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They only needed to do it 2 years ago with the S5…but even if possible, that would have severely compromised the S1 line for sure. S1 probably too big/heavy to be a YouTubers fave I suspect… It does keep coming back to the same old thing for me and that they are ALL good enough and ALL of them are compromised in one way or another be it price or size or weight or some ‘missing’ feature etc. For me, the new Hassleblad is the king for stills…but it lacks any video capability and for me, that’s a dealbreaker. The Z9 is the best hybrid (all of these my opinion for my needs BTW) but the size & weight… R5? Questionable potential overheating… A7iv? Cropped 4K 50p. Lumix S bodies? Cropped 4K 50p and a bit of a size & weight issue S1 line. Lumix GH6? M4/3 for my stills needs is an issue as is the AF. OM-1? Just the stills and flip out screen actually but for me, beats GH6. XH2/S? Closest to my needs…but as a pairing with my sole ‘issue’ being flip out side screen. Indeed. Preorder went in on the off-chance I could get an XH2 and lens prior to my final job until March next year as nothing beats a real wedding when it comes to…well wedding capture 😜 There are still 4 working days left but with zero notification, it’s looking unlikely but yes, that ball is in Panasonics hands entirely. Well Panny plus Sigma and Leica actually because it would only take one of them to produce a body that meets my minimum requirement. Panny is most likely, but I’d go and will go whatever direction, whatever brand, zero loyalty, who can produce the closest to my needs by the end of next Feb absolute latest.

I have no doubt that if they'd switched to PDAF 3 or 4 years ago they'd be neck and neck with Canon and Sony. Sony no doubt has their diehard fans, but a Lumix S1 or S5 with PDAF would've been THE YouTuber camera. Whether we like them or not, those are the users that will help ensure a company's longevity.

I was out in the sun for over three hours shooting that video without ever turning of the camera. No overheating, although most of the sots were around 10 seconds, some 30 seconds. In this video I also used the upped Mbps, with longer shots of many minutes. Again, no overheating.

Looks like Sony footage. The lens kind of makes it look like an RX10, but I'm guessing it's an A7 III/A7R III with some native lens I don't recognize

The only challenge I've found is finding new media that can support 60fps compressed CDNG. For everything else the Angelbird cards that were tested for original BMPCC work (although they are very pricey). The cheap Kingston cards seem to work for many people but mine only lasted about 6 months. I fortunately have a good stash of the original SanDisk 64 gig cards that met the spec back in the day and continue to use those along with the Angelbird 128gig cards.

Suggest that you go through the previous pages of this thread. Usually the complains in regards to DR latitude and highlight rolloff are coming from people who are not understanding how this camera works. Especially the part about ISO 100-800 being same base ISO but with different digital gain levels, thus showing different previews while monitoring and highlight rolloff handling. This camera is tricky and needs a lot studying, but once you figured out it is capable of producing top notch quality images. Meanwhile there is even a way (via Atomos Ninja V) to have a predictable workflow based on V-log and appropriate LUTs. To give you some examples about the ISO handling and rolloff. ISO 100 recorded and left untouched (put through ARRI Rec709 LUT workflow as mentioned earlier in this thread) = bad highlight rolloff ISO 100 pushed to 800 (3 stops to restore shadows as per Sigma guidance), now there is plenty of DR and a nice highlight rolloff ISO 800 recorded and left untouched in post despite the LUT, for me the best of both worlds and matches what I saw in reality pretty closely There is also an extensive white paper from Sigma stating exactly what ISO to use and when. Can only recommend to invest the time to learn the gear inside out. (and that applies most likely every other cinema camera out there as well)

Oh, I don't actually know. If your post-production workflow looks better to your eye, then stick with it. There's no right or wrong answer here. Although I would say that if your final rendered movie files look okay, and if it's doing some macro blocking only during editing playback, then I personally wouldn't bother with transcoding; 422 data storage demands increase for instance. Again, if that doesn't matter to you, then no worries.

GoPro labs enables upping the HEVC bitrate to 200 Mbps. So, 10bit color, 5.3K 60 fps, 180-200 Mbps.

I agree, but I acknowledge what they need to do and that the long term viability of their camera division depends on getting rid of the AF stigma. It's one thing when it's people just repeating the things they saw on YouTube but never have had actual experience with a Panasonic camera, but I own a S5, a GH5, a G85, and a GX85. I've also owned the GH3. I use these cameras for professional work, and have an interest in seeing Panasonic succeed because I am invested in their systems. While the autofocus performance on the GH5 was always better than people gave it credit for, and I find the S5 to be pretty good in that department overall, that doesn't matter if the majority of the market thinks that Panasonic AF is completely useless. The market has spoken, whether we agree or not, and they need to do something about it. The S5 is genuinely my favorite camera I've ever used. I'll probably end up buying at least one more, given the price and quality. But I'd be lying if I didn't acknowledge that my eyes are looking towards the future, and it's becoming increasingly harder for me to see myself sticking with Panasonic if they can't guarantee their longevity in a shrinking camera market. I want my camera equipment to be serviceable, and I don't want to be stuck with a bunch of lenses and accessories that belong to a dead system. A lot of folks don't care about that stuff, bless their hearts, but I do. If in the next couple of years a Canon/Sony/Fuji camera comes along that offers everything I need for my specific kind of work and at a good value, it will be very hard not to unload my Panasonic gear while it still has some value and move on if they haven't improved their image problems. There are a lot of people like @MrSMW and myself who are looking for a reason NOT to jump. The ball is in Panasonic's court whether we do or not.

Judging by no flip-out screen, probably your average A7III. It could be an A7II but the video looks too detailed to be the pixel-binned A7II 1080p footage.

Some kind of Sony with a G lens.

I captured a post film screening interview last night between the director and his mom who is one of the first Black filmmakers in Canada... nothing prepared ahead of time just a capture of the moment for his family archives. I seriously considered pulling out the 5D MKIII to pair with my R5C but ended up going with the R5C and 1DC bcuz the second shooter wasn't familiar with ML. The R5C's footage was obviously great but the DPAF struggled at times to keep focus on the director's mom - and while it was happening, all I could think was maybe I should've just stuck with my trusty 5D MKIII/1DC combo. All that to say my relationship with the R5C has been kind meh so far (altho the image and cinema options in essentially a 1DC sized body once u add the grip are great!) - but the biggest takeaway I've had so far is that now more than ever, I know I will never sell my 5D MKIII.

Yeah the XH2S indeed looks over sharpened. It's obvious when compared to the bmpc6k and Komodo, because it looks a good deal sharper.

GH5 II had no internal sharpening? That’s very cool. NLOG on my Z6 feels a bit over sharpened; I’m thinking of going the Prores RAW update to be able to bypass sharpening and NR.

So, some rigging goodness from last week. The baseplate and rods were in a package with a Gh4 i just got. Also in the package were different Cmount adapters and finally some which fit my Zeiss Tevidons. After owning the Tevidons for three years and owning a Bmmcc for a year now, I can finally achieve infinity focus. Yeah! So here is my beauty with a 10mm Zeiss Tevidon, on a pistol grip, which also was in the Gh4 package. Now, @webrunner5 , Don, dear friend I now own a Gh4 after you got your Gh5:) Here the pics with and without the BMVA. I just got the tiny Ikan v35 which is cute but drains battery after being switched off.😂

I recently acquired a Canon TV16 6mm fixed focus lens. i "challenged" myself filming without a monitor, cuz i liked the supertinyness of my bmmcc without a monitor. I later recognized, it vignettes up to 1.33x zooming in on davinci in that case. But footage was fun and cool.:) @hansel I'm in Berlin too. Let's film some cinema verité vignettes together with cam and coffee. Sony Pmw f3, bmmcc and nice nerdy gadgets at hand.:)

I would love to hear more about image quality, also compared to the Lumix S line. Lowlight and absolute dynamic range is a stellar feat of the S line. But cameras like bmmcc, bmcc have great motion, color, awesome color response i grading. Motion with my bmmcc looks so beautiful, camera motion is top notch. Imagewise I often prefer my bmmcc over my S1, despite its much, much weaker lowlight and HD only compared to the 4k/6k S1. Would to hear more from @deezid how well gh6 fares compared to the Lumix S line. He was a great fan of the artefact free cinema worthy image of the full frame Panasonic cameras. And he didnt love the internal image from the Fuji xh2s. Also @hyalinejim would love to hear your observations. Still a great fan of your gh5 observations. @kye like you i am seeing these kinda cameras as MF beauties. Side note I like the af for photo since my gf1. I got the blazingly fast 14mm now. Fun tiny lens, which was part of a large Gh4 package, with many Cmount lenes and adpaters snd more. I couldnt resist. 🙂 And Gh6 feels growingly tempting from film iq and usuabilty poinf of view. Btw gh6 even betters gh5s in lowlight, holds onto resolution and colour much better, as you can check out on youtube. What i would like to see: S16 crop mode like the Gh5 has, Hd full sensor modes, S16 4to3 mode with full s16 width, 16 and 2/3 inch modes. Thank you! 🙂

Here is a test video shot at 5.3K 60P with Linear + Horizon Leveling, 10bit color, Flat Profile, Native WB. Thus what you see is my grade:

I think the biggest thing that I have discovered is that 10 bit lets you push around the mids more than 8 bit without losing color quality. Everyone typically talks about recovering the highlights and preventing noise in the lows and looks at dynamic range...for me the biggest problem is usually recovering exposure on the skin in difficult lighting situations when you have the highs and the lows all well within the WFM but the skin tones are under exposed which you can't control because you can't properly light the subject. I run into that situation all the time and 10 bit lets you fix the exposure on the skin tones without losing color quality. 8 bit used to fall apart every time and typically it was better to just leave them underexposed than to try to fix them without fill lighting. Even with 10bit there's only so much you can do to the mids before you start losing color (that's where the whole latitudes limitations come in) but I will take 10 bit any day over 8 bit for this situation. A good example is with a sunset behind a subject and no fill lighting, with 8 bit you have no choice but to severely under expose the subject or completely blow out the sunset, with 10 bit (and the benefits of VLOG and the S5's sensor) I am able to recover the skin tones almost to the bottom edge of the proper IRE while retaining the highlights and not washing out the lows. One day I may try to shoot the exact same scene right after the other with a sunset behind the subject one with 4:2:0 8bit and the second shot with 4:2:2 10 bit then demonstrate how the mids fall apart when trying to recover the subject's exposure, but I typically don't have that kind of time during a shoot.