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Wanted: a partner that loves me as much as Panasonic loves DFD.

The GH5s and G9 have more recent, faster processing than the GH5 - hence there have been more performance upgrades via firmware updates for those two versus the GH5. I guess the new GH5 ii probably has (at least) the processing and IBIS from the G9 combined with the better thermal management of the GH5 to allow unlimited recording times.

We don't really know enough about the GH6, but 5.7k 60p and 4K 120p are both great. I'd wait before calling it underwhelming.

Yesterday I unexpectedly shot quite a bit with my FP and 5inch Video Assist. Man, what a combo! It's so small, and lightweight. The person I was filming told me half the time, he didn't even notice I was rolling, and of course when I put it next to my Pocket4k footage, it grades exactly the same, or possibly better. Very easy to match. I was thinking of selling the FP, because for the types of things I shoot, cDNG is just not viable (longform interviews). But then a deal for the VA12g came up, and I thought it'd give it a try. Now I'm completely sold. With this setup, I've turned a great camera that's was no fun for me to use, into a very fun, take anywhere cine-cam. My shoot yesterday was very unexpected, but I happened to have the camera in my satchel with a 28mm f2.8 FD lens. It was a dream setup, that I'm basically going to take everywhere from now on.

Wait till you see how much they love Atomos? I'm going to be tied up with HDMI cables forever it seems (for ProRes or RAW)

You mean the GH5 II or GH6?

Personally I think that is an underwhelming camera. Just not enough there to justify upgrading the GH5.

Oh I get why they don't have it, but for the run and gun work I do; those missing features eliminate them from any serious consideration for me; which is kind of funny since I have no AF now with the S5 and EF adapter but IBIS and lowlight performance is incredible. I think if BM ever made a more prosumer version with a more rugged body, better form factor, and a few tools for us run and gun shooters like IBIS and AF, they would sell a ton of them.

I think 24MP is plenty for a MFT camera. I suspect 120p won't be cropped. There are so many things they could improve to make a better camera: Bright, higher definition LCD somewhere around 800nits and 3.5" or larger. Phase Detect Autofocus with eye, face, body tracking. Animal AF a bonus! Internal RAW High dynamic range (12.7 - 14 stops) Internal ND Refined color science Smaller than a C70 Basically make a better, smaller Canon C70--with a viewfinder!

Don't forget its also useful for white balance if you accidentally missed it on set

Yes it did have 96k. I have the XLR adapter.

This came up in my feedlot sure if it's been posted already but a search didn't reveal any hits: There's some great info in the comments about equipment, settings and process.

One thing that struck me from the tests was how neutral the over and under exposures are. That's absolutely not the case on most other cameras, and I speak from experience here because I have routinely exposed things poorly in the past and then suffered in post when things didn't behave how I anticipated/hoped they would! Once again, the cameras that most remind me of this trait is the original BMPCC and BMMCC, which use very little highlight rolloff, so the way you use them is to ETTR and pull things down in post, and they look very similar (I did tests), at least when overexposing things anyway, if things are underexposed then the results aren't so good. It might even be that the usability of the DR of the Alexa is more useful than the sheer amount of it.

You wouldn't catch me hoping that a 60k investment in a rapidly changing technological industry was still good in a decade! I think the entire film and photography industry grew up in a little fantasy bubble about the way the world works because they started with film. Film was standardised and so that meant that any advancements were compatible with your camera and you were going to have to buy new film as you used it anyway. Cost of upgrading image quality = 0. Film was standardised and so that meant that your old camera was still good, basically forever, and was (almost) immune to obsolescence through innovation. I say almost immune because stills camera manufacturers started inventing automatic features like auto-exposure and auto-focus which made people buy their cameras and lenses over and over and over again, but the film industry was immune even to this due to the manual workflows that the industry was based around (and still is). Obsolescence of old equipment = 0. These two things disguised the fact that buying cameras and lenses are investments in technology and technology is the most fertile ground for planned obsolescence that exists. No, ARRI aren't deliberately driving the value of your investments into the dirt, but every manufacturer that makes TVs certainly is. The evidence of this is the slow-motion car accident that is happening which is slowly bankrupting cinema chains, a computer company getting into the telephone industry and sending photography companies bankrupt, and the rise of online streaming services and decline of TV, etc.