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What if there is a shock discovery that our GH5 and MFT gear doesn't all stop working after a certain date? What if my 14mm f2.5 pancake lens isn't watching the Panasonic website and gradually counting down to oblivion? What if I could keep using the 5K 4:3 anamorphic de-squeezing, downsampled 4K60, high-bitrate 10-bit ALL-I, IBIS, reliable, long-battery life, ergonomic, battle-tested camera that I already own? Well.... that would mean, in that crazy reality, if we even dare to contemplate, the other half of this thread is moot. Now excuse me while I go complain on the cutlery forums that I'm about to starve to death because my spoons haven't been upgraded in 1000 years and still don't automatically extend to 'focus' on my food and I still have to do it manually!

Spec sheet: https://drive.google.com/file/d/1GPtPEuCoz-1HNyGaH-FPu93S-RnvD5ud/view Same sensor as original GH5, IMX272 https://www.sony-semicon.co.jp/products/common/pdf/IMX272AQK_Flyer.pdf

The DR of the Mini LF is definitely worthwhile. Because of the small size, these are used all the time on shoots with small-to-moderate crews. I used mine yesterday with nothing but 2 camera assistants. One occasionally jumped in with a poly board for fill, but mostly leaning on the DR to let me expose for the subject and letting the clouds etc roll of to where they may. It's a real get out of jail free card if you are thrown into challenging settings where you still need to work quickly and come out with nice results. The new smaller cameras are getting close though which is also great.

It is exactly me. 🙂 Have zero problems gone into concerts with GX7 / GX85 / G9 / E-M5 / E-M10. Most of the time security thinks that they are film cameras (it is the cause that I prefer rangefinder style cameras with silver color...). And since I moved to Fuji, the X-E4 not having IBIS was a huge dissapointment. Will have to see how the X-S10 will look to the security - it is small, hope that they thing is a point&shoot... Lenses wise, Fuji could come close for concerts. The 55-200 is f/3.5-4.8 - considering a 1 stop gain in light gathering by the APS-C sensor, the 35-100 f/2.8 would be a f/4 constant, the Fuji would be a little darked in the tele end. https://j.mp/2SPAsuN Size wise, very close. Weight wise, not so much. But both MUCH smaller and lighter than a FF.

I moved to Fuji, but if the prices tank, will get back some stuff. Will keep my GH2 and E-P1, since they value almost nothing, and were the cameras that ignited photo and video with me. My Oly 45mm have some external marks (caused by a loose step up ring in the same bag compartiment...) and probably will stay too. One of the Panny zooms, the 12-32 or the 14-42, probably will stay also. But I will buy a E-M5 MK III in a hearbeat if the used price goes down.

And to emphasize something... That's my go to multi camera kit. That's a GH5, G85 and a GX85. There's two 12-35mm f2.8 lenses (mark I and II), a 35-100mm f2.8, a 14mm f2.5, 25mm f1.7, a 20mm f1.7 and the XLR audio adapter. Not shown are the 42.5mm f1/7, a Olympus 7-14 f2.8, and the Pana Leica 15mm f1.7. And I had every intention of getting a GH5s before covid-19 hit. It still blows my mind that I can fit all that into one case, and if I really wanted to I could fit the lenses not pictured into a slightly larger case and bring it all with me to every shoot. There are people more invested in native M43 gear than I am, but I'm pretty invested. I'm not complaining just to complain. I want M43 to succeed! Do you know how wonderful it is to be able to throw the 35-100mm on the GX85 and get stable footage in 4K with such a small footprint? Concerts, festivals, sporting events, and anywhere else that has restrictions on what kind of cameras you can bring don't bat an eye at a tiny camera with a lense that's about the size of a can of soda! You simply cannot do that with an APS-C or full frame camera with a 70-200mm lens. It's a system worth keeping! Panasonic though seems to be moving on.

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.

Some Angenieux 75mm glory, c-mount for S16 format. covers full m43 sensor with some light vignetting. Another gem to support the yearning for a GH6 with prores, oplf, sdi out, internal nds, super16 glory, 10bit HD up to 240fps, etc. 🙂 Lens has a glorious glow wide open at f2.5, which is like a light source of its own. I love everything about it. Hopefully it will become more thant just a magical item but for pratical use in a short film or wait, why not shoot a paid gig with it for some talking heads footage! Photo taken with the beautyful GX85. Hope that body gets the GH5 sensor and codecs some time. Now that would make m43 my format of love again. I saw a Nikon 35mm f2, a lens from the 60ies vignette pretty strongly on a S1H in 16to9 video mode. So this little lens is doing pretty okay in that regard I think. And it´s my first and only Angenieux lens.:)

Used the C70 for a shoot for the first time recently. Very impressed. I honestly think that Clog3 is pretty much redundant in this generation because the shadow detail is rendered so clean in Clog2.

There may be a third factor at play, although it would be invisible to film-makers. That would be where clients have a keen sense of what the image they want looks like, and they learn that all the examples of the shows they like were shot on the Alexa, so they just know to ask for that. Sure, they wouldn't know what the letters "DR" are as an acronym, and they wouldn't know what "Dynamic Range" means as a pairing of two words, but they might know what it looks like. One example of that is how women have more refined perception of colour than men, meaning they see clearer than men do, but mostly won't know the technical terms. Most of the people I run into in real life that have a honed sense of taste / aesthetic such as visual artists, interior designers, etc have very astute perception but lack the technical vocabulary to explain it.

Yeah it is as if they thought, "well it comes like this so must be reviewed like this". What does he think the quarter inch thread is for? A beer holder? It takes about 10 seconds to attach the official Sigma grip. The box format is about the modular flexibility and they barely touch on it. Would have been easy for Sigma just to do yet-another-clone of a Sony A7. Like Nikon are. Props for having the guts and imagination to step outside the box. Just shows up these YouTubers for how uncreative they are as artists that they can't even be bothered to attach a wooden hand grip.

A lot of them are not even photographers. Canadian guy in the DPReview video, forget his name, goes on about the EVF making it hard to grip. So add a grip then! It's got 4 or 5 grips - I can list them off top of my head!! I have 3 different grips myself for the Fp and attach them at will. Yet he... Chris or something... Is complaining that it's hard to hold a square box with no grip when you have a big EVF attached to the other side. Not a photographer.