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I've been using it for about 5 days now (should have gotten it over a week ago, but Fedex + snowstorm decided to spit on that idea). In short, I preordered as soon as it Adorama last night. The autofocus is incredible, the handheld AI features are incredible, build quality is exceptional (I put it in my shower for ten minutes). The new 40-150/4, which they loaned me too, is fantastic as well (wish it had a focus clutch, but not a big deal). My full review will be coming later at Petapixel but paired with the grip and the Olympus 100-400 and this thing is a wildlife photographer's dream. Image quality is certainly at least one step above the former 20MP sensor, though I have not spent much time messing with the files so far. Where I'd limit my E-M5 III to 1600, maybe 3200 in emergencies, I'm comfortable going to 6400 here. And with the even better IBIS (which is the best out there), rarely do I need to. The auto ISO options are still the same, which is to say that they suck. Menu has been redesigned and is SO MUCH better, thank god. I love Olympus cameras but they always had the worst menus.

It looks limited to 5.7K 30p. So 1900 mbps is about right... Prores 6K 422 HQ at 30p is 2121mpbs.

That’s IP666

Almost all OM System videos are people on the outdoors, covered in snow to the waist, shooting under monsoons, base jumping inside an active volcano...their intended demographic for this camera is well defined. (the last one is a joke, IP53 is not rated for volcano swimming)

It sounds like you made the right choice for yourself, given your criteria. Personally, I wouldn't have chosen any of those lenses to make the comparison as they are huge lenses from the first-party manufacturer versus a bunch of third-part stuff. By the way, not all M43 cameras and lenses are big (GM1=204g + a tonne of under 150g, pocketable primes to choose from) and many of them have much better IBIS, especially with longer lenses; so, not really apples to apples here. Is that Tamron 28-200 a fully metal constant aperture lens with IBIS that works perfectly with the body and heavily weather-sealed with a MF clutch system that's probably the best in the industry? I don't buy anything new unless heavily discounted (like 50% off or free, with full warranties) and most of the time I buy used. The fact is that there are so many good, small M43 lenses for dirt cheap because of people saying FF is the greatest thing in the world and anyone serious SHOULD use FF. Please keep saying it too because I want more people to ditch their M43 stuff so I can keep buying it for ridiculously good prices. If I don't like the lens I buy, I usually sell it for more than I got it for. In my experience, you have a lot more risk with anything FF because the prices end up being way more and you'll be lucky to partially get your money back. Sometimes I think the mere existence of M43 pisses FF users off. It's funny.

Specs and a HUGE 32 minutes in video leaked, showing the camera in detail. S1H-like hinge and vents confirmed. https://www.43rumors.com/full-panasonic-gh6-specs-and-new-images-leaked/ GH6 specs 25 million pixel PLF-less sensor 100 million pixel high-resolution shooting 5.7K video Sensor read up to 300 fps High-speed read at 4K resolution 120 fps Suppression of rolling shutter Computation processing capacity is about double New Intelligent detail New 2D noise reduction High performance 3D-NR (video) Improved AF performance Processing speed is 3 times faster than before DFD performance evolution New recording mode 4K120p 4: 2: 0 10bit 300Mbps 4K 60p 4: 2: 2 10bit 800Mbps / 600Mbps 5.7K 60p 4: 2: 0 10bit 300Mbps C4K 120p 4: 2: 0 10bit 300Mbps C4K 60p 4: 2: 2 10bit 800Mbps / 600Mbps Recording file method supports Apple ProRes in addition to MP4 and MOV 5.7K 30p Apple ProRes 422 HQ 1.9Gbps Card slot: CFexpress TypeB slot, UHSII compatible SD card slot Weight: 739g Dynamic range boost function: It is possible to shoot a wide dynamic range image at a maximum of 60 fps by synthesizing an overexposed image and an underexposed image in real time. Achieves a dynamic range of up to 13+ stops approaching the full size. The minimum ISO sensitivity is 800, and when using V-log it is 2000, so an ND filter is essential. Image stabilization: Adopts an ultra-high performance gyro sensor and a new algorithm, and has a correction effect equivalent to 7.5 steps. Smooth image stabilization that is ideal for movies. Dark place performance: High-sensitivity noise is much suppressed compared to GH5II while increasing the number of pixels. It can be used normally up to ISO3200. Built-in microphone evolved from 16bit to 24bit. 4 channels can be recorded when using an XLR adapter. Phase-difference AF is not installed, but AF is much better. The AF calculation speed has tripled, the background omission and tracking performance have been greatly improved, and the AF speed has also become considerably faster. There are 315 AF points in the full area. Human, face / pupil, animal + human subject recognition can be used in all AF modes. The focus range can be set with the focus limiter.

This topic have made me mad... Unreal engine it's very complicated to understand, and there are issue every 2 minutes for all that you want to do if you are not expert... I've watched many tutorial on YouTube, starting with oculus quest (that I have) and other, but today I've maybe found my personal workflown... Unreal 4.27 and virtual plugin for Android (80$), very easy to setup but at the moment there are issue for anything different than 24p (I want 25p and there's a bug) I really don't want to use composure for merge virtual to real life, and I have chosen to add two track in davinci resolve (unreal world and real subject with a matte) in syncro (with waveform of music) The matte will came from runwayml (15€ a month for 1080p) and I'm still forced to use some green screen in background (without light) to help rotoscoping.. In this way I can turn around my subject (my 5 years old son) in my living room without divorcing my wife In the next days maybe I will be able to post some sample..

It would be a bonus point in my eyes if the GH6 has the same/similar tilt screen as the S1H rather than a vloggers flip out. #bestLCDever

This is clearly a subjective question. To me, pleasing grain structure is well-defined, tight/small noise with no fixed patterns and as little green and magenta as possible. But please share your observations, even if your criteria for pleasing grain/noise is different. For me, I'm really liking what I'm seeing from the Red One MX. Unsurprisingly, none of my other recent or current cameras (C70, C200, EOS-R, 5Diii with ML Raw, G85, or EM10iii) comes close. It meets all of my criteria for pleasing noise/grain. But I'm also curious if there's anything smaller that does well in this area.

There's one file from the Komodo on REDs sample footage page.. https://www.red.com/sample-r3d-files Download links in description of this video: I'm sure there will be others around, just google "red komodo download footage" and see what's out there.

Yes, I was just looking it up myself. I had C4K 30p at 943 mbps, so I guess the figure given is feasible. Strewth!

I bet this item will see a large sales boom once the GH6 is released. https://www.tomshardware.com/news/adapter-turns-ssds-into-cfexpress

The Pana 14-140mm 3.5-5.6 is actually my favourite lens for video, especially as it supports dual-IS2 stabilization with the higher-end Panasonic cameras. It's certainly the lens that's been on more foreign trips than any other I own. Just wish they'd make a version of it with power zoom - I can dream... Next favourite is the Pana 12-60mm 3.5-5.6 - very cheap used, weather resistant, light weight, minimal focus breathing, dual-IS2 support, and works nicely on my E-M1 II as well as the Panasonic cameras.

There is no such thing as dirt cheap M4/3 lens that are the top end stuff. Any 2.8 even F4 stuff is damn expensive even if itis 5 years old. Yeah Kit lenses are cheap, but they are cheap from any company. The only great, relatively cheap lens for M4/3 is the 14-140mm. I think they are a bargain, and the later ones are Really good end to end. But they are hardly great for video. The Olympus ones with the clutch in them for manual focus is the way to go video wise, but you had better have some deep pockets to buy them.

Now for REALLY long use a B4 2/3" ENG lens on a M4/3 camera and you are easily over 1000mm.

Never mind the 500 subs or the open mouth thumbnail, I’m just a bit disappointed he didn’t demonstrate how to barn dance. #CottonEyeJoe

I agree on the importance of AF. Especially in a mirrorless camera. In terms of the market, Blackmagic seems to have got a free pass though. Shit AF all round from them, and nobody complains and the cameras sell like hot cakes. So what's going on? Sony, Canon and Nikon all AF obsessed and producing very capable systems in both video and stills mode. Fuji is patchy. I thought maybe it's Sony patents holding Panasonic to ransom, or past mistakes. But then a literal Olympus CORPSE comes out of a graveyard and gives us Quad Pixel phase-detect AF on sensor. It's absolutely bizarre the whole thing isn't it? As for GH6, I have one but am under NDA so can't say anything about it until it launches for real.

You never used the old Sony menus, huh?

The upcoming RAW update, the sensor, the touch to track AF update, the codecs, etc. finally sold it for me. I went ahead and ordered it to replace my C200 for long form content. I will also get to see once and for all how well handheld works with just lens and digital stabilization.

Oh I agree on the lens part. But once you have gone FF it is Damn hard to go back to even APSC let alone M4/3.

Here's a first pass at matching up the ZV E10 and S1H, it's not perfect with the shirt and a slight tonal difference, but getting there, definitely will be close enough once I have it finalised, so I'm pretty happy. It didn't miss focus for the whole shoot. Which is more than can be said for me. The rolling shutter is so bad though that if someone sways back and forth their head bends HAHAHA But in general it's great, so if sony ever release a new APSC sensor cam with faster readout I'll likely upgrade to that. Or possible an A7S3 if I find I really start to enjoy the Sony more.

They say "A journey of a thousand miles begins with a single step" and that describes exactly where I am with Virtual Production. The reason for setting off on this journey ? Curiosity in the process is one aspect - and is something I'm hoping will sustain when the expected big boulders block the route - but I also think VP is going to be a process that trickles down to lower budget projects faster than people might expect so it is something I'm keen to get involved in. What aspects of VP am I looking to learn about and get involved with ? In the first instance, it will be about simple static background replacement compositing but will move on to more "synthetic set" 3D territory both for narrative but also multi camera for virtual studio applications. There will also be a side aspect of creating 3D assets for the sets but that won't be happening until some comfort level of how to actually use them is achieved ! And the ultimate objective ? I'm not expecting to be producing The Mandalorian in my spare bedroom but I am hoping to end up in a position where a very low-fi version of the techniques used in it can be seen to be viable. I'm also hopeful that I can get a two camera virtual broadcast studio setup working for my upcoming YouTube crossover channel Shockface which is a vlog about a gangster who sells illicit thumbnails to haplessly addicted algorithm junkies. I'm fully expecting this journey to make regular stops at "Bewilderment", "Fuck Up", "Disillusionment" and "Poverty" but if you'd like to be an observer then keep an eye on this thread as it unfolds. Or more likely hurtles off the rails. Oh and from my initial research about the current state of play, there may well be a product or two that I develop along the way to use with it too...

I find this codec table useful: https://blog.frame.io/2017/02/13/compare-50-intermediate-codecs/ Prores has about the same bitrate per pixel regardless of resolution, so UHD is 4x the database of 1080p because it's got 4x the pixels - twice the width and twice the height. From this standpoint 5.7K should be about 1.6Gbps, so it's more than Prores HQ and less than Prores 4444 (which would be 2.2Gbps). Still, this is an incredible bitrate and may as well be RAW. I'd assume those would all be included. Fun times for film-makers who prefer to capture in a professional codec in the resolution they want to distribute in! If your exposure to a cameras popularity is only on forums like these then you will be missing the incredible popularity that the GH5 still has to this day. I'm in GH5 FB groups where new people are upgrading to the GH5 and posting the newbie questions regularly, like what gimbal is best? what cage? best lenses? best vintage lenses? can it shoot RAW? how can I get it to do X? etc etc.. TBH those groups are a completely different world than here, and other forums. There are people out there filming paid gigs for music videos and weddings and the like that have just bought the camera and are filming them with the kit lens and don't know that colour profiles exist. People post their (often paid) work all the time, ask for feedback, and get 50 people replying recommending they buy lights and study the framing and camera movement of movies and high-end productions. Yeah, the AF seems to sort-of jump and pulse. This might be tunable with settings perhaps. The AF issues from the GH5 were mostly it being slow or just deciding to focus on the background rather than the person in the middle of the frame, so maybe those are lesser issues. It's not like the other manufacturers have worked it out though - I still see AF fails on vlogs shot on Canon and Sony cameras. They tend to be included in the part where something funny or interesting happens and they want to include it for storytelling purposes and couldn't re-shoot it, so those moments are often little BTS on what the camera is really capturing, and sometimes the AF is seriously ugly.

The Alexa obviously is great. Great underexposed, pleasant noise pattern. RED Komodo is really nice as well, as long as you are blackshaded. Though I think there is a bit more color cast when underexposed. Yeah there may be something about rolling shutter that makes motion feel organic. Its so minimal on the Alexa, barely even noticeable when whip panning on longer lenses. The motion on the Komodo feels less organic, maybe global shutter is too perfect? or maybe the global shutter has nothing to do with the "feel" of the motion. Of course you can't beat global shutter if you are shooting camera strobe lights. RED's do tend to be nice underexposed. Noise gets heavy but they retain so much info so it doesn't looked crushed like cheaper cameras. Though the color does certainly shift, the OLPF you have in can help(depending what model you have?). Gets confusing with all the different models. I kind of like the Komodo maybe more then all their other models. It's not ARRI tho....

I wouldn't take it as only 5.7K 30p, but at a maximum. Everything below should be supported.. one would think.

I didn't realise the full specs were already shared. Seems quite promising. I am curious about the autofocus, the dynamic range and low light improvements.

I disagree. People spend vast sums of money on phones, just to have the latest camera. Just buy a proper camera and lens, it'll be great. I don't stick to one brand as I have lots of Panasonic stuff; however, I stick with one format because it would get super-expensive otherwise.

Here's the final product. Cool!

All I care about is if they fixed the HDMI lag.

A $1000.00 for me in retirement, or anyone not making a living doing this stuff is a bridge too far. High end lenses are a hard sell for non pros. Sure if you are going to stay on that platform for years and years but thigs are moving Way too fast to stick to one brand now. There is just a lot of great stuff out now. Heck look how cheap the Sony A7 IV is. And that is a pretty amazing camera for the money.

Oh man, the Red One. I learned to operate with it, and while it was sometimes quite a bitch to work with, no question how amazing it was for digital. Truly groundbreaking. Saved up to buy the Scarlet as a wet hire, switched to Blackmagic and Canon for more commercial work, and now I'm back on Red because they priced it right. If you're into the Red One, you already know the answer. Komodo. 6K 16-bit redcode raw and global shutter will give you the most detailed, color-rich, film-like moving image. While this forum is centered more around hybrid, consumer cameras, discussions lean almost 99% video. Probably because what people want are accessible cinema cameras. Well, we've never gotten a pro cinema camera within reach until the Komodo.

@MrSMW, full leak in the GH6 thread. The camera is so S1Hish that I can see you itching. 🙂

Where did you hear that at?? Pretty dope if true. ProRes is the cat's ass even in this day.

ProRes, wow.

Yeah really nice lens from any manufacture is not cheap. I have had like 3 or 4 different brands of cameras at the same time and I find no cheap way to go on any of them other than older glass, and even then Nice older glass is more than new stuff. No way to beat the system. Now sure size wise it is really hard to beat M4/3, but for video hardly anyone uses a longer lens. For birding yeah super long lens do look pretty stupid. The Nortrups are a great example of looking well, like jackasses using them. So yeah for super long lens needs yeah I would vote for M4/3.

Ok, let's do a fact check on this one. MFT vs FF. 1. Olympus 12-100 f4 - 1300$ 1. Tamron 28-200 f2.8-5.6 - 729$. Same weight.. but in terms of m43 it has f1.2-2.8 aperture! And its almost half the fricking price! Nice macro capabilities as well. 2. Olympus 7-14mm f/2.8 - 1300$ (534 gramm) 2. Tamron 17-28 f.28 - 900$ (420 gramm). Yes, the range is a bit smaller, but f1.2 in MFT terms plus its even lighter. So in no way MFT lenses are cheaper or smaller, lets forget that crap already. Add Samyang tiny 1.8 primes for Sony E and you are set. So if you pick up a Sony A7IV and those two zooms, you will end up with quite a cheaper set. Olumpus: 2200 body + 2600 for those 2 zooms = 4800$ total Sony: 2500 body + 1600 for 2 zooms = 4100$ total Now, it doesnt mean that FF is better in all occasions, all depends on your use case. Just dont see any price\size advantage over it from MFT.

How many PM's have you received asking if you can only just give them a few clues and they won't tell anybody honest/ Have you received mine?

Indeed. Should be standard on all cameras. Fuji made a cheaper version of it in the XT100 (which was enough for me), but abandoned it.

The tech itself isn't really anything "new". The last VR project my production unit worked on was around 2018 and we used an Insta360Pro which was already 8K/3D capable: FWIW, we didn't actually use 8K or 3D as the project was very specific and balancing motion-sickness was already an issue as we were shooting 360. So many challenges and so little info at the time for what we were trying to accomplish (black mirrors bandersnatch type interactive survival game). Anyways, that was on a 1" sensor with limited manual control. Pretty cool to have this on a FF with log/raw etc. I've also read Canon offers a practical looking VR Utility, an essential component for stitching/syncing: https://en.canon-cna.com/pro/professional-video-solutions/eos-vr-system/vr-utility-adobe-premiere-pro-plugin/

You can see a vent for a fan in this photo. The GH6 looks to be much bulkier

Nor the absence of composition... WTH is that fail in a promo paid?! OK, we all know fisheyes are not exactly sweet for human faces & bodies but no one told the shooter, the setup i.e. the angle where to place the camera, the height of the whole thing, distance to the subject and so on is actually part of the craft...?

It sounds like it might be a camera for adventure photographers, but also now would be "enough" if that person decided to do video or start a YT channel on the side. I can imagine someone new to video being told "if it has 4k60p 10-bit HLG then that's all you need". I see quite a few outdoor photographers on YT who started their channel to talk about their photography and started by using their main camera. The HLG wikipedia page is worth a review: https://en.wikipedia.org/wiki/Hybrid_log–gamma. Maybe I mis-spoke about it not being a real standard? But I think "HLG" being used to market a product is more like saying something is "HDR". I shoot HLG on the GH5 and then convert from rec2100 to rec709. In Resolve you can do this via a CST in the node tree, or you can enable Resolve Colour Management (IIRC in the project settings) and then set the Input Colour Space of the clips to rec2100. The colour management behaviour of Resolve is complicated, so that's kind of a different subject. I know it's not either rec2100 or rec2020 because I took a controlled test scene and shot three clips at -1, 0, and +1 stops. I brought them into Resolve and converted them with a CST like described above, and adjusted the exposure on the -1 and +1 to the 0. If the colour space I was transferring them from was correct the shots should have all matched, but they didn't - IIRC there were strange differences in the gamma curve. That's how I knew they weren't actually those standards. However, when I set Resolve to Colour Managed and Input Colour Space to rec2100 (I think I use "Rec2100 (Scene)" - not completely sure) then certain controls in Resolve become "colour space aware" and adjust their behaviour to act appropriately for that colour space. IIRC this is things like WB and the LGG wheels, and the WB definitely does a pretty good job in that mode, so I'm actually really happy with how that works. I have a bunch of "hero" shots that I've copied to my SSD in my laptop that are from basically every camera I've ever owned, so include 700D, 700D + ML, Canon XC10, BM OG BMPCC, BM BMMCC, iPhone 6, iPhone 8, GoPro Hero 3 with Protune, Sony X3000, GH5, and probably others. I tried that mode by setting all the input colour spaces on those and then grading all the clips and it did a pretty good job across all the various colour spaces and various colour science of those, and made it pretty straight-forwards to match them pretty easily, which is a pretty good test IMHO.

I will be the first to admit that I am a dynamic range junkie. I can't get enough of it. (Hence, why I went from Sony aps-c to Panasonic Full Frame). I am really, really looking forward to seeing some / any dynamic range and low light video tests. In particular, what the 4K 60p DR and Latitude is going to be like. Having said that, I will probably just end up buying an a7 IV ¯\_(ツ)_/¯

It is true that if you look at a A7 iv and OM-1 with their respective kit lenses, they look like a similar size and weight. However, once you get to the longer focal lengths, the size comparison is no longer valid as most of the long Sony lenses are heavier than a comparable LENS and CAMERA TOGETHER- this should not be underestimated. Also, the IBIS is simply in another league. Add to that the great weather sealing, and increased AF-point density, and I can definitely see the advantage of the Olympus. Now they need to show off the size advantages of the M43 sensors in terms of small and pocketable bodies like the GM1 with some super-small lenses.

I've got the lens, but just received it last week so haven't had time to edit anything from it yet. A few notes: - the lens is much smaller than I first thought it would be. I take this as a plus as it's very easy to bring with me. - the R5 firmware actually has quite a lot of features specifically for this lens. You get the framing for each eye, and instead of a box, it's rounded, accounting for the fisheyedness. When you zoom in you'll zoom in on a single eye and use the "Info" button to switch between the eyes. The eyes are also labeled "R" and "L" on the screen, with R being to the left and L to the right because of how lenses flips everything. - the manual focus is smooth and seems quite easy to work with with the manual focus assist. Some zooming in to make sure it hits is of course still useful - because of the bulging front elements, it feels like it's very easy to scratch the lens. I never use lens caps for my lenses (just permanent lens hoods), but with this lens I am hesitant to let anyone else touch it without the lens cap on as I feel it's a gamble if it will be handed back to me without fingerprints on the lens. If anyone has any specific questions/things I should test with it, feel free to let me know

Good job @jgharding I decided just a couple of days ago to bump up my ZV1 to gimbal duty for those occasions when I need reliable AF. Matching it to the S1H and S5 will be even harder I suspect, but it’s currently my best and only option so… I tried the S5 with small/light lens in the Crane M3 but it was pushing the limit really…not that I really know much (anything) about gimbals, but the ZV1 is a much better fit. And the results are always in focus which means I don’t wish to smash it to bits.

After using the Sony A7S3 in one occasion, I quickly realized how reliable and convenient modern AF systems have become. It makes me question why I have decided to stick with my FS7 and not upgrade to a A7S3 or FX3 (well, because I have no budget😆). The new AF system just saves so much time. Why Panasonic still doesn't offer a good AF system is beyond me. Almost always the improvements on the AF system are for stills. For stills, that system is great. Very accurate and fast. Somehow the AF for video mode is just bad, and in my experience, worse than even some older contrast detection AF systems. I suspect the problem is not entirely the DFD system. Panasonic cameras are always very close to a perfect camera. IMO, they just have to fix the AF system, and they can easily out sale other brands.

I’ll only buy a new Panasonic camera if I can get continuous AF with my Helios 44M. Everything else is for amateurs.

@herein2020 I think you're looking at this the wrong way. Even if right now Canon only has FF RF lenses, I am pretty sure they will soon develop S35 cine glass as they are phasing out EF mount in favor of RF. Besides you already have a growing list of third-party S35 cine lenses in RF mount: https://filmdaft.com/rf-mount-lenses-cinema-list/ The BIG attraction of the RF mount is also that it opens up all types of lens adaptation choices, not just EF, and with speed boosting it gives you the FF FoV option. It's best of both worlds. Especially if you compare the C70 to its biggest competitor FX6 that can only do FF 4K. Another big plus of the C70's S35 sensor is it is the DGO sensor from the $11K C300 mk2, whereas the FX6 FF sensor is the same as the $3.5K A7S3. A FF "C50" could be in the works but would probably utilize the FF sensor from R5/R6/R3. Of which you'll never get the DR benefits of the DGO sensor. And if Canon develop a FF DGO sensor, you can be certain that will be for a flagship C500 mk3, not an entry-level C50. With Canon RAW coming to the C70 I wouldn't hesitate to upgrade to it from C200. I loved the C200 body & build-quality but the 8-bit compressed mp4 IQ was pretty awful and CRL files not compressed enough. Result was it gathered dust while I always favored FS7, BMD Raw or 10-bit mirrorless bodies. C70 just seems to me like the perfect compromise with a chunky compact DSLR form-factor but with ND's, I/Os on the body, RF mount with speed booster, CRL LT option, affordable SD media with 10-bit proxies on RAW and the mighty DGO sensor. The FX6 is also very tempting despite the $6K price tag for alpha line sensor and no 4K S35 mode.

For those interested here is a Spec Ad I shot with my colleague Greg Latham last year. A mix of S1/S5 with canon FD primes, the Lumix 24-105 as well as some Sigma 70-200 EF long lens stuff. Still amazed the quality these cameras produces for the price.