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I think he kinda missed the entire point. It is fine to compare it to a FF camera competitor. I don't have a problem with that. It is however kinda like comparing a compact suped up Hatchback to a sports car. Sure, it won't be as fast and have a bigger engine but people still really enjoy driving the hatchback for many reasons and thats the entire fucking point! I honestly think the tone of the video was very weird. He was lamenting that a MFT camera wasn't a FF camera. He wasn't excited at all that a MFT camera could keep up with FF. He didn't even touch on the subject of what this kind of tech in a FF Panasonic camera could do. It was just this odd, apparently painful, review of a product. Why didn't he just objectively review it like all his other product reviews? I think the ending was just painful to watch. Claiming MFT is dead FOR HIM and then titling his video with LAST MFT camera is just fucking ridiculous from Gerald and flys in the face of all his other great videos that don't have shitty clickbait titles like this one. I mean, what was he expecting?...The GH6 to fold out a FF sensor with 15 stops of dynamic range to best the mighty A7SIII? Potato Jet did a much better job of just showing footage and comparing it to other cameras with excitement and objectivity. Gene was pretty excited it kept up with a A7SIII, which is amazing for a sensor that small. Will I buy this camera? Probably not right now. But kudos to Panasonic for basically improving on almost all aspects of the GH5, including that damn DfD AF. It looks like they revamped the entire imaging pipeline from hardware to video file. Way better screen design Better lowlight Better highlight retention with DR boost (looks like a respectable 11.5 stops in H265 modes). Internal ProRes! (and I suspect ProRes RAW in future firmware) Improved IBIS performance in video (it looks damn good without very little wobble) Ability to punch-in zoom while recording 200 FPS in FHD with autofocus without VFR 48 FPS I'm sure I'm missing a few. If it had PDAF I would be considering the GH6 over something like the R5C for sure.

i will also agree on mft being great. it's slightly smaller than 3 perf academy 35 film, and quite a lot bigger than super 16. you can get a set of optically great cine mft lenses for the price of one ff cine lens or one of those stupid sony ff photo zooms where you can't repeatedly and reliably perform the same rack focus. you can open up most of your lenses to f2 and not have everything turn to complete mush. don't get me wrong, i love a wide shot with a shallow dof which is a lot easier on a ff camera, but theres more important aspects to moving images. ^also that's called CMOS smear superka, and is prevalent in somewhat every cmos sensor

In this example I used a python script that allows you to have perfectly outlined images without any green screen, the camera must be placed on a tripod and then just a background image without the subject is enough and the script will do everything else ... not 100% reliable but when it works it's really perfect ... I then used the "composure" plugin in unreal to try to put real and virtual in perspective ... Now I'm experimenting with special effects to be inserted directly into unreal ..

I prefer the OM-1 body design and huge EVF, in terms of having some photography DNA aka Leica, it does well, and AF system looks promising. I prefer the specs sheet of the GH6 for video and anamorphic shooting. But I am so far beyond just specs these days.

If reliable (or any) AF is a non-issue, but otherwise video is, then easily the GH6. That one is a no-brainer. Per the specs, reviews & info so far anyway, but I think will be the case regardless. For stills, the jury hasn’t turned up yet. As a compact, all weather, hybrid, the OM-1. Not quite rivals IMO. Some crossover, but otherwise…

90 minutes of applauses! I just don't understand why it is assumed that EVERYONE aspires to have a FF camera. And that therefore those who don't have a FF camera must necessarily suffer from the small penis syndrome. It's just the premise that is wrong. In my own small way (deep technical diving), I wouldn't think of taking an FF camera on a dive, which, with its housing and porthole, is as big as a washing machine. The M43 is the perfect compromise of quality and size. For decades sports photographers have used APSC cameras because it was the right tool for the job. And for eons cinematography has been Super 35mm. Now legions of youtubers have decided that if you don't have an FF camera you're a loser. Then of course I respect all those who need a FF sensor for their work but they should stop explaining me what I need... Regarding Gerald, if you're a Youtuber for a living you play by the rules of your job and shut up just like all the other workers who clock in in the morning.

Why? It has hardware in it to do ProRes encoding. Not that much of a stretch to think ProRes RAW is in there too.

Well, even I as somewhat as Olympus Diehard user, is very very positively surprised by the OM1. The amount of refinements OMDS has pulled off is close to awesome. They fixed a lot of old quirky drawbacks a Oly had and now finally delivered on the CAF and Tracking Front. Setting sensor size and the “20MP” aside, the feature list is long… BSI Stacked Sensor 8ms Rolling Shutter 1053 Cross Phase AF Points AI Tracking Starry AF 50 FPS CAF 120 FPS SAF ProCapture Freece and Weather Proof IP53 certificated body SSWF LiveND (64) Live Composite / Live Bulb (Hand-held) HighResShot Focusstacking / Bracketing / HDR / etc. C4K 60 10 Bit 4.2.2 intern C4K 60 RAW 12 Bit 4.4.4 Extern 5,76m 120 FPS EVF at 0,82 Size 1,6m dot 3" Display WLAN Control and New OI Share USB-C PD Completly revamped Software /Menu and even a dedicated Movie Super Control Panel when you are in movie mode. OM Workspace 2.0 on top…. I order mine when it was available for order and cannot wait for the 07.03. delivery. There are reports that the first delivery is sold out or close to be sold out for DACH and UK. So, i think this OM-1 can pull something off. Interesting OMDS Stream tonight on Wildlife and OM1 (German Only): B

I have to say the tendency for youtubers to test IBIS in ultra slow motion (basically pointless) and autofocus by THROWING THEMSELVES BACK AND FORTH SHOUTING is really starting to grate on me It's pretty saturated out there and getting hard to tell the difference between one channel and the next these days actually just the shouting alone is doing my head in going through these videos. 🤣

I think you could say the OM-1 is a stills camera with good video capability and the GH6 is a video camera with good stills capability - both very, very capable but designed to appeal to different market areas/users. (The G9 versus GH5ii is a similar situation in the m43 world).

In that case my instinct is with GH6 due to it's similarity with the S1H and its clear focus on video. Typical of Panasonic the settings, menus and so on appear to include pretty much everything you can do with a camera. They're done everything they can to mitigate the physical issues of a small sensor, including implementing the dual-gain architecture, so for manual use I'd whack a speed-booster on the GH6 to boost the light input and sensor size and use that TBH. I've not used either so I'm going off the available YouTube reviews etc

I'm at intermediate level with Unreal in general, though I've not used VP templates yet, but I have made motion graphics pieces, developed small games (including entirely custom player controllers built from ground up etc etc) so I'm fascinated by VP as well. As far as I understand it it's something where cost spirals very very quickly as you scale up to multiple screens. With one screen, let's say you buy a 90-inch 4K OLED or something, you can use a consumer GPU and get away with it. Once you want to sync walls of video screens you'll need to use a Quadro Sync and have colossal amounts of VRAM available. https://www.nvidia.com/en-gb/design-visualization/solutions/quadro-sync/ Like most Unreal things it's WIP and you benefit if you know someone who is good with C++ and Unreal, which is hard to find. For example movie render queue in 4.27 is very much improved compared to previous versions, but still has some really hacky and opaque aspects, such as the need to enter arbitrary CVARs to make certain things look right, which you just have to go and find out, it doesn't hold your hand. It's no Resolve... In general that's the hardest part. I've been on the Unreal journey for 3 years and it has never gotten easier, mainly because there is always something new to learn and stuff just keeps changing. It's very rewarding though, good luck and please keep us updated!

Hold that thought.

Undone is the guy who claims the Sigma 18-35mm has better AF than the Summilux 10-25mm on the GH5. I recall he also said the A7SIII 4k video was sharper than the A7III. He clearly biased for Sony and destroys anything about Panasonic. About his S5 review, the only thing he said about the IBIS was the S1 is clearly better without comparing to Sony or anything like that.

So after wathcing like 4 or 5 youtube reviews I can say that this is a very good video camera for hand held video shooting where you don't need AF. No gimbal. But.. you probably don't need one cos IBIS is so good. I am actually not a fun of gimbals and if I didn't swtich to Sony A7S3 and sold all my MFT gear I would be interested in this camera for sure. This camera plus SB and Sigma 18-35 is still a very sweet package for hand-held video shooting. I wounder if they have an ability to record gyro data like Sony cameras to use it later with something like GyroFlow and if it will work in conjunction with its IBIS unlike Sony, please Andrew test it. Wanna see more IBIS tests.

magenta skintone is fixed too (canon slog3 also have magenta skintone problem grr)

+1 for Media Divisions review. I looked through the dozen or so GH6 videos in my feed and stopped when I saw Media Division had done one and just watched that. They are the most level-headed film-making centric channel out there - both technically capable and also film-making aware so don't get caught up in tech for its own sake. It looks like an absolute cracker of a camera. My impressions are that although it's not teaching FF lessons like the GH4 and GH5 did on their release, it'll still be a solid presence in the market, especially for people who don't need AF. I'm also looking forward to Andrews review.

I thought his review was so exaggerated. He was like "when ypu want the best impossible image, M43 is dead". Whoa, it almost seemed like he was dumped today or yesterday.

There aren't that many. Off the top of my head: Sony F35 - Super35 Sony SRW-9000PL - Super35 Sony Genesis - Super35 Digital Bolex D16 - Super16 Ikonoskop A-Cam dII - Super16 And then you get into 2/3" CCDs, and there are a ton of those. Here's a good place to look for the Sony models. On the Panasonic side, there were the HPX and Varicam bodies. Toshiba, JVC, and Ikegami also had 2/3 CCD cameras, but they were mostly standard definition. There were a handful of 1/2" CCD camcorders, mostly from Sony as I recall. 1/3" CCD sensors were mostly found in fixed zoom lens cameras like the HVX200, FX1, Z1U, DVX100, Canon XL/XH cameras, and some of the JVC GY cameras. But 1/3 sensors are pretty small. Compared to today's mirrorless cameras, these cameras were mostly very large and meant to be operated on shoulder or tripods. The smallest and most manageable of the bunch was the Digital Bolex, which now goes for around $7K used. The Sony F55 is a MOS sensor with global shutter, not a CCD camera. If you'd like to have a small CCD camera to try out, I'd recommend the diminutive and inexpensive Lumix FZ47 (FZ48 in the UK). It's fixed lens and can't record in 24P or 25P, but it does shoot in 1080P and the 1/2.3" sensor is larger than any of the 1/3" cameras. And the image stabilization is surprisingly good, which is useful for the ~600mm equivalent zoom. Here's some footage I shot: I personally love the camera, but I wouldn't say that the grain is good at all. If you freeze-frame the footage, you'll see a ton of temporal ghosting and macroblocking. But in motion, it's one of my favorites. And here are some of my photos with it (JPEG only, the camera does not shoot RAW): https://distanceandelevation.com/blog/2021/8/9/bandontoportorford

Looking forward to seeing some of your kewl stuff now in Kodak 250d glory. @BenEricson @QuickHitRecord Awesome!:) Just recently I browsed the webs for 16mm and S16mm film videos. Lovin it. Nothing more relaxing than watching some analogue film digitized for us to enjoy. Talking about grain. 🙂

--------- Clause 18.2 - Importation Location Marking For Overseas Imports In compliance with AP's standard terms and conditions for procurement, any and all items of equipment supplied under this contract that are not of US origin must be clearly and prominently marked with an easily understood reference to denote the State used for the initial importation into the US. In the case of this particular contract, all equipment will have its initial port of entry to be in the State Of New York and should be marked accordingly. ----------

Selective bias. Also, I hope Panasonic release a chart like Blackmagic does for the Shadows and Highlights for the 4k and 6k cameras, helping understand where almost perfect exposure would lay (is allocated) apart from the histogram, across ISOs (especially for extended ISO).

And that has been my point all along. The manufacturers spent a ton of time and money pushing resolution in lieu of features that will push IQ. Look at the "The Storm" video from the GH6. By all accounts it looks great, but the 24p ProRes footage looks way better than the slow motion.

It was inevitable, I think, for Panasonic to be the first major manufacturer to offer internal ProRes, but you're right, it should've happened sooner. it doesn't mean it's any less impressive. I don't know the exact numbers, but I believe at least 75% of Hollywood productions are shot in ProRes. Sure some BM cameras have included it for years, at this or a lower price point, but not with 7+ stops of IBIS. With that said, like with raw video, 90% of the members of this site, do not need ProRes.

Cool camera. Finally a m4/3 response to the P4K from a major manufacturer that makes shooting simpler. Sure I wish it was a little cheaper... I'm a cheapskate. But it's better than the rumored price... so that's something. If Micro 4/3 is dead... then MAN... this is an honorable way to pass.

Good luck to them, when their camera overheats their photographers Videographers will be super happy.

It really doesn't have to be done that way. When you're worried about releasing your video the second the embargo is lifted more than putting out an informative/better video, that's a problem. Others released this morning and afternoon, like Dan Watson. I've defended Gerald a lot here, so I'm not just a hater or just bashing him because it's the cool thing to do. I've wondered about that, and also whether that might be something they can do over USB-C. The processor is obviously very powerful, so it makes me wonder if they plan to further maximize its usage over time. Yeah, I mean if you're that disinterested and dismissive maybe just don't review it at all? How did the Northrups give it a fairer shake, when they've been proclaiming M43 is dead for months, than Gerald?! They compared it favorably to the Canon R6 and are considering switching to it over the R6.

I honestly wish M43 cameras had more cropped sensors so you could use S16 lenses easier. Give me a 3x crop lol. The GH6 does look attractive as a B-cam. 4 stops in the highlights is reasonable. The S1 can handle about 5 stops in the highlights, though the shadow retention looks superior on the GH6. How the shadows perform is very important to me. With lower end cameras you seem to be either trading off ugly shadows or ugly highlights. The GH6 might be an ok balance of the two. 2000 iso doesn't bother me. I actually like being able to stop down on lenses rather than going wide open all the time. I also prefer one native ISO to dual. I find I like the sensor performance from single native ISO cameras better. Internal prores and low rolling shutter make it something I am interested in for sure.

Yup. These days I go on instinct and my own real world actual needs. The rest is just waffle and opinion.

About the streaks on Panasonic GH6. My Sony a7c has the same. Fuji X-T3, 4 also does. Why Gerals never told about it on those cameras?

From the O-M1 reviews that I saw and quick glances in the GH6 reviews: - O-M1 had a increase in low light sensitivity and, albeit being the same 20mp, lots of reviewers are saying that they found the IQ slightly better than the previous OM-1s. Guess from my RFMY sources (a.k.a. "Right From My Ass') - since it is a 80mp Quad Bayer, but each 4 pixels are treated like a single one (even having a single lens for the group), maybe some sort of trickery are being doing using thes 4 pixel - like a "4 pixel downsampling". - Just saw some stills, but REALLY it looks like a different sensor supplier. Colors look VERY organic, some shots remembered me Fujifilm A LOT. The resolution bump is noticable too, and the dual gain cuold be used for stills too. For stills, it looks like a mixed bag - FPS behaviour is strange, DFD still somewhat struggles for C-AF (for S-AF, I think that DFD is amazing - my GX9 in S-AF easily beats my X-S10), 5k ohotos modes are gone (as their version of Pro Capture), but IBIS looks fenomenal and they gone from no Handheld High Res mode to the best one - 100mp images, and looks like it works very well. For me, it is a sign to a G10 down the road.

has anyone made any comparisons to what seems to me like an obvious similar product, the p4k? or has anyone tried to make anything resembling something a well lit and good looking short? or has anyone tried to record some intentful footage using cine lenses? also expecting internal prores raw is goofy. glad they did regular prores, something that should be a bare minimum on any camera tbh

In case you were wondering where I'm up to... Currently at the integration of some LIDAR, some Bluetooth, some WiFi, some Serial, some 9 axis IMU, some camera, lens and imaging control, some electrical tape and more than some coffee stage of proceedings. Its weeks ahead of the last update so I'll do a proper update at some point about the twists and turns of the journey up to this point.

At 25MP the pixel pitch is quite small so I would assume BSI would help here by increasing surface area on sensor to capture light. Not sure if it is a stacked design or not. It is a very interesting development if it turns out not to be manufactured by Sony. Sony doesn’t have any cameras with the dual gain simultaneously readout. Makes me think there is an association/collaboration with Canon or whoever makes ARRI sensor.

Just checked the CineD labtest and it says a bit more than that: About 12 stops can be identified above the noise floor, plus a faint 13th and a hint of a 14th stop. What's most interesting is DR increases in H265 to 11.5-12.8! They conclude: So, you actually have a nice choice here: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But the DR latitude test is really where this DGA/DGO tech usually shines and sure enough: All in all, that leads to 7 stops of exposure latitude (3 over to 4 under)! Wow, that is really good for an MFT camera – it is actually on the same level like the full-frame Sony a7S III which is using a 4 times larger (full-frame) sensor. The best (consumer) full-frame cameras like the Panasonic S1H or the Sony A1 manage 8 stops of exposure latitude. For reference, the ARRI Alexa Mini LF that we tested here showed 10 stops of exposure latitude (5 over to 5 under). So all in all pretty damn impressive results from this little sensor!!!

And I was caught by surprise that the GH6 is the first Panasonic camera that you could punch-in to focus (without recording it)? I was sure that the GH5 already have that - is the most loved video resource that my X-S10 have and a thing that I always missed when I used my Panasonics and Olympus.

@Tito Ferradans shows the latency here and it seems like there isn't any... linked to the timecode: CineD have their results up: https://www.cined.com/panasonic-lumix-gh6-lab-test-rolling-shutter-dynamic-range-and-latitude/ Other modes do a little differently, but one highlight was that the Prores didn't do much NR and they found they "show a very nice, organic noise floor with additional stops that can be retrieved in post-processing". Considering that the GH5 combination of features suits me better than any other camera, and it's got 2 full extra stops of DR, which is cool. Yeah, Media Division are spectacular. Plus all sorts of other little cool things too. So many things while watching reviews that made me think "oh, that's super useful - I'd use that".

For video use I think It is pretty hard to beat especially if you have m4/3 lens. Sounds really good with the proposed firmware debate. If you are a Photo shooter the OM1 is the way to go looks like.

Tough decision for the money.

It's a solid release, but I really, really think the AF will hinder its success.

I made a comment on the live chat on YouTube and directly under me is the man who started it all. The wizard behind the hacked GH2. Nick Driftwood! 🙂

I definitely did that to myself. I messaged @mercer asking for opinions and the "Camera for India" discussion hit triple digits, and I ended up buying the camera locally for RRP and I had one day to test it before I hit the road. I even had a lens shipped to a post office near where I was staying in Sydney as I didn't want to risk that it would be late and I'd miss it! This is a huge topic and I'll resist the temptation to rant, but I think this is a hugely under-developed part of camera design. My ideal camera would have the ability to record all these simultaneously: 3.5mm input 1 L&R to two audio channels (ie, normal) 3.5mm input 1 L&R to two audio channels (at -20/-30/-40dB as safety tracks) 3.5mm input 2 L&R to two audio channels (ie, normal) 3.5mm input 2 L&R to two audio channels (at -20/-30/-40dB as safety tracks) in-built speakers L&R to two audio channels with auto-levelling One thing that travel film-making really benefits from is ambient sound, and being able to record a shotgun (at normal gain and also a safety track) plus a stereo track would be killer. I basically never remember to unplug the on-camera shotgun to get stereo sound, so I'm having to do a lot of work in finding ambient soundtracks to liven things up in the mix and if they were just there then it would be spectacular. ...and yet those people will then have to buy a monitor anyway.... which will just be a monitor because it can now record internal RAW, so no need to go external for better codecs. *sigh*. Once again, camera size suffers because people won't do the right thing. IBIS is all the rage, and I love it for shooting manual primes (which I use almost exclusively) but OIS can be incredible too. I chose my Sony X3000 action camera over a GoPro because of the OIS and it's just incredible. The combination of super wide-angle lens (15mm FF equiv?) and OIS means that if I hand-hold a follow-shot from as high as I can reach looking down then people think it's a drone. The other piece that's missing from ARRI is that it records RAW in LOG format, not Linear. Is there any talk of that trickling down too? There can be some tricky stuff in the data pipelines, but also strange manufacturer limitations coming from the "it's all too hard" department. For example the GH5 uses UHS-II card slots, and the 400Mbps codec won't record continuously onto a UHS-I card, despite using UHS-I cards that are rated for well above that data rate and the fact the standard will allow it too. It might be worth trying to ETTR? I worked out that it's a bad idea on the GH5 as the HLG profile has a pretty aggressive rolloff and so anything you expose up there ends up pretty thin, but it does give you lots of room in the shadows....

Well, quick hit record is not exactly what you're expecting when you shoot film... LOL :- )

Just to add to that, the Pana 14-140mm f3.5-5.6 and 12-60mm f3.5-5.6 lenses work fine on my E-M1 ii (using IBIS). One thing I have noticed when using C-AF in video (with my E-M1 ii, hopefully OM-1 behaves better) is that if a lens is well stopped down (e.g. f16) it can sometimes rack focus a little (presumably to check it's still in focus), so it's best to use lenses with low focus breathing. I don't notice the change in focus when this happens (due to high DOF at f16), but the focus breathing is noticeable with some lenses e.g. the Pana 14-42mm 'pancake' power zoom lens is particularly bad for this.

Kinda smells this way. Just like YouTubers getting thousands of dollars of free gear and say they aren't getting paid! They then openly resell it on eBay. Total bullshit.

They want to say Sony didn't pay us to choose Sony.

Agreed. Competition has caught up since 5 years ago and playing field has levelled as far as codecs. Just about every cam does high bitrate 10-bit 4:2:2. Nikon now has internal NRAW/ProRes, Canon has CRL/XFAVC. BMD BRAW/ProRes. Its great GH6 has ProRes but its basically to be expected. I also think they should have RAW internal by now. So should Sony (especially on FX6/FX9). There are couple Komodo users here. Personally I'd rather rent when it comes to those types of sensor in a box cine cams. No NDs, XLR inputs, EIS etc means a crew and when you're at that budget, renting makes more sense imo. C300 mk3? Well other than costing $11K and weighing a ton, the C70 is a much wiser and popular investment especially now that it's getting RAW via free firmware update next month. You're basically getting C300mk3 IQ for half the price. Combine that with an R5C and you've got a pretty versatile and future proof hybrid combo for less than a C300mk3.

Sure, people were complaining about not having professional editing codecs available internally in cameras like the GH5, but, those complaints began at least five years ago when Prores was already 10 years old. Prores was an option in every blackmagic camera alongside CinemaDNG starting in 2012, so, there's no logical argument that those codecs couldn't have been included in the GH5. The GH3 should've been the last GH camera sans Prores. Here we are in 2022 and there is a growing list of RAW/ RAW(ish) codecs that didn't exist five years ago. ProresRAW, BlackmagicRAW, TICO-RAW are innovations sprung from the limitations imposed by RED's patents. These are all available internally in one or more cameras. Along with uncompressed RAW in the Sigma fp. So, while Prores is a welcome addition, no one should be impressed by it. Panasonic should either have developed a RAW technology by now or be licencing one.

I coincidentally just bought one today for dirt cheap. I wanted one about 5 years ago but it was still a little pricey for me at that time. I'm excited to playa round with it, especially in Monochrome.

Pocket 4K in Cinema DNG was up there, before they nurfed it. I still have my original firmware! Would have thought the finest grain award goes to URSA 12K. I also liked 5D Mark II ML RAW in 2K. Very digital Bolex like at ISO 1600 especially with a black and white grade. 5D Mark III was a bit too smooth by comparison to the older one.