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This was filmed on BMMCC with Zeiss Superspeeds (the ones with the rollei aperture, no less!) It's what sold me on the camera years ago:

What if Panasonic are planning the GH6 ? What if the GH5 still is a viable camera, but due to older parts, difficult to assemble & sell. Hence the GH5 Mk II with a few small improvements ? Then the bulk of this thread is moot.

I mean, this looks like a great deal...

Have a look at converter solutions such as this which run it over Cat5e/6a/7 to get 50m runs https://www.amazon.co.uk/dp/B07H8Y5JF4 They are only 1080p but so is the switcher so thats not an issue. It needs power at the camera end but its only USB so there are a gazillion solutions for that. The IR transmitter might be relevant if you use Sony or other cameras that have IR remotes because you'd then be able to control camera functionality such as focus/zoom remotely. You could also do a similar thing using SDI converters at either end but they need power at both ends and even at the low end they are double the price of this £35 per channel option.

The only Mark II of an entire series is a product company telling you politely that the series is dead. I think they would have been better to have a formal wake and celebrate the legacy and then promote their new L-Mount commitment.

All the 6K stuff and 180p etc. I've just come to realise that if this were any other normal year ( no pandemic) I would have bought a A7Siii or FX3 and be done with it (even though I prefer Panasonic ergonomics and image). It's just easier working with other people who all seem to have Sony. In the past it was Canon when I had my C100. It's a shame. If the S5 had a good EVF I'd be really interested. I'm not sure I'm really that interested in waiting for better m43 and I have a fine set of lenses including the 10-25 and Voigts but I'm in the process of selling them.

It's another tokina. The 35 -105 rmc zoom. No idea if it has any parentage with the tokina 28-70 atx pro or not. It's pretty much mint, the zoom is a touch tight at the close end. Took a couple of photos on sunset. There's a bit of a water theme as it rained today. If I push down on the lever over the L switch the whole fd mounting falls off from the lens

Agreed. I'm willing to make a little less if I know the person, even if it's just through this forum, that's now using it. And I know there is a section to sell on here but it doesn't get a ton of traffic.

Yes and no and in yes, it's always a surprise to me every single time, how some if not most companies treat their customers...but also no, it's no surprise, or should be no surprise! I think it is mostly size, - the bigger they are, the less they are interested in the individual, but it does really irk me when a business large or small does not demonstrate care. And that I think is the key thing, - demonstrating it as in at least trying to make an effort. Obviously, they are not going to give up every single bit of info, but I just do not understand how giving a road map is an issue?

Fly over and collect it, and it's yours for free 😉

Perfectly viable, but a very tough sell. "Would you like to purchase our mildly updated camera, or the very latest and greatest from someone else?" These days, very few will pick the former. I hate Sony. Actually, 'hate' is too strong a word, but to me (and yes, I do own a Sony camera and have had several recent models), they are just soulless tools. But ultimately, what i need more than anything is something that delivers the results regardless of the badge. I could make a very good case for Sony. Or Canon. Or Fuji, but there's just enough advantages for me with L Mount...but I know that if I was starting with a clean sheet of paper today, - no bodies, no lenses, no nuffin', it would be very hard for me to make a decision against Sony. But 'viability'? Viability to who? Panasonic? A minority market? A majority market? It's the latter that will largely determine the success of most things and 'slightly updated when folks were expecting and wanting (much) more' product just isn't going to cut it in 2021.

Possibly true, but they did produce several Mark II cameras a few years ago when things were not looking so bad for them, including a GX7 II. That was just for the Japanese market, in the rest of the world it was called GX80/85. Is it possible this GH5 II is just for the Japanese market too?

Pretty much where I am right now. That will not be the case forever of course, but I can't see a scenario for me doing anything different now for the next 3+ years, ie, I'm set and have reached 'peak camera'. I still have an interest in what's going on out there, just not as a buyer, but as above, what I have is 'good enough for years to come'. In fact, MORE than good enough.

Weird move frome Panasonic indeed. I wonder what the improvements would be but probably incremental. Panasonic has always innovated, always took the lead when it comes to video since the release of the GH2. And I have started using Panny since I first saw footage that compared the GH2 to the much more popular 7D / 5D Mark II at the time. I had multiple bodies over the years. First the GH3, bought on the day of release. The GH5 and GH5-S, same story. At first the S1 didn't appeal to me much, because I was shooting with a GH5-s with speedbooster already and the upgrade looked incremental due to a lack of 4k 60 fps in 10-bit. The S1H was too expensive. But I couldn't resist the urge to go for a better sensor, so after a year or so I sold off my GH5, GH5-s, G7 and speed boosters and lenses. Now I have S1's, an S5 and I recently bought a 2nd hand S1H for a very good price. It's interesting how I now have zero interest anymore in a new GH-camera. Or even new camera's from other brands that aren't major upgrades with tons of new features. I'm satisfied. I reached the point of 'this is good enough for years to come'. Finally. After all the camera's I own, I now no longer care about gear. I mean, I can now shoot 4k 50 fps in 10-bit LOG with incredible dynamic range in anamorphic mode with anamorphic preview and even anamorphic compensated IBIS. I got myself a set of Sirui lenses with modified L-mounts and called it a day. In 4:3 mode the sensor crop is slightly taller than the 16:9 s35 crop, leading to a crop factor of around 1.35x when shooting with a 1.33x anamorphic lens. That's close enough to full frame to me. And when the project calls for it, or I need to go a little wider, I can change to the 5.4k 3:2 mode. Amazing really. The camera's are a joy to operate. The buttons feel 'right'. The EVF's are brilliant (minus the one of the S5). I got a Sigma 85mm f1.4 DN and a Lumix 24-70 for photography and the AF is very good. More than good enough for the kind of photo's I take. Why am I writing this? Because I think many people feel like this in 2021. The current gear on the market is so 'affordable' and good and unlike 5 years ago, there is plenty of competition and alternative in the video world. I honestly can't see what a GH6 would bring to the table to make me enthousastic for even a second. I think GH-folks also underestimate how good the S1-line camera's are these days, especially ater the firmware updates. Much cleaner images. It's just a shame you can't use your GH-glass on the the S-camera's. But I think most of us were on some kind of speedbooster anyway. So nothing changes there. And Panasonic knows it. They can't release a €2000,- GH6 that is worse in a lot of things than their S1 / S5 due to the smaller sensor. And cheaper is probably not viable for Panasonic. They simply aren't as big as Sony or Canon and don't sell that much. It's funny how good Panasonic has treated us videomakers since forever, but marketingwise they aren't exactly like Apple. The product presentations with the old uncharismatic men. The 'Lumix' brand, which has as much appeal as a Toyota. I feel like they could have accomplished so much more if they had a more established brand. Or if people would take them more serious. And what was that cinema box release last year. Or that G100 'VLOGGING camera' with shitty AF and no IBIS. Video quality and feature wise, Panasonic always has been on top. And still, the competition (a7sIII / Canon R5) offer no anamorphic modes, overheat and lack a lot of monitoring tools. How many times I have heard from people 'What is that? A Lumix??'. 'Yea it's Panasonic'. And Panasonic is even a known name in the cinema world with their Varicams. The brand Lumix shouldn't have existed. The same goes for 'Micro four thirds'. Which man wants to have anything Micro in life? It always sounded like a compromise. Micro is better, until the 'Full Frame' (as in, the complete picture) steps up. And it has. A S5 or similar offerings from other brands is now under € 2000,-. I say it's game over for small sensors. And Panasonic has some work to do with their branding and future releases. Because I fear for their future as well. But as long as my S-line camera's keep working, I will be shooting 10-bit anamorphic slowmo in LOG with 12.4 stops dynamic range, in body stabilised, for years to come.

up to 25meter is fine, more and it will have to be active fibre HDMI cable?

Having a market thread is not a bad idea. I was more interested in moving my gear on quickly with as little hassle as possible, rather than maximizing the return I could get and increasing the risk of getting ripped off. The fact that it helps a fellow legit shooter is definitely a bonus. If that's the vibe people approach things with on the board, it could add value to the community.

Thanks again man! @Andrew Reidthanks to this site Ephraim sold me a ATEM Mini Pro for a great price. It's a testament to the community you've built that we're able to help one another like that. I think you'll do fine selling stuff through here!

Helping others with their gear addiction helps me with mine. It's what they call a win-win situation 😏

The GH5 Mark II really only needed to be a GH5s with IBIS and ProRes Raw output.

They only needed one thing to make the GH5 II actually interesting....PDAF....but they couldn't even do that. The GH5II with PDAF would have restored my faith in Panasonic and I would have felt better about a potential S5 II release with better AF but still no sign of PDAF. I feel like Panasonic is just trying to get rid of their old GH5 components prior to shutting down the production line for M4/3. I just don't see how Panasonic could possibly bring a GH6 to market when their FF S5 is only $1700.00. No matter how many features you crammed into a GH6 body, it still wouldn't be able to compete with the plethora of features in the A7SIII, the R5, or the coming R1....yet it would be close to their price point. And if Panasonic really does have a written agreement with Sony to not use anything but DFD...the GH6 would be DOA with DFD combined with a $3000 price point. The other irony of the M4/3 conundrum is that many of us now have a bag full of manual lenses since the GH5's AF was unusable...so even if they did release a M4/3 camera with PDAF, how many of us would be prepared to go back and buy more lenses for a camera that is a dying breed? To me the Voigtlander lenses have no equal when it comes to their particular look and they are still the main thing I miss about the move to the S5; there's simply no way I would go back to M4/3 and start buying new lenses on top of buying a $3000+ body with a 2x crop after buying the S5. Panasonic is without a doubt my favorite camera maker for video...but I've said it before and I'll say it again.....it really feels like they will exit the camera business soon. Canon and Sony are releasing incredibly advanced products at a breakneck pace with all of the right boxes checked (color science, features, menu structure, AF, etc.), and all Panasonic has managed to do is dig into the parts bin and come up with a GH5II. If Panasonic had AF that was even close to Canon's I would probably have two S5 bodies and L mount lenses right now.....instead I'm reading about a rehashed GH5II and thinking I'm glad I'm not still sitting here waiting for a GH6.

Wow, this doesn't really follow the "blockbuster" upgrades the GH series is known for. Who would buy this when you can get a GH5 for very little money? There's barely a difference. Seems bizarre. Although the A7S3 is more expensive, it has amazing 4k120fps in full frame with stunning low light and great DR. They have to make a compelling offer at half the price of the A7S3, and this isn't even close.

Dude! This was awesome. I felt the same way about Mr. Undone. I thought it really hurt his credibility (at least, with me) that the Sigma FP L was such a disappointment to him. You hit the nail on the head in every way. Took the words right out of my mouth. Same thing goes for Bloom. I typically love these guys and what they offer but I agree with you that Sigma is doing something different and I appreciate such things. I can put the Fp together the way I want. Isn't that also the way you have to do RED? I was Panasonic for years with my DVX100 then Lumix GH4. Up to the release of the original Fp, I was looking to go Fuji but wanted to be full-frame. Then, Fuji drops the bomb with Medium Format moves. That will be my play at some point. But, when you drop full frame cinema into the mix the way Sigma is doing, you can put together your situation they way you want. Most cinema cameras force you to do manual focus, Fp does but also is ramping up the lens support where the lens provides stabilization. Not to mention, putting the4 Fp on a gimbal like the Weebill S. This is all good in my view and really puts in the throws of being a real filmmaker. That's the point for some of us. Then, when you add the photo imaging part, this puts the Sigma Fp in it's own little power-packed space. I really appreciated Steve Huff's perspective on the Fp in this regard. This man is a serious Leica guru. Lenses and Cameras and he thought his experience with the Sigma fp was akin to his Leica SL. Yikes! I was like, "okay!". Now, we're talking. He used his array of lenses on the Fp and the look was amazing. Color science and all. After reading your comments here, I recommend folks add Steve's YouTube review of the Fp. It's here: https://youtu.be/Q01kVaFtkvg So, kudos Andrew. I really appreciate your view and coupled with Steve Huff's view on this, I think it showed how powerful the Sigma Fp and Fp L is in the hands of those who love to be different and know how to put their systems together for their needs.

I have one. They're awesome lenses

I've started working on a new series of slightly light-hearted youtube videos which parody old British factual / educational TV programmes (i.e. inspired by Tomorrow's World, Look Around You etc...) - complete with a classic continuity announcement after the end credits. I'd been doing synth music demo videos and simple camera tests on this youtube channel for years, but wanted to try something different and hopefully a bit more creative, and also to be able to collaborate with friends. Here's the first video. It's not perfect but was a helpful exercise to see what I can potentially improve on in future. Let me know your thoughts! I used the S1H - shooting in 6K. Shame I added the retro filter as it looks amazing without it, but I thought it went well with the video's style - won't be using it on every video in future though. I'm also using stock footage for b-roll from a website I'm subscribed to, which hopefully fits the style of the video. The text was written by a friend many years ago for a university radio show. Maybe we could have revised it a bit to make it work better for the screen - will keep that in mind in future. My channel's main topic is synths so I've kept that theme in this video, having composed the background music with one specific synth.

I've only used the S1 and S1H (and EVA1), but I remember someone posted a comparison of the S1 and S5 and V Log was more green on the S5. Which is good, the EVA1 has better color than the S1 in part because it's lacking such a strong magenta tint: Of course, compared with Alexa footage, everything looks magenta!

Impressive!!

The trailer looked awesome. I'd never be able to tell that it was recorded with consumer cameras. I don't know about you but to me this goes to show that having an experienced colorist on board hugely elevates the production value. Surely, a well-seasoned DP that knows how to properly expose the camera helps tremendously, too. Great piece.

This dude shot a feature length doc with the bmpcc and the bmmcc. I think it had a festival release in 2018, but now available online. The colors out of the original bmpcc and micro have a point like quality and texture. Really beautiful.