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I need more time to get a feel for it. We've just moved back from NZ to Ireland and have been preoccupied with finding a place to live. I mainly shoot video for corporate work that I do, very little for family stuff or for pleasure/creativity. Since we've returned I've done one major job but I used the GH5 as I didn't want any curve balls that the GH6 might throw my way. So I've really only pressed record on it a handful of times, doing a few tests. From the little I've shot with it, it seems like the battery life is really shit compared to the GH5 and a USB power source will be necessary. I don't use rigs, so I was thinking even just having one in the bag to charge up the last battery when it's been used. That might be enough to get me through a half day shoot. DR boost gives you an extra stop in the highlights. That's it. So if you think of your average GH5 scene and where it clips, then DR boost will give you one stop more info, at the cost of using heavy NDs in most situations. I've got as far as a 5 stop Tiffen solid ND to stick under my SLR Magic Vari ND II, but am considering the Nisi True Colour to replace the SLR Magic as it probably has less colour cast (which is not so important to me) and possibly slightly less polarisation (which is the real ass kicker with vari NDs, I think). I've satisfactorily matched the colour from the GH6 and GH5 in V-Log, and the image is thus practically identical for my purposes when not using DR boost. If you set the GH5 to minimum sharpness and noise reduction it's the same as the GH6 in terms of detail/sharpness/artificiality/organicness (except there may be differences in noise which I haven't examined in great detail), so the choice to use one or the other for me now comes down to functionality and ease of use. I do miss the easy 2x digital zoom for HD like on the GH5 as discussed previously in this thread. Having said all that, there are a few things that I really like a lot about the GH6: - Red frame when recording. This is a lifesaver. I've often lost shots from having gotten into the wrong record/stop button pressing cycle - Punch in while recording to check focus - Luminance spot meter. This is not for everyone but it's amazingly useful for me as another exposure tool - Usable AF using Panasonic lenses (anything I've checked on the Speedbooster is hopeless). Maybe once a year I need to do a static shoot of people walking down a corridor towards camera, chatting. The AF will do a better job than I can and give the 2 or 3 seconds of usable footage that I need. - Confidence that I can shoot in low light if needed. Previously I've never needed more than 3200 ISO (most shots are on a Tamron 24-70 2.8, which is f1.8 on a Metabones XL) but that was a bit noisy on the GH5 and on the GH6 with DR boost it's much cleaner. Ha ha! Here are some more negatives though: - The build quality doesn't feel as good as the GH5. - Some YouTuber was complaining about the silly mechanism on the memory card door and I agree with him. There was nothing wrong with the door on the GH5, but the GH6 is now finicky to open. - The stupid light streaking thing which I have seen, when I deliberately tried to recreate it. - The whole DR boost thing is voodoo. I've got noisy results in daylight using it, which worries me. I need more tests to suss this one out. And finally, here are some mildly shocking things I've learned when comparing to the GH5: - GH6 is slightly wider angle of view - GH6 gives slightly darker image - There is quite probably an overall colour cast imbalance. Almost certainly when using the same WB preset or when dialling in degrees Kelvin, and possibly also even when doing a custom WB on the same target. Need to test this more. It might just be the difference between my two units. Honestly, if you have a GH5 there is no huge reason to upgrade unless you definitely need the higher resolution, codec or frame rate specs. The output is going to look pretty much the same. It's not like the jump from the GH4 to the GH5, which added 10 bit and made V-Log usable. More like the GH5 to the GH5 II - a better camera to use but your client/audience won't see anything diferent.

https://www.canonrumors.com/canon-to-finally-bring-a-successor-to-the-cinema-eos-c200/ Looks like there may be a C200 mk2 coming, sounds like a C300 mk3 with swappable EF and Rf mount. Seems Canon are investing in apsc they just need some decent RF lenses to show they're fully committed as I agree the lens situation isn't great at the moment

Pansonic should bring out a GX Ten with 10bit. A true 10bit pocket cam in a GX85 body with decent battery life and IBIS. Please give it an optional 1.4 crop for Super 16 lenses.

Waveform is quite likely only for video function, for stills you probably have to activate the histogram if you want to see that.

Yep. Unless your second shooter/assistant is your spouse, it can and usually does have so many issues. More issues created than solved. Been there, done that and there are times when I wish I had one, or at least a roadie, but the amount of time is too little vs the effort/cost/reliability. My ‘solution’ is my ongoing quest to have the most minimalist kit I can and further to that, know it inside out so it gets out of the way and is not cumbersome. I’m still on that path. Pretty close, but not quite with my current set up. Next gen L Mount or another system next year will iron out those few final kinks. Quite a bit of being a one man (hybrid) band these days is due to the tech… I probably could do what I do today 10 years back…in fact know I could because I was doing it, just not at the same level. But 20 years back? Nah. Some like to say it’s not about the tools, but actually, increasingly so, it is. For certain things.

My favorite from the bunch: Panasonic EVA1. Followed by the Canons... :- )

@herein2020 All the Canon adapters are very expensive. I have ordered the MEIKE vND (plus Clear, plus 1/8 of Black Pro mist). Performed better in the reviews I have seen for almost half the price. The normal Canon supposedly is a gift with the camera (which I am not sure I am getting it, because I am still in "pre order" status), and I have heard the Viltrox ones are quite good also. Your equipment is the only thing you have in control in these circumstances! and it should be that way. From everything you have described, the less problematic is the use of a crop camera! In no way you have to change lenses all the time. When I was shooting photos I had 2 cameras left and right, and another smaller one with a fish eye or other unique/oddball lens somewhere near. I never changed anything. If you do everything alone, hire someone to help you and ease some of the burden. I read people's stories about doing video and photography and everything in between, but that is not my cup of tea. I prefer to give someone a chance for some work experience and money, and do me a favor to my self! You can be specific about the use of your equipment, and that would make everything easier. e.g you can have the 50 RF on the R7 as a short portrait solution of 80mm equiv..Ultra light setup to have always on you..C70 with the 24-105mm (as you do) and your full frame camera, with whatever matches your needs. Probably a 24-70mm for photography? There must be a way to organize most things beforehand. Or just change one for the 70-200 (maybe for interview?) and that's it.. By the way, the RF 24-105 is better than the EF in everything (something which isn't true in general about all RF lenses vs EF). It is smaller/lighter/faster AF and performing better IQ wise. Anyway, I was never a fun of the EF 24-105, I am not sure if I will be for the RF. Just some ideas. I am not trying to impose anything to you! Obviously we haven't been in someone's elses shoes. You know better your work flow.

I actually like big heavy kit, it keeps everything more stable and I've been shooting on it so long it doesn't seem big or heavy to me, but yes, now that you mention it, the 24-105mm on a body smaller than the R5 especially with the adapter will be greatly imbalanced. I used the 24-105 on the S5 with an adapter all the time though and it felt fine to me, but that was with a cage and handles, something I am not sure if I would add to the R7. @Kisaha @kye nailed it. Everything seems like it has an easy answer until you have tried it. Bringing in a second shooter exponentially increases the complexity of everything; risk to the equipment, risk to the project if the second shooter doesn't show, or doesn't match your style, or has a setting wrong, increases the cost of the project which already has razor thin margins, greatly increases the tax paperwork at the end of the year, etc. etc. That's all assuming the person is even reliable and actually shows up. I have had to bring in second shooters in the past and most of the time it ended up being a lot more work for me. Once I hired a second shooter for an extremely simple drone job because I was not available that day. They just had to film a construction site, I barely made more than a referral fee and was going to edit the raw files. The person parked his car and the client's car right in the middle of the construction site and took all 100 images that were needed. To me it was very unprofessional to have him and the client in the footage....so I had to spend 2hrs on what should have been 20min of work Photoshopping out his car, the client's car, and him and the client from every photo. Once I had a client mandate two shooters, a dedicated videographer and a dedicated photographer. I hired a photographer, but due to my paranoia I took my own photos as well. Second shooter showed up with dual 1DXIII's and full kit. I thought this was going to be a good shoot. I got his footage home and every image had the horizon horribly tilted....once again took me hours to fix his footage and I had to throw away a lot of it because there was nothing left after cropping in enough to straighten the horizon. Fortunately I had taken my own images as well. Also, my particular area is very competitive; I work the biggest fashion shows and events in the area and next week I am shooting the biggest swimwear fashion show in the world (Miami Swim Week). Anyone I brought on I would have to risk them handing out their cards, trying to get my client lists, wearing my shirts and possibly giving my company a bad name, etc.....its happened to many people I know. There's always someone in line behind you waiting for you to trip or fall. So yes, I analyze my business all the time as well as my kit and look for every second of efficiencies that I can; like @kye said, its easy to imagine ways to improve and on paper they might seem great until you are in that person's shoes. Also, like Kye mentioned, backups are very important and not discussed very often. I still pack a fully rigged S5 with me as a just in case backup for the C70. That's where equivalent focal lengths are also important. The R7 could serve as a backup to both my C70 and R5 if it had a speedbooster attached. @MrSMW also hit the nail on the head and was the exact thing I was going to say; the most successful two person teams that I have seen are nearly always a couple. With a couple many of the challenges I mentioned earlier go away, even the tax problems, liability, reliability, etc. etc. It introduces other problems 🙂 but that's a different story for a different day. Yes that is my conundrum...but I am used to odd kit decisions; my S5 with no CAF due to the EF adapter was an odd setup as well but it worked perfectly for my needs at the time. For me economics is a big part of my decision making process; I have technically never left Canon since I still had the 5DIV and the EF lenses and the C200. I am still not a fan of Sony, but I do think if I was starting over with no lenses and no bodies Sony would be the better fit. I am trying to twist and turn Canon's solutions to force them to fit my workflow and needs; is it optimal...no, but is it the most economical approach...so far I think so. With dual crop bodies and dual speedboosters along with my existing EF glass I would have everything I need; full immediate toolless interchangeability between all bodies and all lenses, battery sharing between the R5 and R7, SD card sharing between all 3 bodies, lens sharing between all 3 bodies, IBIS in the R7 for video, RAW in the C70, a backup to both the R5 and the C70 (the R7) for both video and photography, a lighter gimbal camera with the R7, excellent AF in all 3 bodies, XLR audio in the C70 and R7...etc, etc. Just the other day I left one of my SD cards in the card reader at home and when I got onsite for the shoot I just pulled the SD card out of the C70 and threw it in the R5....it was fantastic. I am in no hurry to get the R7 though, so I am curious about the R7C rumors, the body is so small even if it needs a fan it might still be good on battery life, so I may keep my spare S5 until I get more details on the R7C. If it turns out to be a clunky battery hog like the R5C then I'll probably just get the R7 instead.

To use that word and not take advantage of the pun, I guess he wasn't kidding when he said he didn't know much about lighting.

Okay here comes the result. Fiddling with the saturation knob is not correct at this stage. I seem to have missed one important step, which I have now found after reading through Panasonic website. The PRR RAW file needs to be brought into the V-Gamut first before selecting the Rec709 LUT. They have a technical LUT for this to download. Steps: 1. RAW to LOG convert in FCPX info tab set it to Panasonic V-LOG 2. Add 2 custom LUTs at the end of the editing chain. 3. Select Panasonic V-LOG RAW to V-Gamut LUT <= This step brings the colors back to where they should be 🙂 4. Select Panasonic V-Gamut to Rec 709 FINALLY!!

"reflecting" 🤣

Actually this film is not on the professional side. NO gaffer, NO sound guy, even NO AC😂 The full version is more like an interview and I managed to put those B roll together to make some kind of trailer. Since this is my first time playing with F3, I'm not familiar with it and did my best in post stablization, the outcome is a far behind perfect in my perspective. Next thing on my list is get a decent wireless follow focus and find a way to put F3 on a Ronin. The useless daddycam grip and that power zoom thingy is really annoying and getting in the way with my gimbal.

Of course, the DoP has no room for wishes, the movie (beyond 'the story' itself : ) asks for exploring different shot types, the director decides the one he/she wants and the DoP must offer the solution for. Very simple. The cinematographer proposes options the director will obviously choose "the one" from. Variations from there are usually a cooperative effort from the most produtive collaboration this match may happen to be. :- )

The only negative I have about Canon EF lenses are that they are Huge and Heavy, even the 24-105 F4 is a moose. I will give Sony credit their FF FE lenses are pretty small and light. That 24-105 F4 on the R7 would probably be front heavy as heck I bet.

I didnt talk about the bird. I enjoyed seeing it though. 🙂 @kye

Well... if you look at the best directors of the best films, they were very much in control of the visuals of the film. They ARE the filmmakers. It's their singular vision and the collaboration lies in the crafts that support their vision.

Definitely in the middle rather than in a corner, but all that matters far far less than having a quiet environment and getting the mic in close.

THANKS wonderful friends

Thanks for that, rest well and I hope you feel better soon.