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What are you looking for in terms of specs and content? I don't have anything coming up that I can share but if I can shoot something for you easily I will.

I didn't quite say that. I said it had "a half-assed curve", and go on to explain what I mean by that (a mild contrast curve with elevated blacks where middle grey is not at the correct value). It's an easy fix for anyone who knows how to use basic colour correction techniques, which I presume you do. Pannys colour conversion is basically sound, with the caveats that colour is not entirely accurate and that the same conversion is used for different models with different colour responses. But I'm sure that's true for Canon and Sony true. Likewise for the rest of the thread, which is a digression into exposure technique for log in general, not just V-Log. There's nothing particularly difficult about V-Log. I could pick the same or similar nits, I'm sure, for C and S-Log.

All log profiles take some time to get used to, but I really don't think Vlog is any more difficult to work with than other log profiles. I don't mean to downplay anyone's opinion in that other thread, but they're just that: someone's opinion and there's only a couple of people giving them in there. You'll find tons of folks who have differing ones.

Well, as you can imagine, I spent the afternoon running towards and away from the camera like a fool, trying to figure out if phase AF work for the EF lenses I own (it does). I would guess at this stage that every EF lens will work with the MC21 and, who knows, possibly with other adapters too. But the important variable is how noisy are they going to be. Up to now, I had been using an old Sigma EF 70-200 2.8 as my main interview lens for corporate/promotional vide. The phase AF works very well on the S5II but the noise of the motor is too loud and distracting to be usable for my work. My other workhorse lens, the Tamron EF 24-70 2.8 is not too noisy, and in APSC mode gives me roughly the field of view that I Iike for interviews. The Canon 24-105 is not too noisy, but I don't really like it (low light transmission and weird non-constant aperture behaviour when stopped down). My only other EF AF lens is a nifty 50 which we already knew works fine from Kai or somebody. This was my motivation to get the S5 II. I had noticed that occasionally I missed focus in interviews if the subject moved a little and I felt that wasn't good enough. Now I don't need to hover near the lens quite so much, sweating bricks if the subject leans forward or takes a half step back. The other thing I began to have a look at was if it would change how I shoot B roll. I was fairly happy with how I pull focus manually previously. Nevertheless, I now have the option use human tracking when shooting B roll of people, and normal tracking when shooting objects. I'm also looking forward to putting phase AF through its paces in trying to nab some shallow DOF shots of my kids running around the place.

It's so hard to know if a camera will be "enough" to lure away users of other brands/lens mounts, but I DO think we'll see enough people switching that it WILL make a difference on Panasonic's bottom line, especially among "content creators" (I hate that term) and video pros that do marketing for companies. The ability to shoot in 3:2 is a big selling point for the people I know in that realm, because they're creating content for multiple platforms that all favor different aspect ratios and resolutions. For those types, the combination of that, the IBIS, and the autofocus, is a really compelling combination. And the thing about them is, a lot of them aren't heavily invested in lenses for the cameras they are currently using. A lot of them may only use two or three lenses. My friend Josh is a A7s III shooter. He primarily uses a Tamron zoom and a few primes. He is considering jumping because he can get close to $3000 for the body alone, which would be more than enough for him to get the S5 and at least one lens, not to mention what he'd get for the E mount lenses. At the end of the day he'd probably end up with close to $4000 to work with after selling everything? In all likelihood he'd end up with more money in his pocket when all was said and done, plus have a camera that is better for his social media marketing work he does. He told me he'd miss not having 120 fps in 4K but that he also hardly ever uses it. It's one of those things he wanted badly, but in practice found he really didn't need 4x slow motion for non-profit marketing videos (shocker, I know!) and doesn't really use it much. When it comes to M43, I'm a little more conflicted. I think that there probably are a significant number of M43 users that see the S5 ii and feel kind of burned if they'd just purchased the GH6 last year. People can make arguments for why they shouldn't, but there absolutely are people that do feel that way and, if they'd known, probably would've held off buying the GH6 in favor of finally switching to full frame and the S5 ii when it came out. Do I think though that the S5 ii will completely cannibalize the GH line or M43? No, because there are still a lot of people that are not interested in full frame, and are very, very partial to M43. If we're being honest, Panasonic put that user base on ice for several years. Those that stuck around are their most loyal users, and I'd argue the majority of them will continue using M43 for as long as companies support it. I agree with @Andrew Reid though that the promise of M43 has kind of been lost. In many ways it was necessary to make the cameras bigger to support the advanced features that for a long time only M43 was capable of, but now everyone is on a pretty even playing field. To me, the way forward for M43 is to focus on making the cameras (and lenses, if possible) smaller while still maintaining the capabilities and the quality that we've come to expect. I just don't know that Panasonic sees value in that direction, given they've seemingly axed the GX line of cameras. Even today, if you could put all the capabilities of a GH5 but with updated color science and autofocus in the body of a GX camera I'd buy one.

Our man @Andrew Reid is back at it! Also the lighting looks GREAT this time too!

I'm just on the way home now and look what I've got in my bag 🙂 For me, the clincher was that phase AF works with my old EF lenses with the MC21

This looks magic... absolutely the look I wish I could get SOOC without shooting film 😅. I will say Filmbox is very very nice though and really does add some great mojo. Waiting for the day camera's incorporate plugins or built-in film emulation for video.

Company A. “We will make ours overheat”. Company B. “We will give ours autofocus from the mid 90’s”. Company C. “We will withhold anything that might compete with our cinema line”. Company D. “We will produce the best camera…but then make it absolutely massive and heavy”. Company E. “We will keep on doing retro funky but segment our product lines so no single camera within our lineup can do it all”. Company F. “Ve don’t give ze two sheetz about your gentleman’s agreement and vill continue to sell to ze dentist market”.