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It has a great feature set for the purpose but, for me, more so as a holiday camera. The magnetic mounting pendant is very good for staying in the moment of what you are doing on holiday whilst still filming. The pre-record function is particularly good for using it in that way as you won’t actually have to worry about missing anything. Let’s face it, trying to do holiday videos with a “real” camera is a pain in the arse for EVERYONE concerned and is actually a contradiction in terms as it’s no holiday when you are titting about with lenses and ND filters and offloading footage. Let alone carrying it all and making sure it’s safe. It always ends up with the bulk of the footage coming from the first day and tailing off to nothing after a few days as it’s too much hassle to keep up. The AI editing is good too not just for taking out the tedium of doing editing but likely for taking out the tedium of the actual end result for whoever has to watch your holiday videos. No full size HDMI port means it will be a hard pass for a lot of people on here of course.

they made it!!! only 40% of their nests produce young LFG!!!!!!!!

Having owned a mk ii then a mk iii (both bought used), I think the better AF for video and adjustable-strength video IBIS on the iii are worth the extra money. There is also better separation of settings between stills and video on the iii. Video quality is the same in both, as far as I can tell. And Olympus/OMDS certainly seem to know how to design and build pro-grade lenses and cameras - my (used) 12-40mm F2.8 Pro has paint worn away in places plus a damaged (but usable) filter thread, but works fine and has the smoothest zoom and focus rings I've ever used. I'm getting a bit tempted by the 12-100mm F4 Pro as a consequence...

I'd agree with all of that, having gone from being a decade-long Panasonic user to now most often picking up an E-M1 iii when I take a camera out 🙂. The video quality on the E-M1 iii isn't top-notch (although the 24p DCI 4k at nominally 237Mbs is pretty good), but as an all-round rugged 'outdoors' package it's great (as is the battery life). I normally use the 'Natural' profile with the sharpness set to minimum, contrast reduced and the shadows lifted/highlights reduced a little using the 'shadows & highlights' adjustment curves. The problem with the Flat and OM-Log400 profiles is that you lose the sharpness adjustment and I find the default sharpening too high for my taste. (There seems to be plenty of used E-M1 iii and lenses like the 12-40 F2.8 around at good prices, if the budget is tight)

Which is why I only ever use my phone these days. With a glass of gin in one hand, it’s not easy to rotate that VND.

I once accidently left the stabilizer of my Canon zoom on and it messed up my dolly shot. Many, many, many years ago.:) So yes, turn that thing off! I like to remember that it was an accident though when I left mine on.😂

I'll chime in with a contrary opinion and a dark horse suggestion: Weathered sealed OM (Olympus) cams/lenses shooting 4k 8-bit --probably considered sort of low-end these days, right? OM cams definitely fly under the radar with videographers, but they have some useful features. The color and images look dang nice straight out of the camera, the cams aren't big, you get really good IBIS, and the file data sizes are relatively small. OM's target demo is pretty much nature shooters, so they build their gear for outdoor use. Be careful though. The video image might not be as 'meaty' as you'd like it to be if you're used to other pro cameras or doing a bunch of drastic coloring in post. Still, the wife and I are currently doing a nature doc and we're happy with what we're getting. ND... Man, that is the shortcoming on all hybrid cams though.

Ideas for your new channel: "Ask the beard" a channel with you reacting to videos and viewer questions from a NZ perspective "Hold my beard" a channel where you do challenges and review the many extreme sports in NZ "For the beard" a channel focusing on progressive fashion culminating in launching beard-care products for both men and women The possibilities are endless, just like the talent available!

This is the exact reason they made the GH5S. It was a non-IBIS companion to the GH5, designed to be used on gimbals and other mounts.

Yes. Also when on sticks and or a monopod. IBIS is a fun tool, but no when to say when.

How about renting a Canon C70? If the sun is out, shooting in a forest can require a lot of dynamic range, and the C70 will deliver on that end. Also, it has long battery life and with a relatively small file sizes. Since you are working alone, the built-in NDs and dual pixel autofocus will make your life a lot easier and your "keeper" rate will be higher. Of course, the C200 covers these bases too, but is either a bit soft (H264) or will require denoising (raw) in post. I made a living with two C100s for five years, including several shoots in the forest. I loved that camera, but it didn't have the dynamic range necessary to capture pools of light as well as shadow detail in the woods. Of course, it's possible to work around it: Otherwise, you might look at the FX30 or S5ii/x -- but I haven't used either of these cameras.

Their only job is to record and legally identify criminals. That doesn't require 15 stops of 10-bit 444 in 800Mbps!!

I ended up ordering a Leofoto BV-30M, which has the distinction of being one of the few flat-base fluid heads with an continuously adjustable counterbalance. The caveat is that there aren't many reviews (I only found one) so I'm going to be a guinea pig on this one. It looks like they have a good return policy and a 10-year warranty, so I'll see if it works for me.

Interesting comment about colour, thanks for sharing. My impression of Vivid on GX85 was that it boosted the saturation. In theory, this is a superior approach to recording a flat profile, as long as it doesn't clip any colours in the scene. This is because if colours are boosted in-camera they will be processed in RAW and not yet subject to quantisation errors and compression errors. Then in post when you would presumably reduce the saturation any quantisation errors and compression errors such as blocking etc will be reduced. This is why B&W footage from older cameras looks so much nicer than full-colour images. I've also noticed that downsampling in post or adding a very slight blur can obscure pixel-level artefacts and quantisation issues. I learned this while grading XC10 footage, which is the worst of all worlds - 8-bit 4K C-Log. I've also had success with a CST from 709/2.4 to a wider space (like DWG), then grading there, then a CST/LUT to get back to 709/2.4 output. This has the distinct advantage of applying adjustments in a (roughly) proportional way, so if you change exposure or WB it does it in proportion across the luma range, much closer to doing it in-camera than operating directly on the 709 with all its built-in curves.