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There is only some truth to this Mr Runner, and I respectfully make my case. I have yet to watch a singular spectacular movie or short film or documentary and then thought to myself, that is so good because of the sensor size. And I'm certain not a singular typical nontechnical layman movie goer has ever thought that either. I do realize that as technicians, we may make decisions based on the tech, but I propose that the size of the sensor is far less important than we often make it. Consider that all of the best movies we've ever seen were shot with s35 (with a few admitted outliers). Consider that many great pieces have been shot on s16. M4/3 is already larger than s16, and speed boosted is at least similar/same as s35. I personally consider the sensor size one of the features of m4/3. The horizon of lenses that are open to me at m4/3 is unequivocal at any larger sensor size, including factors such as physical size, focal range, and anamorphics. I concede that there are definitely other factors where sensor size does in fact play a critical role, but if we were genuinely honest with ourselves, it is not nearly as often as we pretend. Where the GH6 is once again a failure is autofocus. This is not to say that it's autofocus is bad, because it isn't. But it is not good enough. I would actually propose that this issue is also a bit more trivial than we make it, but because of it's inability to lock rock steady and hold, it will be a pass for many, and I'm afraid too many. If there ever is an official death of m4/3, I suppose it will be blamed on sensor size, when in reality it is because the GH-frickin-6 didn't nail autofocus. Make no mistake, I may still buy one. For me, the advantages are far too great to overlook. And quite honestly, even it's current autofocus design will work near flawlessly for roughly all of my purposes. But cheesy crust, Panasonic please figure out a firmware solution that ends this issue, or I'll be one of far too few buying your dinosaur gone extinct for none of the suspected reasons.

FD 35mm f/2 concave, with a Fujifilm X-S10, full pic and center crop. I guess I could call it a sharp lens (and looks like that Fuji peaking works very well)

Very true, and my mind is always fixated on Blackmagic's codec rather than any true RAW data collection. I feel like it's a technology that isn't getting enough respect in a Prores dominated world. It is young yet though. I would most likely be using a flavor of h265 most of the time on the GH6. Especially having an M1 Mac makes working with those files possible. Regardless, bottom line, the GH6 looks like one sweet picture making machine. I think my next camera is going to have to be my forever camera, and this is on the short list.

@kye I'm at risk of slightly derailing this thread and for that I apologise, but here's what I'm talking about Top: WB in ACES (every stop is evenly warmed up) Middle: reference Bottom: WB in Lumetri (the warming correction is concentrated in the highlights)

Color Science was the main reason I got rid of my GH5. And I think that is the weakest link to the average person is editing and color correction. So why have to color grade every damn inch of footage you shoot. Nah not me. Plus we can get into the DOF thing, no equivalent fast lenses, poor high ISO's, crap AF, sure a SB solves some of that, but the extra glass degrades the image on and on. I am not even into s35 anymore. FF or go home. Even my OG BMPCC is a pain in the ass with a 2.88 crop. All that crop stuff gets old. SB, Focal Reducers ehh enough. And the GH6 is pretty huge to boot. I don't see it sorry.

It appears that Fuji is essentially using wavelet/frequency-separation in the chroma channels to isolate and blur certain areas. I tried that scenario on your "5D3 Raw" chroma channel image (captured from your Resolve viewer with MPV), using the Darktable Contrast Equalizer module: I didn't get it to look exactly the same as the X-T3 chroma channel image, but the "blotchiness" achieved is fairly similar. Here is the curve used in the Contrast Equalizer module: The scale from left to right delineates coarse patterns to fine patterns in the image. The mostly flat line going through the center is the sharpness curve, and the "S-shaped" line is the smoothing curve. Many use the Contrast Equalizer for denoising and sharpening, but in such applications, the smoothing curve always lies below the sharpening curve. Nobody ever inverts the two curves as shown on the right side of the graph. I also used the Soften module with a parametric mask to add extra blur to the brighter areas, because the Contrast Equalizer did not provide enough blur. The excessive chroma blurring from the X-T3 way too much for demosaicing, and it's extreme overkill for noise reduction. There also seems to a bit of coarse pixelation revealed when you zoom-in in your video, so perhaps Fuji is additionally doing a pseudo chroma subsampling. Whatever Fuji is doing (and for whatever reason), the process is effectively reducing the color resolution, which results in a perceptible loss of color depth. The X-T3 is excessively lowering the effective chroma resolution with blurring, which dramatically reduces the color depth. The raw files don't have that problem, because their resolution is not being reduced. The "processing" is likely something similar to what I have shown above, and it essentially is reducing the color resolution, hence the lower color depth. Remember, with digital imaging: COLOR DEPTH = RESOLUTION x BIT DEPTH By the way, when are you going to take back that lie you told about me?

I think you'll really appreciate it. With sLog2 or Cine2, and Monochrome color, the camera feels like a S16 film camcorder. The zoom lens is amazing and it has a rocker. The internal ND helps with the need to overexpose sLog2. Even the preamps are pretty good, and you can even get an XLR attachment for it. A really fun camera. If I ever find now for the right price... I may pick up another one because there isn't a camera like it... well the FZ2500 is pretty great too actually. With the instant slow motion button while recording offers some pretty unique opportunities for stylized slow motion shots.

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.

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.

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.

Just released my short film Felix' Summer Box. Please enjoy, and let me know your thoughts.

My updates to this thread are way behind real time so, at the risk of ruining future episodes, lets just say that we passed the "viable" stage a few weeks ago 😉

The fact that a future update is coming that let's you record to an SSD out of the usb-c port is HUGE for me. I was really hoping for that. I'm also wondering if BRAW will end up being available,since they have those updated for the GH5s and the S line (even those it's to the BM Recorder). I don't really care about Prores that much being on a PC I thought these were interesting to see as well, pretty impressive

Yes. Caleb mentioned that the new colour science is vastly improved.

Luckily I have dainty little lady hands that are good for the glut of tiny cameras on the market.

I think the GH6 is a camera too late. Most people have moved on from M4/3. I guess if you are big into Anamorphic I can see buying it but ProRes and Raw, all of that is already in a lot of FF stuff now. And hardly anyone uses big long lenses for video work. Mostly wide angle stuff. So that is off the table.

There's no competitor nor will there ever be for P4K... :- )

No battery grip...!? This is the first time...thanks Panasonic great 😏 USBC for 800 Mbps and more but how long time?!? I think that the GH6 will be not a substitute for the P4K yes (it will take some market share )... but he have the same issues ...no ? Ok ...Carte CFexpress AV PRO MK2 4To.... 2000 € 😭

Thank you so much, mercer! That is really great to hear! 🙂 Actually, I purchased a Alexa XT for a feature I am going to make. I still love the 5D and its capabilities. The ease of changing iso, low light, very light camera. It's wonderful, also for macro. The Alexa is way more heavier, and needs a lot of light. Beautiful image, but so is the 5D. Most likely, I will use them both in the future 🙂 Cheers

Yeah it could be a nice camera for S16 lenses. Seems to have the best DR of M43 cameras. I do prefer when you can use the whole sensor though. A 6k or native 4k S16 camera would be neat. Pretty niche though. The color on the GH6 looks superior to previous GH cameras and maybe even superior to the S1 series. It doesn't retain highlights as well as the S1 but the shadows look a lot better potentially. The internal prores and fast RS make it a big want for me. Maybe I can sell my S1 and get it haha.

From the same developers of the python software that allows you to have a green screen (and a matte) from a shot with a tripod and a background without a subject, I found this other one, it's called RVM, and it allows you to do the same thing even with shots moving and starting directly with the subject in the frame .. For static shots the former is still much superior, but this has its advantages when used in the best conditions. With a well-lit subject and a solid background, it can replace a green background Or with a green or blue background you can have your perfect subject even if it just comes out of the background or even if the clothes she is wearing have green or blue Now I am really ready to be able to shoot small scenes in unreal engine and I can also move slightly within the world itself thanks to the virtual plugin and these phyton tools The problem is that the actor has no intention of collaborating .. ..

I have a M1 Pro 10-core CPU and 16-core GPU with 16gb of RAM and have had no problems with a 4 hour multicam timeline in ProRes 422 with each camera color corrected and motion graphics/lower thirds. I'd be very surprised if you had any issues.

M1, M1 Pro, and M1 Max will eat H265 all day everyday. It's basically a non-issue for those computers. Just get as much RAM as you can afford.

Tasty, creamy, and Black and White! I made some akward B and W grades I will share some stills from soon.Your sample above hast some appetizing midtones. I ate couples hours ago. So that is my dessert so to say.:) Time to go to bed now. Good night🙂

Yeah, if you're set on AF then there's the OM-1 and if not then there's this. Maybe the zombie apocalypse is actually thousands of people running around outside making films with dead-format cameras having a great time and the FF purists huddling in their fortified caves afraid that they'll get overrun by the impure hordes!

Awesome - that makes sense - DR is about latitude and so the over/under tests are where it's at. Maybe the GH5 has so little DR that I've not paid much attention to the thing I didn't have! 😂😂😂 The addition of full V-Log is excellent as I'm assuming it will mean you can do severe exposure and WB changes without running into tint problems. That has been my problem working with GH5 (and the S1) footage - when you're pushing and pulling it has these colour warps in the shadows and highlights. Makes sense, I'll have to read a bit more about it. A few reviewers mentioned it would get Prores RAW in a future update. It's not something that will entice me, but seems a pretty good thing to offer now that people expect RAW from cameras at this price-point. The Media Division review contains a test short near the start of their review. It was in the tunnel they use for testing, and isn't exactly a nicely lit environment, but the footage looked pretty nice actually, so that's worth a watch if you haven't seen it yet. Also, PotatoJet filmed the talking head part of his review using the GH6, including using the AF which he said did an awesome job, and that's a nice lighting environment for skintones etc. The GH6 isn't an "upgrade" to the P4K, they're fundamentally different cameras. People think that because they are similarly sized and priced that they're comparable, but not so - different cameras for different tasks. The GH5 in 4K is about a S16 crop using the ETC mode (1:1 readout), I haven't done the math but the GH6 will likely be something like that. The new frame guide function (that looks MUCH improved from the GH5 one which was pathetic) would help you shoot within the s16 frame if the crop was a little wide. You'd have to crop the files in post, but that's easily done. Yeah. Just a matter of buying a fixed ND that takes the Base ISO down to the normal non-boosted DR Base ISO, then you can use your normal NDs. I also liked that they have a new super-fast maximum shutter-speed, which may be necessary for shooting wide open in that mode in Aperture priority (how I shoot).

They do have a chart of sorts - it's a few posts back. Short answer: Normal VLog = 4 point something stops above, the rest are below DR Boost VLog = 5 point something stops above, the rest below middle grey

This is a screengrab from the livestream. P.S. I JUST noticed that @Roger posted it above

By definition Depth from Defocus (DfD) achieves focus by this pulsing of focus. I’m not sure you can completely eliminate it…except for…you know…using phase detection instead. Matt also had good answers on the livestream about how the fan is engineered. The fan doesn’t have a traditional motor and drive shaft but instead uses magnets to spin the fan from inside the case without any connection. Pretty neat.

I've actually been processing a lot of footage as B&W lately. Here's a frame from the other day that turned out pretty good...

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.

There really are so many tiny things they got right that make this such an ideal camera. And the AF looks much improved. I still think it hurts the GH6's chances of gaining wide acceptance in a market that has declared continuous auto focus in video is one of the most important features. Is it impossible to do DfD without the pulsing back and forth? Because even if they could just eliminate that, they'd go a LONG way with their critics when it comes to AF.

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?

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.

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

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.

Here is my nFd 28mm f2.8 in action. It especially shines wide open for close ups of faces on 0.71 speedboosted M43. I did this video couple years ago and I posted it before on this forum. Grading is a bit over the top and too much to handle for the humble Lumix G6 But anyhow, to illustrate the magical goodness of this affordable plasticy Canon Fd 28mm 2.8

I used ffmpeg first to extract the chroma channels into grayscale videos and I used that to validate the results of my plugin. They were identical so it's safe to say that it's not an NLE/GPU decoder issue.

There must be some clever algorithm behind this as it seems to have proper 1080p resolution around well defined edges, but everywhere else it's clearly less than that.

Coming from Fuji myself (XT3), not as good. For stills, no problemo…in fact there are several bonuses with stills for a camera having contrast detect. But for video, with static subjects or side to side movement, pretty OK and yes, native Panny lenses have an edge over Sigma. Reliable tracking forward or away from you. Forget it. Pretty crap. It CAN do it, but you don’t get to decide when those times are. Toss a coin up in the air and the probability of heads or tails is 50:50. That’s S5/S1 tracking as things stand for you.