cooling. I doubt Tilta will apply that much cooling power.

Ultimately, the best thing to apply for this look would be one of these:

As an S1 owner, I'm still perfectly happy with my camera. The addition of 10-bit 60p is just not that big of a deal for me -- an incremental update, at best. The 8-bit holds up just fine, I use it on every shoot. I wouldn't be surprised if the S1 does get a firmware update to bring features into parity, but even if it doesn't, I don't think we should be encouraging Panasonic to cripple their lower-tiered new releases in order to protect further on up the product line-up, because isn't that exactly the kind of corporate BS everyone is pissed at Canon for right now? The S5's reported anamorphic modes sound cool, I wish I was able to take advantage of them anyway, but let's be honest, I'm not going to be shooting with real anamorphics anytime soon anyway. Technology always moves onward and upward, and better tech and features trickles down to newer, lower models, that's just the way it is. And, despite the addition of the S5, the S1 is still going to have a much more robust, abuse-proof body, and that big, beautiful, detailed EVF, and still have class-leading DR. I am looking forward to hopefully picking up an S5 for for a smaller, lighter b-cam, perhaps to replace my GH5.

Some tests and a review from Brandon Li. Chris

It would be great if Magic Lantern could repeat their work for the 5D line, that would be heaven. Otherwise, if I find a way to recover the DAT file into a healthy CRM file, I might just use that. It should not be difficult, because ending the 17 min recording in my video, does not appear to take any considerable processing. If I compare the DAT file to the CRM file with a hex editor (HxD), the data looks the same (also in SciPy and Matlab I get the same data entropy readings, of course, it's compressed RAW data after all) The header is different though, what's missing is metadata, how many frames are recorded, block entries for audio and video data, etc. A simple copy over from the header of the healthy CRM to the unfinished DAT file, did not work well in Premiere and Resolve, they recognize it, but Premiere gives frame access exceptions (I forgot the precise error description), and Resolve shows black video. It is not easy (for me), to rebuild the correct metadata for the DAT file. It is not easy for the c200 either because it lasts a long time on that camera to repair a DAT file. Hopefully our friends at Grau expand their program with support for the R5 soon, it support a long list of camera's and formats, I trust they will be able to do it. Their program is able to repair the MP4 files, but the resulting 8K video is all corrupted, although the metadata is correct, correct codec information, number of frames and all. I have send them a healthy and corrupted MP4 too. Thanks Andrew, please keep pushing with the wonderful people of Magic Lantern. Where can we donate to Magic Lantern to get this show going? Crowd funding anyone? If that does not work out, I am confident (and foolish) enough to shoot with the power interruption method, once a reliable DAT file recovery option is available.

The more I think about it the more I really like the idea of the GH6 going to some kind of multi-aspect sensor format like the JVC LS300 . It would silence the haters who think m43 is going to die, and would open up opportunities to shoot super 35 with adapted lenses. They could also expand the m43 spec to cover the s35 sensor area with a tweak to the name like "Micro Four Thirds Plus" or "Cinema", etc. So some lenses are m43 and some are labelled m43+. In regards to Kye's concern about a reduced resolution for people who just want to shoot m43, I ran some numbers using a 3.33 µm pixel pitch which is the GH5's pixel size and came up with the following at various image sizes: Super 35 (24.89 x 18.66mm): 7474 x 5603 or 42 mpix APS-C (23.6 x 15.7mm): 7,087 x 4715 or 33 mpix Academy 35: (21.95 x 16mm): 6592 x 4804 or 32 mpix DCI m43 like GH5s (19.26 x 10.2mm): 5784 x 3063 or 18 mpix standard m43 (17.3 x 13mm): 5196 x 3907 or 20 mpix m43 square (17.3 x 17.3mm): 5196 x 5196 or 27 mpix If Panasonic were to reduce the pixel pitch just a hair to 3.24 µm they could actually hit 8k in super 35 while slightly increasing all the other resolutions: Super 35 (24.89 x 18.66mm): 7682 x 5759 or 44 mpix standard m43 (17.3 x 13mm): 5340 x 4012 or 21 mpix I could also see them not going all the way up to true Super 35 and just topping out at the APS-C size for cost or heat reasons. But, with a slightly greater reduction in pixel pitch, they could offer 8k in APSC and ~6k in m43. If they had an easy way to swap between the various sensor sizes and could deliver 10 bit 24fps in 8k Super 35 and 120 fps in 4k m43 with a variety of frame rates in between in the way Red camera's work, they'd have a very interesting camera. This would also give them a good reason to charge $2000 for the camera on release as I can't see Panasonic interested in launching a GH6 for less than they launched the GH5.

Maybe Tilta can join the legal fight. After all, they spent time and money developing a cage and cooling system for the R5 that will never work as the overheating doesn't exist! https://tilta.com/2020/07/tiltaing-camera-cage-for-canon-r5/ Just goes to show that companies these days don't do ANY product testing before releasing products. If they did, the R5 wouldn't be on the market and Tilta wouldn't be offering a solution to a problem that will never work. Pay your $4000 to be Canon's guinea pig. That'll show em!! 🤭

Update: I recorded 25:00 of video then battery pull with no issue on my RP. All ~4GB MP4 segments were fine, with naturally the last one missing Don't let the recording reach the 29:59 legacy limit - if you do the camera will save the NVRAM settings when it automatically ends the recording The Ridgecrop formatter tool link I posted for Windows only worked once for me. After that the camera wouldn't accept any cards formatted with it. I then tried the formatter built into OSX using the FAT32 and MBR options (not GPT) - the camera accepts those cards but then displays an error whenever you take a photo or end a video recording. The only reliable and consistent way I've found to format > 32GB cards for FAT32 that my RP would accept and work with is under Linux. You can see instructions how to do so here. Here's a screenshot of the ~4GB segements on a 64GB SD card formatted to FAT32 for my 25:00 recording:

Late.

I personnally use afc all the time for stills on my S1H and so far 90% of my pictures come in focus. Even when my son is running it works well. Unfortunately it's not as good for video and even when it keeps tracking the subject, it's not very smooth and quite distracting. But for stills it's actually pretty nice (and i'm a former Sony and Canon user so I can compare with their af system).

@kye @Trek of Joy Attached are screen shots from a typical project for me, lifestyle promo video shoot for a new multi-family community. I picked a scene where all three cameras were used (GH5, GoPro, DJI Drone). GH5 is the side shot, GoPro underwater, obviously drone from the aerial view. Cameras Drone - Natural profile Sat/Sharp/Contrast set to -5, WB Daylight GH5 - Cinelike D profile modified as per the Leeming LUT guide, WB Daylight GoPro - Flat Profile, WB Daylight Color Grade GH5 - Leeming LUT + slight WB shift to magenta to match the drone Drone - Expanded WFM to add contrast, sharpening 47, color boost +20, WB shift to warm GoPro - Expanded WFM to add contrast, color boost +20, WB shift to warm Time Spent on Color Grading all 3 cameras - Less than 2min. I forgot to extend the adjustment clip over the sample clips to show Noam Krolls LUT, but I went with a very subtle LUT that looks like it just adds a little more contrast. Project Details - the rest of the project was shot during sunrise but as the lighting got cooler during the day I wanted to keep the warm sunrise feel (plus it was a really ugly grey day) so I moved everything towards the warmer side. I have yet to find a generic LUT that I like for the drones or the GoPro so I just do the exact same WFM grading process each time then throw a Noam LUT over everything. The Leeming LUT I use on the GH5 if it works; I've had it do some weird things due to the GH5's terrible highlight rolloff so when there are hot spots in a scene I grade the clip by hand or I will get weird green skews and orange skin tones using the Leeming LUT. So yea, that's my whole process, very simple, very quick, probably far from perfect, but for my target customer base they are happy with the results. To your point though @kye when I shoot with the C200 and can properly light the scene and shoot in CLOG3 the results are just incredible. CLOG3 and the S35 sensor of the C200 is so easy to work with compared to my usual run and gun scenario with no control over anything except the camera settings. Exposing the GH5 properly for the Leeming LUT is so difficult, I never really know if it is right until I am grading it later. I'm always trying to retain the highlights somehow without underexposing the talent or the rest of the scene.

Super 35mm image sensor and a Micro Four Thirds (MFT) lens mount pdaf or dpaf 4K up to 60p or 120p at 10 bit 4:2:2 4K internal raw 24p and 30p electronic ND dual iso

Wowsers! 1986, VHS heaven:) Yeah, I love their cams, Got five of them, GF1, G6 (stopped working, did great being my first digital video camera), G7, GX85, S1. Now you Gods at Panasonic, give my GF1 that freaking VLOG update:) @Andrew Reid Do you see good reasons to not to sell the S1 and get a S5. And, do you see a good reason for new buyers to get a S1 rather than the S5. Your word on this would be super cool! Thanks!

Marty, Panny once Panny forever : ) There's no other similar brand anywhere else. They are synonymous of motion picture shooting itself. Happy camper since 1986, E :- )

Add in a 6K ex-teleconvert feature...killer combo.

This isn't a big deal at all, you can just have smart variable re-scaling, like the JVC LS200 does! You can set it manually. Doesn't have to be 7.4K in S35, it could be a bit lower resolution (6K) and still be 4K when in 4/3" mode. Was using that so much today with my Sony PMW-F3 while doing voxpops on the street, it is so handy to be able to do it while recording.

I tried one more time today

Petition demands firmware update within 30 days. Reached 100 signature goal on first day. Please keep sharing this to drive the numbers and keep the pressure on. https://www.change.org/p/stop-the-cripple-hammer

Yeah, I've been having that same thought. Had a big project some through, so def don't HAVE to get rid of it, more was thinking I don't want to keep it and not use it while its value drops.

That's kinda what I mean though when I say that most of us don't really see the full benefits of 4K when it comes to regular viewing. I think my viewing distance is a pretty common distance for most people that have TVs in their living rooms and bedrooms. I don't really know anyone that sits, say, 5 feet away from their TV. It's not really practical in most homes, unless you live in a really cramped apartment or something. I'd have to have my sofa (or TV) set up in the middle of my living room to do that!

The examples were without Noam Kroll's LUT. I forgot to add his LUT to the examples. The LUT that I ended up using from him in the final project is so minimal that I think it just adds a little more contrast. I don't try to get too creative with the color grade for projects like these since the client typically expects true colors. I think I would get better results with the Leeming LUT if I had a better camera like the S1, S1H, etc. I would love to replace it with the R6....but...we all know how well that's going. The Leeming LUT combined with the GH5's sensor needs so much overexposure that the highlights get clipped pretty badly in certain scenes or the GH5 has to be pushed to high ISOs to get the necessary over exposure and then things start falling apart. So in lowlight or high DR scenes I just grade the GH5 with the WFM and a Noam LUT. I emailed Leeming asking for a C200 LUT or a CLOG3 LUT and he said he will get to it if he has the time. After using the Canon CLOG3 to Rec709 LUT and seeing how easy CLOG3 is to work with I realized I don't need a Leeming LUT for it.

lol, no way am I setting that thing up for a few pictures, unless the client has the budget for me to bring at least two assistants and a good insurance policy when it blows over. When the sun is out I tell my clients...lets walk over there to those trees. It's always a balancing act between budget and meeting the customer's expectations.

Ken. Shall we focus on the technical, rather than opinion soup now. Some promising discoveries.

What deep freeze experiment? I missed that. I have built a Tilta freezer myself 3 weeks ago, and I can confidently state that based on my experiments, ramming 60W of power into a Peltier element, cooling the back of the R5 to -5 degrees Celsius, that it has ZERO impact on the overheating timer. See pictures of my crude but effective Peltier cooling system. The cooling works, the sensor is 5 to 10 degrees colder, the card slot around 10 degrees Celsius colder, but zero impact, at leat with this version 1.0.0 R5 firmware. The Tilta is a marketing creation, and drawn up by a technical drawing artist. Having worked a considerable part of my career as a hardware and software engineer for a telecom networking giant, this is my guess. I could be wrong, and that Canon and Tilta are working together and that Tilta has access to a newer firmware that does take temperature measurements into account. Good suggestions, I also thought of that. However, I can rule this out based on my experiments. I am describing this in the description and first comment of my video. Sometimes, roughly 1 in 3 times, the card does not write fast enought after a sudden power interruption. The manual of the R5 specifically states to perform a low-level format when this happens, this is indeed effective. In the other cases that the card writes just fine after the power interruption, it gladly gives 15:00 for 8K RAW, every time.

Here's the result of that Shot Match feature, just so you're aware: I think the video you're looking for from Aram K is this one:

Very odd indeed! Might be last minute decision, or even part of plan to eventually "solve all issues" by the time camera truly ships. This + the fact that @Andrew Reid had to use a formatted card after every "reset" might point to camera reading the contents of the card with time stamps to know if there was an 8K / 4K HQ etc. recorded recently. I wonder what happens if you record 8K until camera overheats in one R5, then insert the same card into a different R5 ... if the code is this flawed (quite possible, since it looks to be a last minute thing) – the fresh R5 might think it is overheated without ever being powered on.

Attempt number one. Reference: Grade: and the node graph which quite obviously shows that this is the wrong way to go about such a thing: Attempt 2 Reference: Grade: Node graph - simpler but still awful: The absolute best way to match scenes is to get any camera and point it at something that looks like your reference.

You sir win the internet today. I just tried it on my Canon RP, which like the R5 forgets any changes to the camera's settings (like exposure settings) if you pull the battery in the middle of the recording but will remember the changed settings if you stop a recording normally. Procedure: Tape down the door sensor and leave the door open so the battery is accessible Put a 32GB card in the camera and Turn the camera on and format the card. It will automatically use FAT32 cards with a capacity <= 32GB Start a video recording, in this case I used 4K 24P, which has an average total video/audio bitrate of 14.43 MB/s. Shoot a video whose length will exceed 4GB. For my 4K 24P that's any video longer than just under 5:00. I shot one for exactly 5:00 Pull the battery Check the card and verify there's a single .MP4 file Reinsert the battery and verify the camera "forgot" the previous session's settings We know the camera saves its settings whenever it has successfully recorded a video. The question is whether @Jn- idea will avoid that save for the FAT32-case of splitting up a video file at 4GB/each (FAT32 limit), provided we still pull the battery at the end of the recording. In other words, will the camera save NVRAM for each intermediate 4GB-split file or only for the final file after properly stopping a recording? Drumroll...It works! My RP's aperture was f/4 when I turned it on for step #3. I changed it to f/11 for the test. After reinserting the battery my RP's aperture reverted back to f/4! Andrew, please test this ASAP on your R5 and see if it matches my RP's behavior of forgetting the settings, the most important of which is of course the thermal timer.

At the end of my video linked above I am showing a neat trick that I found out. If the overheating timer shows 00:00 it is still possible to start recording within a few seconds. Here's how: Power down the R5 normally. Press the record button and keep pressing it the whole time. Switch on the R5, and as soon as it finishes its startup process It will start recording. Once it starts recording you can stop pressing the record button. I am showing this a couple of times at the end of my video linked above. This leads me to believe that the overheating timer was slapped on in the last instance of the development process, at least the timer procedure kicks in very late in the startup process, after reading out user commands apparently. Very odd. The trick is not very useful though, it only records for a couple of seconds to at most a minute. It appears the overheating timers are very precise, the time it records before it shuts down due to 'overheating' correlates with the time since the previous time it shuts down from overheating.

They barely even spoke of stills during the promotion of the R5 so no that isn't sufficient. They sold us video.

Whilst the hope is that Canon will fix this properly, the probe app (which we made after the temperature monitoring one) can be used to restore the majority of user preferences, not a big deal to get it to chain them into one big faux preset to send back to the camera.

It’s user controllable as well. A fast, high mega pixel sensor will give you just that. I don’t care about 1080p anymore. It’s a resolution I use when I have to for higher frame rates. It’s 4K capture and delivery for me always. So a sensor that can deliver 16:9 6K up to 60p (not using the entire sensor) would allow for oversampled 4K up to 60p. The higher frame rates historically used pixel-binning to achieve it. Again a higher MP count would be helpful. Hell 6K all the way for me. I think it’s the sweet spot for a video mirrorless camera because it’s flexible. Ability to go up to 8K when processed smartly with a upscaler for use on larger productions or for stock footage. Ability to go down for better 4K...and 1080p. But not to sound like I’m disagreeing. As my original post about it was exactly that...there as some many other things they could add to improve the shooting experience and workflow that are more valuable than resolution or even DPAF.

This all day long. I feel like we're at where we were many years ago with photography, when stores were selling cameras based solely on 'megapixels' - the more the better! It took a while for the buying public to re-educate themselves about this. The jump from SD to HD was amazing. I was a big enthusiast and early adaptor. I was boring people silly about it! The jump from HD to 4K was pretty cool, but that's about all. From a filmmaking perspective it added some nice options for delivering in 1080. HDR made more of an impact on me overall. For me the whole 8K / 12K thing is being driven by the sales floor. People like a bigger number. One thing though - 400Mbps can be improved on I think. It's very similar in quality to the 150Mbps LongGop.

If I owned an ARRI M18 I'd be bragging about using it in every IG post I make!

Congrats on your new venture..!

@Dave Maze congrats on joining Indie Mogul! I caught that welcoming video you did with Ted and it felt cool seeing both worlds coming together like that. Been following you on Kinotika for years!