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The GH6 is in stock at my local camera shop in Dublin, Ireland, where I bought my GH5 when it was first released. If I wasn't living on the other side of the world, literally, I think I would pop in and pick one up to see what all the fuss is about.

<< The LUMIX GH6 offers the renowned colorimetry of the VariCam line of cinema cameras and uses their V-LOG picture profile and wider V-Gamut. For monitoring your work and to see an image that is no longer in LOG, the GH6 includes the V709 LUT (Look Up Table) with Rec.709 standard in the camera by default, this LUT can be output over HDMI or to the cameras monitors or both. It is possible to install your own LUT’s into the GH6 and access them from the V-Log View Assist menu. For users of the Varicam and EVA1 the GH6 can support LUT’s in their .vlt format, and for users of other camera systems we also support the .cube format. >> From Panasonic's GH6 Press Release here... The LUMIX GH6, a Compact Next-generation Mirrorless Camera Featuring Unlimited C4K/60p in 4:2:2 10-bit, 5.7K/60p in 10-bit and 4K 120p HFR / FHD Maximum 300fps VFR Video Recording | Panasonic North America - United States https://info.panasonic.com/news/lumix-gh6-compact-next-generation-mirrorless-camera-featuring-unlimited-c4k60p-422-10-bit-57k60p-10 And these were the Panasonic VariCam LUTS to which I was referring... VARICAM LUT LIBRARY | Support | Cinema Camera Global | Panasonic https://pro-av.panasonic.net/en/cinema_camera_varicam_eva/support/lut/index.html

I think if you already own the 20-60, then maybe something on the longer end of things. As the 20-60 gets slower as focal length gets longer, there will be more of a difference (in terms of changing ISO or DOF amount) as the aperture on the 20-60 gets smaller (i.e., the more you zoom closer to the 60mm range, the more aperture gets closer to f/5.6). The other option is to think about what your most used focal length is (far easier to do with stills where the captured metadata includes focal length), and then buy a prime lens for that focal length. Unless... you plan on shooting a significant amount of 4K 60p / 50p, which uses an aps-c crop, in which case you are going to want a prime than is wider than you might normally use). Anyway, that's the way I think about it.

Funnily enough and slightly connected Kye is why 'MrSMW' in the first place? It came from some extreme sarcasm from me years back on another forum where someone who had a bee in their bonnet with me over something (I never found out what, nor much cared), used to always refer to me somewhat sarcastically as 'Mister Simon Mark Whitten' which they suffixed the Mister to after lifting my name off my website. MrSMW always then used to respond to them in the third person. Just without the hat. Or purple jacket. The bow tie I have.

Walter Volpatto also mentioned that he's never been asked for a HDR output that wasn't limited to the P3 colour space, so it seems that you're right that 1000 nit P3 is becoming the standard. Colour accuracy is a pipe dream and (besides "how can I get my iPhone to look like an Alexa") is the topic that gets the colourists the most excited. The best approach that I've seen the colourists take is: grade on a calibrated display keep a calibrated consumer-grade 709 display handy and check it every so often to make sure you're not doing anything stupid get whatever display the Director is viewing your work on and check it on that too once it leaves your studio, forget about it whenever someone important (other than the Director) starts yelling at you incoherently about the colour being completely screwed, arrange to have them visit your studio and show them what it looks like on your reference display and make sure to explain in great detail how expensive and calibrated everything is If you want to talk about accuracy, let's start the conversation discussing the final season of Game of Thrones...... It seems to be an approach taken by other manufacturers too - shoot a scene at "correct" exposure on multiple models of their cameras using their standard log profile and you should be able to pull all the footage into post, apply their LUT or CST, and everything should match across all the cameras. Canon did that with the XC10 - matching it to the C-series line, which was why it took the same ridiculously expensive media as the C200/300 but didn't use the cards to even remotely near their performance, and used the C-Log profile but didn't use the full 0-1024 values but instead mapped the XC10 limited DR to where that DR lined up with the same values coming from a C500 or whatever. In the case of the XC10 it meant they basically crippled the camera for the sake of compatibility, but it would have been great to be able to use these for BTS and reference use (which seemed to be something they did) and not have to have a separate colour pipeline in post, which would have been really useful for the VFX folks who might want to see the setups and might also want a colour reference from that.

So maybe the 85mm then? Thinking about it an 85mm could be useful. The only thing there is that I quite like to get physically quite close, so an 85mm would then be much too close (this is very clear from Shane's video). What is my normal range is a good question and one I have considered. I guess a few feet (single figures) from the subject but it does vary quite a bit from very close to distant. I do use zoom a little but often I stick with either zoomed out fully or slightly in to avoid any image distortion (and as you the dictated higher aperture values). This is also because handheld, with heavy zoom this increases the handling wobble markedly. But then would this instability be the same problem with a prime lens like the 85mm? I am not clear on this. I use zoom much more on the tripod and then tend to be further away. The other factor is image quality - prime lenses produce better images, no? But is that, that big a factor? I don't tend to do aps-c crop as I shoot 50p HD. I may move to 4k in future but am not in a hurry as I am not geared up for the file sizes and processing power at the moment. 1080p 50fps on the S5 looks great to me anyway. Given everything I do wonder if a 50mm might be best. rather than the 85 (also happens to be a lot cheaper). Hm, decisions.

Funny you mentioning Jon, I've been following his own HDR explorations and experiments over at his Deajeon Chronicles web pages... HDR – The Daejeon Chronicles https://daejeonchronicles.com/category/hdr/ ...seems, like many of us, he's trying to sort through the changing landscape from 100-nit SDR to 1000(and beyond)-nit HDR. I agree, the various standards (Dolby, ACES, HDR1000, or even just going home-brewed as many seem to be doing, etc.) gives one good reason to pause and try and figure out the best path forward. These are not inexpensive choices even at the Indie, Wedding, Boutique, and (cough) Prosumer levels, etc. and methinks we're all looking for a sensible and affordable pathway forward for ourselves. Say what folks may about iPhone with Dolby Vision, in its own way it is helping folks visualize where and how both the increased DR and luminance will look and help better the understanding of "what it is" and "what it offers" from both the creation and consumption sides of things. These truly are exciting times for those wading into the mix! From my studies and observations of the current use of the technology it seems as though 1000-nit DCI-P3 is where things are currently settling for home distribution and consumption. And that, depending on how important it is for the creator to see their grading choices being fully (or as nearly fully) seen accurately with their consumers will fuel their choices (decisions) per Dolby Vision vs ACES vs home-brew, etc.. It seems to me that if color accuracy is mission-critical for one's client (or one's personal standards) then finding the appropriate end-to-end solution will require more thoughtful decision making for one's gear investments. While I do not have to work with corporate branding folks or particular wedding clients for whom color accuracy might/will be paramount, I do run into enough color inconsistency with gear for my outdoor shooting that I would very much like to improve upon. I can't tell you how bad many camera sensors I've encountered when challenged with this seemingly innocuous target... violet flower at DuckDuckGo https://duckduckgo.com/?q=violet+flower&t=h_&iax=images&ia=images ...hint: those images are mostly all wrong! Ha! Color is not a minor or inconsequential thing for this user. That said, I am very pleased with how my S1 handles the majority of color situations for my needs, and I am greatly encourage to hear from Panasonic that the color coming out of the GH6 will be able to use the very same V-LOG LUTS as the S1, S1H..."Thank you!" Panasonic engineers for getting that new MFT sensor to perform so closely with your FF sensor! My goals for this year are to learn how to shoot and grade for 1000-nit DCI-P3, so, for me, getting accustomed to and familiar and comfortable with the wider DR and increased luminance and color information will likely be the biggest areas for that education. 🙂

I noticed you had followed! More pics than followers, that’s for sure, but then I cannot be bothered to play the games or practice the BS that is necessary in order to create a tribe. Funnily enough however, I get more work from IG than many of my colleagues with 10x or more tribe members so sometimes less is more… Mostly just been rehashing stuff I have shown at least once before due to the lack of work in what will be nearly 2.5 years when I get going again next month, so looking forward to showcasing some actual new material! There is actually a Sigma FP-L image amongst the 4000+ 😜

Well I will admit you certainly have plenty of damn nice pictures on your Instagram account!

I follow jonpais on my email, not a big fan of his attitude overall but he seems to be pretty good with the HDR stuff and it looks like it is a Very expensive way to go. Not counting hard to edit on and on. The only thing I have that does HDR is my iPhone, and I don't use it much because of the damn Dolby Vision thing. I hate this crap with so many different standards. Drives me crazy. But I have a BenQ 32" 4K monitor I can see it on, probably not that good to edit HDR with though, unless you buy a super high end monitor.

I'm truly not concerned about availability, seems these are fairly easy to locate used. True that, the S1's output both for stills and video is much more than "good enough" for my nature/wildlife/birding needs. Where I'm at right now is a restlessness to improve upon what I'm doing right now, whether it be through weening myself off of the Rec.709 output workflow (and moving into DCI-P3 via HDR Rec.2020 for an HDR1000 target) or finally providing myself with a crop-sensor companion (that compliments the S1) for those shooting outings where it becomes the better tool than the FF sensor. (For my needs the 5DII/7D, then a7r/a7sII/a6300 combos covered my needs, so I've been, er, "circling the airport" the past couple of years trying to answer "S1/? combo" for myself.) Trust me, both of your recommendations have been bouncing around in my head for some time now! LOL As for the GH6, it is most certainly providing users with a robust (and compelling) feature set in regards to its video output capabilities straight-out-of-the-box, the wealth of 10-bit All-I and ProResHQ options has my serious attention! Internal RAW needs to be a priority here for team Panasonic, their competition is now making it a "thing" and it is (and will be) the deal-breaking, er, "killer app" for those of us who require dongle-free simplicity and stealth...especially as the GH6 ages through its life cycle. FWIW, I've already let Panasonic dangle (and entice me into a purchase with the possibilities/potentials of) an internal high-speed bus and XQD/CFExpress slot with my S1's and then not deliver on those possibilities and potentials even with some token and/or heat-time-limited ProRes or RAW recording options. So that, um, "failure to deliver" has now become a factor in my decision-making and a part of me is now loathe to volunteer myself again as a full-MSRP early-adopter for them again with this new release. "Fool me once, shame on you...fool me twice, shame on me" and all that. Either choice (i.e. learning how to shoot for and process for HDR1000 with RAW with a ninja and my S1's, or having more pixels-per-duck and 300fps and ProRes HQ and learning how to target HDR1000 at more than thrice the price with a GH6) exciting times ahead with where I can take my learning! 🙂

Seems to me you have all the focal lengths covered you mention with the 12-60mm other than the 85mm. Looks like you need to go wider or longer, maybe both.

Yes the video is very good. I watched his video on the Panasonic S Series Prime Lenses as well and it made me think one of these might be a good purchase. I have the LUMIX S 20-60mm F3.5-5.6 so the question is which one would be a good complement to that? The 20-60 actually has the closest focussing distance compared to any of the prime lenses (12cm) so can't improve on that so I am thinking either the 35 or 50mm? Then there's the 24 and 85mm . . .

@Jimmy G My two cents:) Dont buy a Ninja V. Your S1 does good enough without it. So either keep the S! and save your money or sell it and get a GH6. Like I said, my two cents. 🙂 Or keep the mighty S1, still buy a GH6 and compare the two.:)

You had better buy a used Ninja V now before everyone else does! 😬

I'm guessing that from the protracted development cycle then it might well be going back to that as well as going full frame. You'd imagine that they could have put the SD Quattro into an Fp body relatively quickly and I'm still surprised that they haven't as an interim version. Switching to L mount would open up their own APS-C 16/30/56mm f1.4 lens range which would be an absolutely great match with the existing sensor. Being in the Fp body would also mean it not being built like a brick shithouse. I think they're committed to full frame though and I'm hoping that the delay is also being caused by them managing to squeeze video out of it. I'd take APS-C and video over Full Frame and not.

With the SA mount, you are pretty much limited to M42 adapters. Leitax do a mount product for Leica R where you physically change the mount so you would need one per lens. The "limitation" of only having an M42 option is all relative, of course, as there are plenty of excellent affordable lenses out there. Sigma dropped the SA mount for new cameras to concentrate on the L mount so any new Foveon will be in that mount, but you can still buy the lenses which include ART favourites like the 18-35mm, 50-150mm etc

I watched the movie last thursday. I do enjoy marvel-movies as well as dc-movies, so there´s a neutral foundation when it comes to this. That being said, I was entertained but not completly satisfied storywise and when it comes to the length of the movie. VIsually, it is a beautfully made film. Greig Fraser and his team did such a great job and the grading fit the scenes really well. I was hopeful to see a nearly 3h long batman-detective-story but there was at least 30 minutes that could´ve been cut. Some frames here, some shots there and overall pacing improvements. There were a couple of times the movie unfortunately lost some of the power it already created,. Still, the movie had some great performances, some new takes on gotham and the alfred-bruce-dynamic and a solid direction, where this batman could lead towards in the future. I´m optimistic the upcoming sequel can build upon this base. I really hope they bring back Fraser as DoP. Entertainment: 8/10 Story: 6.5/10 Acting: 8/10 Visuals: 9/10 Music: 7.5/10

I have had this lens now for about 3 weeks, shot a few different types of scenes, and am really impressed with quality and over all ease of use. Canon's VR utility renders/converts the video and pictures much faster than I thought it would. Though some of you old guys (yeah I'm 51, bite me) are sounding like my grandfather did when TV's showed up on the scene...."nobody's gonna waste time with that thing" or "What kind of idiot just sits on the couch and looks into a box?".... well between Facebook (Meta), Microsoft, and Disney there are literally billions of dollar getting dumped into this format because it is clear to them, and me, that in the next 3-5 years damn near half the people you know will have some form of VR gear in their family or household. It really is incredible if you let yourself actually consider the ramifications. I took my first picture in a family party setting, a few days ago I took my Oculus over there to share those clips and pics and literally everyone was amazed to be "in" that party again, seeing everything exactly as it was like you're standing in that spot again. In fact my uncle, the oldest person there, was the one to point out how absolutely amazing it would be to be standing in his childhood home again, looking at his brothers and sisters and seeing it all again "like time traveling to the past" is what he said. I don't think many people are recognizing this aspect of VR yet, but it's going to be huge. I've already had my first wedding party request a VR shoot, I might make this the focus of my future photography business.