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I'm guessing they don't want to pay the licensing fee, so they let Atomos eat that expense and they can reap the "benefit." I just don't understand the logic behind getting these small, lightweight cameras and then putting a recorder on top of it. I'm glad it's an option but it's really not something that I want to deal with.

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.

If you are on firmware version V1.40 the S Log should be loaded in the picture profile menu. If you have V1.40 it should be there. In V1.45 I believe Sony had the paid RGB version in that firmware. You can still find the free S Log V1.40 from Sony, It's out there. AbleCine have some really nice Picture Profiles you can load from their website. Search Sony F3 Loads of info on the camera. It really makes a difference shooting in the best codec you can when recording S Log. The 444 RGB looks amazing coming out of the F3. BB

super moon / blood moon tonight. Busted out the canon 500mm mirror lens. clouds were all over the place and blocked my view of totality, still did get one nice image that i liked. Conditions permitting next time i plan on filming with the p4k as opposed to taking some stills. May even have a new / second mount which will open thing up. The peaking on the om-d mark two is really quite helpful. Quite happy with the way its working out.

For some people the GH6 does need that stand out feature, which nothing else does. For other people it will be the overall package of features for the price, and the small size and the particular lens mount that makes it worth upgrading to from an older GH series. For me I consider focus and exposure basics. So sort out the AF and have an ND filter. This will make it stand out for me. Plus ProRes 422 for smoother editing. Wide dynamic range. Great big EVF. Let's face it, the GH5 was a much nicer camera to use than the Blackmagic Pocket Cinema Cameras, with far more features and much better for hybrid use. So if they can borrow a few features from the BM Pocket 6K Pro like the ND, ProRes and give us all the advantages of a mirrorless camera for $2500 then It'd be a big relief to use the GH6 instead when I need all those. Panasonic's IBIS system, ergonomics and image processing are some of the best around.

I agree with your outline of why similar colours are grouped together, but I wonder if it's a function of bitrate. What I mean is that maybe the encoder would like to leave the colours separated, but due to bitrate limitations it has to sacrifice where it can do the least damage, and due to the 8-bit + Log combination these places are the least-worst and doing it any other way would simply have been worse again. One of the things I find fascinating about modern cameras is the atrocious bitrates they employ. 1080p Prores HQ was ~180Mbps, but the "standard" for 4K was only 100Mbps - even on multi-thousand-dollar flagship cameras like the A7S2. 100Mbps for 4K is laughable but seemed to be unquestioned. The bitrate for Prores is constant per pixel, so the 4K bitrate is 4x the 1080p bitrate at about 700Mbps. The H26x series are designed for broadcast not acquisition so unfortunately don't really get better in quality with bitrates the high, but they certainly do a nice job if you push them to give the highest quality they can muster.

Since the organic sensor has obviously failed to show up this time, it would be good if they did something extraordinary for sensor dynamic range (precisely because of the smaller sensor size and fast enough readout). For example, pushing the dual ISO technology to instead make two separate (tone mapped) pixel exposures within the same frame as a standout and unique MFT feature.

Why not do a rec709 PP if you're going to shoot 8bit internal with the F3?

Some people just make a small opening in the battery lid. I just use the supplied rubber stops.

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

To see if there is a cheaper solution than the CFexpress card type B for the Canon EOS R5, I bought the CFexpress To SSD Converter from Zitay. And a separate 2TB Samsung 980 Pro PCIe 4.0 NVMe M.2 SSD drive. In total, it is still much cheaper then, for example, a Sony Tough 512 GB CFexpress card (For me 6.2 times in terms of storage capacity). Now I can shoot 8K RAW footage up to the time limit of 29:59 minutes without getting an overheating warning!

Just give plenty of SDI outputs, with full individual control over each, and let people use their own preferred monitors.