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I will take an internal variable ND over IBIS every single time. Stab options include Catalyst Wotsit or mono/tripod. This thing looks VERY interesting, - the love child of the FX6 and the Sigma FP.

Holy. Moly. Honestly, it's ABOUT FRIGGIN TIME one of these companies took mirrorless form factor videos 100% seriously. The Sigma FP was the closest, but obviously had a lot of issues. C70 was close, but still big for a small b-cam/gimbal cam. S1H was close, but still a hybrid. A7sIII, same - has video limitations. This could be the all-in video mirrorless though. But that will depend on a few things: does it have timecode, some audio solutions, shutter angle, and (most importantly) INTERNAL electronic ND FILTER!!! That last one is the kicker. I've always bashed Sony for their colors and thin IQ, but the FX9 and FX6 definitely seem to be going in the right direction, so one of those cameras plus this as a b-cam could be a killer combo.

@plucas : Yes I use AWB, AF & maybe even Auto-ISO for run & gun shooting on mirrorless. For more narrative work or higher-end projects in controlled environments, I'll usually switch to a cine cam with all proper manual settings. So it's not so much about the year we're in but really what the budget/project requires. 😉 As for the Canon colours, in my humble opinion, the R5/R6 have the best IQ yet on a Canon. The oversampling,10-bit 4:2:2 and low-light capability on the R6 just gives an outstanding image and color. It definitely has the "Canon" colours but with every generation sensor, they are tweaked. The biggest gripe in my early tests was that warm yellow tint but since I have the AWB set to white priority I'm getting perfect colors. @ade towell The FHD IQ is the best I've seen on recent Canons. It almost feels supersampled. On my 5K iMac Prothe FHD looks so sharp I sometimes have to double check the resolution settings. So yeah, very impressed with the FHD which is definitely not Canon soft HD. I can also add that the R6 has really good low-light capabilities and the noise is fine grain like which gives it more filmic quality than the usual horrible banding of some Canon sensors.

You raise some great points. The GH5 set a pretty high bar, and it took several years for full frame cameras to catch up. A GH6 would have to be as far ahead of today's competitors that the GH5 was when it was released.

For the very short time I’ve had it, I must say the fp is really fun to work with!

I really don't think there is a big market anymore for a GH6 at this point. And that Panasonic agrees. I mean, the GH5 and GH5-s were about €2000 and €2500 at release and for that money you can now buy an S5 or an S1. Or buy something from Sony or Fuji. Image quality is virtually (for 99% of 'normal' people) indistinguishable between all camera's at that price point. Besides that, 'micro 4/3' sounds small and incomplete. 'Full frame' sounds like an end goal. Finally, you can use the whole, full frame. And it costs the same? And has better performance in low light? And you are an instant professional when shooting with it? I'm pushing it now, I know. I'm just not seeing any advantage anymore. Most of us bought GH-line camera's for the video quality and options that they had. But most of us slapped a speed booster on it to compensate for the 'small' sensor. You could also sell your GH5, get an S5 with an adapter and use your current lenses in aps-c mode. Or even in full frame if they cover that. So that leaves the only crowd for a GH6: - People who really love light and small lenses - People who already own native M43 lenses and want to keep using them I also sold my GH5 and GH5-S and G7 with speedbooster and got 2x S1 and an S5 in return. Even for anamorphic shooters there isn't really a reason to stick to m43 anymore. The new S-cams have a 4:3 mode which is about 1.33x crop. And every competitor now offers 10-bit recording modes. I mean, I would love it if they could push the boundaries again with a shiny new GH6, but I don't think it makes sense anymore from an economic perspective. Besides above reasoning, there is a pandemic going on and camera-sales are at an all time low. So who else, except people who love small and light lenses and or already own a gh5, would the camera appeal to?

I undesrtand now why the Sony a7sIII doesn't feature 4K DCI, shutter angle, Synchro Scan, and all the bells and whistles of real cine cameras. I just bought a Sony a7sIII two days ago. I feel like this could interest me even more if it's kind of the Sony version of the c70... I'm genuinely excited to know more about this camera.

Maybe it's a version with no raw options, and it stands for 'Loaf - all the colour is baked in'

Music video I did back then is finally released, that took quite a while!

With the A7sIII, this really needs to have some great video features to differentiate itself (and not just S-Cinetone). And that means: Internal eND. If it doesn't have that, how many other things could it have to really set it apart? Other than the cool color, more robust build, better tilting screen, and lots of mounting points.

Yeah wondering that as well, this would eat the A7S iii for lunch I guess, the price is even similar... So there must be a catch, as Sony will not cannabalise the A7S III.

Well, gyro stabilization comes with a huge crop - problematic with wide angle shots.

No mechanical IBIS would maybe make possible the integration of a built-in VND. That would be awesome.

I'd LOVE that! But then it would be called a "FS3" and not a "FX3".

Am looking forward to recording this new hairdryer.

I have a feeling it won't be a full frame sensor in that one.

I’ll take 2 please. Seems to me like Sony are now getting more things right then anyone else.

Rumors say 8k. The a1 readout and e-shutter make for a fine hybrid. The shutter button makes sense. With the AF joystick on top, I wonder if the LCD is much wider than the standard Sony screen. That would be welcome. This is interesting. Give it the E-ND’s and my a7sIII starts sweating it’s existence. Chris

So for a GH6, my wish list would be... Dual Gain Output sensor similar to that in the C70 (but in m43 sensor size) that expands the dynamic range. A better LOG codec that can handle that increased dynamic range. Ability to output Black Magic RAW (BRAW) 6K ??? 4K 120 ??? Oh, and one other thing: Add some phase-detect autofocus pixels. I mean, just get the cameras to focus as well as my 7-year-old Sony a6000, which has about the most rudimentary sony phase detect AF system and still blows my $2,500 S1 out of the water 😞

@plucas: I found an easier method: hit info in AWB settings and switch from default ambient to white priority mode. this eliminates the warm tint under tungsten lighting. I picked up an R6 by the way, and so far so good! really impressed by the IQ.

If you can use Adobe (I know, I know) Audition, the tools are actually pretty good as the EZ noob defaults are actually pretty good and get the job done for most things. noise reduction, normalize, multi-band compressor, and you're usually pretty good to go, as long as you have removed any weird artifacts.

thank you @tupp!!! will watch now

A few thoughts: I try to always be respectful of items (regardless of if they're mine or not) and clamping force would be something I'd be very aware of, both for the possibility of breaking something and also leaving teeth-marks on things (as an aside, when I was young I bought a second-hand car that had the options pack which included a leather steering-wheel, and I took it somewhere once and I think they had clamped a clipboard to the steering wheel because it had little chew-marks in the leather at top dead-centre of the wheel.. I saw it every time I drove the car and it made me so mad that they'd damage my car like that!) My inclination would be to apply as little clamping force as possible - sufficient to make sure it wouldn't fall, and I'd always try to use sufficient padding to ensure there wasn't a grain of sand or something concentrating the force (thus my comment earlier that you were very critical of) I would also try to put the centre of gravity on the inside of the railing so that should anything fall it would be towards safety instead of towards other people's heads, but I can understand the concept of centering it to eliminate torsion In terms of a safety line, any tips on something that's easy and practical? fishing line tied to a chair perhaps, or a bottle filled with water? or something else? be careful being critical about people knowing or not knowing the terminology of something - I may not know the terminology of clamps, but I have postgraduate level physics and math, and it seems to me that this is a physics problem, not a "I can name all the clamps" problem

It is not ridiculous in the slightest. Heck, there are even pro lenses which are f5.6!! F-Stop has relatively little to do with if they're "pro" or not.

At present I'm keeping my GH5 and GH5S for streaming and some 2 camera jobs along with the 12-35 2.8 and 35-100 2.8. I have already sold my Sigma 18-35. The Speedbooster and my Voigtlanders are on sale. I'm going to put the 10-25mm up for sale to. Really great kit but as I had to buy a Sony A7iii for client work I'm thinking about going all in on Sony. I love those Panasonics but I would need a really good reason to trust that m43 has a future. I'd suggest that someone tell Panasonic that they need a very clear GH6 announcement very soon before many others jump ship.

One thing to note, we're not seeing the steady trickle of rumours from Panasonic you'd expect if the GH6 were imminent. All the 4/3 rumors post that kicked this thread back to life shared was that, yes, Sony's listed a new m4/3 sensor in their catalog. It's pure guesswork that's heading to a GH6. Where're the hints and teases you'd expect from the Panasonic side ('Breaking! the GH6 features [shiny new spec]!'?

Don't forget the articulating arm that gave it that extra flexibility and showcased my intricate gaffer taping work.