Emanuel

I always appreciate to know the camera I work with... call me picky (not necessarily pixel peeper : D all the time, at least hehe)
I recall the finest example that our woman is always the most attractive female for us or it should be ;-)

;-)

And... here's a good kit for those worried about ergonomics based on DSLR/mirrorless cameras:
http://www.woodencamera.com/panasonic-gh4-gh5-camera-accessory-kit-pro-guide-s/322.htm
Hey guys, no mention on film, cinematography and so on but there's something written right there to guarantee is PRO!

No beef actually...but if you're shooting a feature with a reasonable budget, the cost of the crew is high....so I would default to something like the Varicam LT or another cinema camera as A-cam with the GH5 is B-cam...If I was shooting a short...or a commercial or extremely low budget film, I would use it without any hesitation...so, at some point it becomes an issue of false economy....up to the director to evaluate which is which....as far as GH cameras form factor, IMO in the world of hybrids the Pannys are unequalled....and as for the image....from what I've seen, I would not hesitate shooting with it next to a Varicam....

by James Miller
GH5 Stabilizer handheld test with a Zeiss Otus 85mm showing:
1/ No Stabilization
2/ Sensor Stabilisation when set to the mm of the lens including reduction for the Speedbooster .71x
3/ As no. 2 but with in camera electronic stabilization active.

Cudos to sigma for their awesome work and lenses at affordable price.
we can't say the same from Canikon

Actually, the EMD-1 Mark ii seems to have quite impressive noise reduction (on par if not better than the A6500). If Panasonic can replicate that, it would be amazing, especially for video. 

The problem doesn't come from sensor size actually but more from pixel size. 
So you could make a great low light m4/3 sensor. But only at smaller native resolutions

I do firmly believe the most part of us here can only concur with your two cents there : ) My other two and leitmotiv for POV of this thread is only to point out the fact: 4/3" sensor size by Panasonic seems to not match its competitors, the sister Olympus included, at least; as it should be supposed to be, I guess. Lame chance for the new toy : ( But, to be able to beat any other camera in the right hands? But anyone doubts? A camera is not only high ISOs, fancy NR algorithms or stupid marketing strategy trying to mimic the other Sony girl.
I also want to believe that internal 10-bit 4:2:2, 4K/60p (not internal@4:2:2), etc is a proof of solid mature attitude to defy the major players outside and break the waves pushing the envelope further. I just think pretty immature all this NR nonsense. For once and ever, there's nothing videoish about grainy outcome, but filmic! Truly disappointing from their own to my book.

I do firmly believe the most part of us here can only concur with your two cents there : ) My other two and leitmotiv for POV of this thread is only to point out the fact: 4/3" sensor size by Panasonic seems to not match its competitors, the sister Olympus included, at least; as it should be supposed to be, I guess. Lame chance for the new toy : ( But, to be able to beat any other camera in the right hands? But anyone doubts? A camera is not only high ISOs, fancy NR algorithms or stupid marketing strategy trying to mimic the other Sony girl.
I also want to believe that internal 10-bit 4:2:2, 4K/60p (not internal@4:2:2), etc is a proof of solid mature attitude to defy the major players outside and break the waves pushing the envelope further. I just think pretty immature all this NR nonsense. For once and ever, there's nothing videoish about grainy outcome, but filmic! Truly disappointing from their own to my book.

I do firmly believe the most part of us here can only concur with your two cents there : ) My other two and leitmotiv for POV of this thread is only to point out the fact: 4/3" sensor size by Panasonic seems to not match its competitors, the sister Olympus included, at least; as it should be supposed to be, I guess. Lame chance for the new toy : ( But, to be able to beat any other camera in the right hands? But anyone doubts? A camera is not only high ISOs, fancy NR algorithms or stupid marketing strategy trying to mimic the other Sony girl.
I also want to believe that internal 10-bit 4:2:2, 4K/60p (not internal@4:2:2), etc is a proof of solid mature attitude to defy the major players outside and break the waves pushing the envelope further. I just think pretty immature all this NR nonsense. For once and ever, there's nothing videoish about grainy outcome, but filmic! Truly disappointing from their own to my book.

Seems...? : ) They DO produce them:
...such a pity, if they don't fix this bogus.
May happen to be acceptable in the consumer realm; crappy for serious usage.
BTW @Kisaha, that grainy a6500 sample's outcome doesn't bother me at all. The more I see from that Sony device, the more I like.

I agree, it is just too aggressive. I have seen similar levels of NR in the high iso video samples, with an additional temporal component that sometimes seems to create artifacts. 
I just hope they allow us to turn it all the way down, cause what they claim as an "extra stop" just makes the image unusable.

I see that we have a couple of jokers here on the forum. 
Of course the AF is shit. Pana never ever showed the capability. If the tracking would be great we would see it. Early reports say it sucks. 
Then you say yes but it is a very very early firmware. The camera is releasing next month, are you for real? It is close to final firmware for sure. 
Then the tech itself, contrast base AF is called contrast based because of a reason. It uses contrast and therefore sucks with low contrast. 
The AF will be better than GH4 for sure, but it wont touch Canon let alone A6500. 
Like other said before in this thread focus in video is getting THAT important. So as a guy said before yes we have to choose between Sony, Canon, Pana, and others and they all suck at some important things. Can a company could finally do things right once in their life and put important things in one camera? Too hard to ask to have a 4K60p + 10 bit + FHD 120p + IBIS + tilt touch screen + nice ergonomics and menu + nice color science + Canon like AF, in a regular size body with FF sensor for a decent price? 
Panasonic, except for the sensor size (but in video it is not that much impacting I think) they had almost everything here. And they fuck up the AF. Damn

True.
That last shot looks like made on a steadicam... But it's handheld, folks!
WOW What a piece of technology! A consumer camera, WTH...

ah OK, my bad then, I am used to watch the footage without sound at all -- daily rushes habit... Thanks for the heads up, mate! :-)

Hey,
Not sure if this allowed but I would like to draw attention to the development of magic lantern for the 5D IV. The developers dont have access to a 5D IV and dont got much time for it. So I would like to get as many people to raise funds for the developers(buy 5D IV, buying time) so they can hopefully crack the 5D IV. 
As they long prolonged the life of my canon 550D and my 5D III, and I got a lot of pleasure of the camera's thanks to the ML team.
Here is a link to their bitcoin donation page. 
Anything helps!
http://www.magiclantern.fm/donate.html

Like cooking, need to bake the footage ; ) Like love, a plant needs lot of care. Like life, stomach won't fill up with water nor alcohol all the time. Neither love. Filmmaking is not love making but certain rules apply ;-)
Sorry for so strikingly technical reply... :-))

Post production can help indeed.

You know Simo, as someone said, the whole is greater than the sum of its parts... ; )
Saluti e Buon Anno,
E :-)

Sure, I concur. I just don't think the opposite is not possible to coexist as much as a few people want the proof of it à la Saint Thomas. But, if faith can be subjective, 'the big concept' cinematic goes beyond because can be quantifiable by numbers. The evaluation of them is its subjective part.
“The opposite of a great truth is also true.” ~ Niels Bohr

Sure, I concur. I just don't think the opposite is not possible to coexist as much as a few people want the proof of it à la Saint Thomas. But, if faith can be subjective, 'the big concept' cinematic goes beyond because can be quantifiable by numbers. The evaluation of them is its subjective part.
“The opposite of a great truth is also true.” ~ Niels Bohr

Latitude to begin with, for pixel peepers we all are.
But, also resolution in the past old days, motion, progressive versus interlaced was determinant to arrive where digital has placed the motion pictures to pair with a cinematic feeling marked for over more than a century of 35mm format experience.
When there is the absence of artifacts, of course. Even though, rolling shutter, as for instance, can be acceptable within certain limits.
Color sampling for vivid imaging, DOF (not necessarily shallow DOF all the time), framing where perspective, composition and accurate movement of camera are mandatory for creating the idea of POV as primary aesthetic requirement of filmmaking. Last but not least, production design for sure.
In two words, it means space and time. Reason why when we talk about motion, slow motion is much appreciated by the film audiences comprehending an effective way of going towards the suspension of disbelief.
E :-)

I think when the original question was asked with the word quantifiable used in the question, Viet was looking for a link to proof, and I'm not sure that exists. Not to mention what I or you or Luke thinks is cinematic or what constitutes cinematic motion cadence is ultimately subjective because somebody else could comment that they believe VHS footage from a 1986 JVC camcorder is cinematic and the question then becomes... are they wrong? I believe so, but cinematic is an unquantifiable word that could mean one thing to you, another to me and yet another to Viet.

Also, compression artifacts will affect our perception of motion.

I also noticed more cinematic motion cadence with the BMPCC and GH4 shooting at true 24.00p with 180 degree shutter opposed to 23.976 and 1/50th shutter, especially using All-I.