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Something I find interesting is how many have commented on the distractingly shallow depth of field, but I haven't seen anyone comment on another characteristic of this F0.95 wide-open shooting...the softness, which was to me very noticeable in wide shots. Goes to show that we gear-nerds and pixel peepers get way too hung up on technical perfection. I suppose it's different if you're doing product shots or ads that are trying to project a clinically cutting-edge image, but the majority of the time, no one cares that much as long as the image registers. See also on Netflix the grain storm of the 4K scanned 16mm for the new Master of None show. It blows my mind when people call images with some small, gently buzzing noise in the shadows 'unusable'.

5720 x 4290 Completely revamped DFD AF that's on par with, and sometimes better than A7S III.

I enjoyed it, thought it was thoroughly enjoyable. The thing is, the audience doesn’t care about vintage lenses and dead pixels. Only a tiny niche of people do. Sure, the shallow aesthetic was noticeable to me, but that’s only because my eye is trained to see it. But I thought it looked quite “dead eyed”, and complimented the theme of the film well. Also, this was a film where you come to see very powerful zombies fucking shit up, and it does that very well. I personally don’t want to see deep storylines here, I want to see the chief zombie riding a zombie horse and causing absolute carnage. Also, for what’s it’s worth, there is some reference to Synder’s loss of his daughter which was a nice touch (if you know about it). It’s a bold, fun movie, uniquely shot in shallow DOF where cool shit happens and nothing more. Top job.

The Panasonic GH6 is going to be the most advanced Micro Four Thirds camera ever made. The reaction has been pretty positive. But is it enough for it to be a solid update over the GH5? Does it need a big attention grabbing feature that makes it unique? New blog post: https://www.eoshd.com/news/gauging-the-reaction-to-the-panasonic-gh6/

Photographers and tabloid paparazzi are said to have played a significant role in the death of Princess Diana in the 1990s. Now there are new revelations about the role journalists at the BBC played in her life and events leading to her death. However, there is more to this story than meets the eye. New blog post: https://www.eoshd.com/news/princess-diana-death-by-a-million-clicks/

There's also a red front record button on GH6 just like S1H, if you know where to look.

Any tidbits about possible sensor? Sony doesn’t have a 24MP MFT sensor listed on their website. So perhaps it’s a custom ordered design from Panasonic and JIP. I think the internal ND feature would make it stand out, especially if they can keep the G9/S5 form factor. I’m still on the hunt for a smallish camera that shoots 4K with good AF. If it has internal ND and much improved AF It would jump to the front.

I've been on the good ship Panasonic for 11 years now, using the GH series for my video business. Last year I got an S1 to pair with my GH5. I love the combo as an A/B setup for interviews, and for location shooting having the GH5 with the stellar Leica 8-18mm on the gimbal ready to roll. It's a small and powerful system I can put in a single backpack and the Lumix cameras have never missed a beat for me, bullet-proof in professional environments. However... after a brief flirtation with a C200 I crave built-in NDs and more video-centric ergonomics. The C200 was too heavy and large for my tastes, but the C70 is close to the perfect A camera for me. I'm very tempted. The main reason I haven't switched already is Canon don't have a bullet-proof B cam in their R series line up yet, nothing I would trust over a GH5 for the wide range of work I do (sometimes having to lock off a camera and let it run for 2 hours). I love Panasonic, I want them to keep my business, but the temptation is getting greater. It sounds silly, but a GH6 and S1H II with built-in NDs (up to at least 8 stops) would probably be enough to keep me and upgrade both cameras. I trust them to knock all the other features out the park.

To have build in ND it will probably look like C70, those ND filter need space to put in and out.

Isn't that what the camera geek want? the FF look with everything on F0.95! Its pure orgy for them haha

I understand this thread as opportunity for (the most serious and well minded) message to Panasonic. Blog post summarized it all. What I can add as small holistic addition is suggestion that it is the last chance for Panasonic (or it will be done by somebody else) to collect all very important and still distinctive virtues of m43 system and finally offer them in one camera. I mean, don't behave as not too smart little calculating coward - because moment of camera evolution doesn't allow to be as such. Barrier of price has been already broke through - I think that even 3000e starting price for m43 movie making machine is pretty competitive with added qualities mentioned in blog post. At the end of a day, this clearly is territory for professionals who make money with camera, or for high end enthusiasts (finding field of deeper self-actualisation in camera usage) seeking for best artistic instrument. Being now pretty serious involved in sort of art creation, my experience with both m43 and FF system told me that - at least in that field of interest - they are clearly not competitive, but different in some very important areas. For just one example: contrary, as it seems, to most public, I found that possibility to get deeper DOF with better light gathering (even more taking into account modern sensor sensitiveness) is crucial for my way of thinking. For making truly rich art experience, shallow DOF has to be used extremely sparingly, or even not at all. There is far more demanded mastery, and respective distinctive achievement, in capability to arrange scene with meaningful and seriously thought out content in background, than cheaply and lazy blurred it. Potential in transferring complex and deeper message in just one shot is at the side of deeper DOF, but demands more talented mind and much more crafting mastery. Being so close to the perfectly capable camera regarding compactness, reliability, ergonomic, RAW as best codec, ND, maybe or not IBIS, with best possible 4k delivery quality as indeed far away future proof, etc mentioned in blog post - price gap of say 500e is not so important. Nor the race between m43 and FF who understand their distinctive virtues. Chance to sooner bring to table the most rounded instrument is still on the m43 side with its lens ecosystem, including affordable cheap truly cine zoom solutions such as, at the moment, say DZO film's. Even with fast gradually catching up, of course including bonus crop choice, FF system is not even close to offer comparatively affordable and compact cine zoom lens.

Go to your PP8 or any PP. Go to SET scroll down to Gamma, scroll down to S Log. BB

Im surprised you don't get a bit of redeye with the built in flashes. From memory i used to get a lot of redeye whenever i used my flash on the camera still could have been my technique 🙄

Thats why I got a Pocket 4k. I got tired of the farting around with compressed formats. External recorders are the way to get around that nut thats also a hassle. Now I can shoot 3:1 Braw on a cheap SSD directly on the camera or at least 5:1 on an internal SD card. Now that some DSLRS are getting external raw support I still don't really care. Its an added cost to get an external recorder and its a lot more hassle than what I have now. I'm also kind of a freak for 4:4:4. I know visually it actually doesn't make a huge difference. I studied VFX in college and can pull damn good keys with 4:2:0. To me its more about why 4:2:2. Its a left over from the analogue days and we don't really need it anymore. We have fast and cheap enough media now to not worry about 4:2:2. Its an old broadcast video standard and really has no place in our digital world today. h264 and h265 are also very capable of 4:4:4 but we are barely getting cameras to add 4:2:2 and 10bit let alone 4:4:4. So Braw on the P4k represents something I have been trying to achieve ever since I started with SVHS and have been trying to get something better than video standards. Its not just because its raw. To me its because its RGB, 4:4:4 and color space agnostic. No more butchered rec709, no more unnecessary 4:2:2. I know visually I could probably do the same with a lesser format but to me its just about starting clean and go from there. It represents what I always dreamed of being able to do with video. Oh yeah and its 12bit which will be even harder to make an argument for than the 10bit vs 8bit argument. But hey its there and doesn't hurt so why not. Fun fact. 12bit has 4096 samples. DCI 4k resolution is 4096 wide. Thats exactly one sample per pixel for a full width subtle gradient or in other words the perfect bit depth for 4k. Not sure anyone could ever tell vs one sample every 4 pixels like 10bit has but hey there it is. Basically posterization should be physically impossible on the P4k shooting Braw.

Still have my GH5, what a camera it is. Since, things have moved on and the GH6 must have something unique up its sleeve, as the A7S3 now exists with 4k120p 10bit for a bit more money. If it was $1700 with an ND system? Bingo.

Not sure it is really worth, risking stuff entering the camera, breaking the door, breaking the cable etc.. A delikin 2 TB CFexpress that sometime is on sale for 800$ is a better investment.

Agreed. All the photos we look at online are 8bit and rarely is 8bit an issue. For normal rec709 video profiles 10bit is a tad overkill although there can be some extremely rare cases where it can help. The bigger plague of 8bit is some h264 encoders that are too aggressive in how they assume color samples will not be noticed as different and merge them as a macro block. You can have a frame from a h264 video in 8bit and an uncompressed png of that image also in 8bit and get more banding from the h.264. Encoders try to figure out what is safe to compress together. The stuff we can't see with the naked eye. If we can't see it there is no point wasting bits on it. So a 8x8 pixel block with very subtle green values may decide to make that a 8x8 block of one green color. This can cause banding where one would normally not have any in 8bit. Panasonic suffered from this on the GH4 when they added log. The log was so flat that the encoder assumed it could compress areas of color into big macro blocks because the values would not be noticeable. If the shot stayed as log they were right but because the log was flatter than other log profiles it really struggled with areas of flat color like walls when graded. Sony's encoder did better at not grouping similar colors. At least up to S-log2. S-log3 could suffer from the same issues as Panasonic V-log on the GH4 on older Sony cameras. The GH5 had an improved encoder that wasn't as aggressive with 8bit and areas of similar colors.

Looks like they went full retard with the full frame aesthetic.