Fritz Pierre

@mercer...just sent to you as tongue in cheeck and for your enjoyment....I don't even have my GH5 yet....anyway, like you I also take almost everything on the internet with a grain of salt and that especially applies to cameras...what other people think of a camera is largely irrelevant to me (I don't intend to sound unkind here)...I would never get anything done if it was....

These guys also do a direct comparison video between a RED and GH5....watching this will take you to that link....thought you may enjoy this! Yes!!!!definitely the right video for you!!!!??? and another iphone red comparison!

Wasn't that an episode of Black Mirror??

I'm not sure why...I have a few projects in developement...although I would personally use the Varicam LT and a DP for the first, if I was making an Indy film for say $500,000, would I risk the BMD camera, or would I use a camera made by a company the size of Panasonic....personally I love the image their cameras produce...the ergonomics and the incredible reliability of their cams....I've owned 6 and none of them ever skipped a beat...if my film was at stake, that's what I would consider...not whether this camera has AF or it's within $2,000 of an UM...who cares, if the camera fails, and your project collapses...and you're struggling with a small company to back you up...but of course...that's me...and that's what would be important to me...your needs and choices are different...so are your considerations...but I don't think if Panasonic produced a simple robust Cine camera, for the purposes of say shooting low budget projects, people will reject it..for the UM...people who love BMD will go that way regardless as will people who love Panasonic with the Panny...whether 6000 or 10,000...one buys a camera in this price range, because you're using it to shoot commercials or films or tv, but it's already inside the category, of having to earn money for you...otherwise the dslr style cameras are just fine for day to day, or professional work, depending on what clients require...and within most people's budget.

They may do it...the mount part I mean....the "photo" they showed of the camera means almost nothing...almost looks like a FS5...for the re

OK...last guess...M4/3 locking (pro style) mount on S35 variable sensor...for use with native Panny lenses as well as everything else...no AF...no EVF...built in ND...4K up to 60p...SSD for media allowing internal Prores at 800mbps...both HDMI and SDI out for EVF and XLR for sound...no RAW internally and maybe 2K at 180p...G mount or V mount for power...all cables exiting at 45 degrees from rear of the camera....touch screen LCD for accessing menus and some good old fashioned buttons and knobs for basic functions...13 stops DR...between $7000 & $10,000...all the focus and exposure tools in the Varicam LT

The big difference you will notice in the sky or a white wall behind a subject....and in 10 bit what you notice is the absence of problems....and of course a huge difference in grading....it's only on a rare occasion that the camera goes near 150Mbps anyway...say when you're shooting a scene with a fast flowing water and ripples...150Mbps is a gigantic amount of information getting written in a second...the discussions about this (not referring to you here) have just defaulted here to is this "150Mbps container" large enough...and the answer is yes...the 400 upgrade is all Intra and though it may handle certain kinds of motion better, so it will have its place in the GH5's toolset, it will not give you a better image than 150ipb under 98 percent of circumstance...when optimal image quality is truly the order of the day, shoot Prores at 800mbps instead on an external recorder....the truth is you'll never really go near that aquisition rate, as probably under those circumstances you will also be lighting a scene with proper production design, wardrobe etc. and on and on...the point is you already have an incredible camera in your hand for its size....or any size for that matter, and for an additional $1000 you can record in Prores to SSD's at 800mbps if the container size is truly a concern. 10 bit is huge....no marketing scam!!! Leeming said at least 2 stops...maybe even an additional 1/4 or 1/2 Leeming's LUT takes care of this beautifully...even allows you to match Cinelike D and Vlog as at high ISO Vlog seems to get noisy.

Too true. https://www.bhphotovideo.com/c/search?Ntt=G85&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=

Agreed @Teemu...when I think of when film used to be meticulously unloaded inside a dark tent by a 3rd or 4th AC while the crew kept shooting, because it's the setup with the crew, where the real money lies...we do need that same caution with digital....nothing paranoid about that!...anyway...if you haven't sent the card back yet, you may still look for a second opinion among data retrieval experts...the 7 gig capacity when you tried to format the card may be a clue...who knows....

But there is a learnable moment in this for all...although cameras and media are ridiculously cheap compared to the "old days" an additional expense that should, though probably rarely is factored in, should be a robust RAID /system on any set as is the case in @Teemu's experience...allowing for smaller cards to be used and captured on set, so one may lose 20 min of data on a card but not the whole day...that's what makes the GH5's dual card system so invaluable. I know I've read about this same thing on another forum...once you've viewed it the info is there....though of little consolation, the cards write in real time...period...this is not something you did...except possibly popping the card out with the camera on, corrupted the file in that instant...I don't have experience with that, but I don't even remove a lens or an HDMI cable with my cameras powered on...the mystery is you probably had over a 100 gigs of info on the card....and as this is not my area of expertease (vast understatement here)....could it be reading the card/ drive as 7 something gigs capacity as the rest is filled up!...that may mean that data is still on the card??

Sorry I meant to type Lexar....that is bizarre as in order to allow you to preview your dailies in the camera, the info clearly was in the card...the question is then what happened to it...I've only heard of problems related to the Lexars related to the GH5 but in fairness I tend to pay attention to the Pannys...and less so to issues with Canons or Sonys

This may be a great exposure tool for you....it's a false color LUT you can download....I'm old fashioned and use a lightmeter, but in the absence of a lightmeter you may find this helpful. https://luts.iwltbap.com/false-color-lut/

Yes...your's is not the first bad experience with Alexa....I stick with Sandisk Extreme Pro....both in SD and SSD format...never a single failure....simply to much at stake when you do anything like you described in your opening post...or a wedding or anything professional for that matter!

Well that's actually science at work....our brains were hard wired to learn from the mistakes we make from an evolutionary standpoint, so that if we survive the mistake, we don't repeat it (hopefully!)...and all the more compelling reasonswith digital cameras to shoot lean...the cost of film and processing used to force that caution and careful choice before rolling...now it's a question of not shooting so much (and getting something right) that one does not remember but the choice in a shot was...of course nothing works for everyone and this is just something I do...but it's also good practice when one works with actors not to "peak" with them too soon or too late....any creative process is limited....perhaps the hardest choice in art is the decision "I've got it" or "that's the take" or "this painting or sculpture is done"...anyway I'm rambling now??

I still in some respect treat every camera I use as if I'm shooting film...I think just burning through footage or photos hurts the choices one makes and you land up not knowing when you got it right from wrong.

It makes very little difference whether any of us like a camera or not...I've read about your evaluation of the camera as someone who wanted to like the GH5, but in the end you could not...and I enjoyed reading the process you went through...I don't see this as members criticizing the film or wolf but I do see the question hang out there....a camera is just an inert thing....like a hammer or a chisel...and the filmmaker makes the choice...what camera...what lenses....to AF or not to AF....these are the responsibilities that lie with the filmmaker...no forced choices...just decisions made along the way....and the reason your post and search re the GH5 resonated with me, is because I feel exactly the same about Panasonic colors as you do about Canon colors...it gives you the image you want...once that choice has been made, the rest is all your fault or mine...because ultimately the image is everything...the filmmakers job is to work around the rest...nothing more or less...so I tend to like images more than I like cameras lol??

Trailer looks fantastic...and not just in look...but the cut is dynamic...really pulls you in...micro budget or not...it does not feel like it!

The mystery cam won't have AF...especially not after the complaints and feedback on the GH5...Panasonic probably thought flooding the GH5 with even more pro features and IBIS and better color and great slow mo would do it...and I'm sure for most it does...I saw a ML example shot of Rome on the 5D mk3 where the banding in the sky made the internal on the GH4 look fantastic and the rolling shutter at the end like something you'd expect from old technology...but not a peep about either...just comments about the color...the reality is, if you love the colors from Canon, nothing Panasonic's going to do is going to be enough, so I'm hoping for a simple smaller version in the Varicam Line...robust and geared to Cine use which is how they describe it...it won't be a run & gun style camera (plenty of choices among Sonys or Canons for that market anyway) so why go there...it can distinguish itself by being a solid Indy camera...built in ND...bigger sensor than GH5...etc. and one more stop in DR will forever satisfy Panasonic users and for those really interested, put to bed the not enough DR and low light performance, and with most Canon users, Panasonic is not what they want anyway...so why bother...Panasonic is going after the upper end Cine cam market and this may be another great offering to expand that line.

M4/3 mount and S35 sensor would truly be the dope!!! Exactly...plus Panny's been cropping their M4/3 sensor for ETC for years!

Yes...but as IronFilm suggested...it's probably something with B&H ....Adorama lists the camera on backorder...Amazon has it..=probably unlikely to cancel a camera that is selling so well.

Brief moment of panic?? https://www.bhphotovideo.com/c/product/1280824-REG/panasonic_dmc_gm85mk_lumix_dmc_g85_mirrorless_micro.html

@tomsemiterrific...another solution may simply be to do what I do with my Kowa 2x...I already tape the focus rings on both the Kowa and the taking lens with a bit of gaffers tape....the play in the adapter is most pertinent to the vertical allighment of the Kowa or whatever anamorphic you are using...you may buy another adapter and find it shifts too...I think the Metabones is optically superior to the others, so if you need a booster, maybe the simple answer is a bit of gaffers tape...just remove it after every shoot so it does not leave residue on your camera and adapter....when all is said and done, nothing is really more important than the quality of the optics we use!

Lovely footage I found today...not mine??

Although I'm no social media expert, I presume the reason for your question is, you love working with cameras and want to up the living you are able to make using them...with all humans there is a certain level of marketing taking place....our choice of clothing when going out with someone and on and on...and most successful artists are very good at marketing themselves...and this goes far beyond social media...let's say....you're a painter....you succeed in talking a gallery into giving you a show....opening night comes and now, all who come to see your show AND expect good quality face time with you, the artist....they are buying you as well as the work...of course, most people are not cut out for this...but...as Luke mentioned, their approach is low key....there is a quality of life they choose to accompany what they do....on the other side of the spectrum is Casey and it's him you buy, when you watch his Vlog....The in between is huge and where you fit, is for you to evaluate....only you can answer that question...Terrence Mallick is famously reclusive...no larger than life public persona....in fact, absolutely none...so sometimes sheer brilliance alone is enough, though that is surely the exception...the reason Casey is so popular (never heard of him till 3 weeks ago) probably has to do with the fact that what you see, is who he is...he's enjoying himself and it feels authentic, whether it's your thing or not...so the trick IMO is really to gauge where you are...how public can you go....if you won an Academy Award, could you get up there and accept (Mallick would, and probably could not!)...I can only speak for myself, but I think a lot of filmmakers are behind the camera because they're shy....of course many are not!...I do think the most important question to oneself is, can I handle it if my work takes me where I hope it does....my sister-in-law is a good example....she's a printer/painter but for my taste really a graphic artist....she'll never cut her ear off for a prostitute, but have made a great living, as her work looks good in corporate worlds, or great for decorators to use in homes they do...but most importantly, at her shows she owns the room...so though nothing specific in advice for you, I believe the philosophy is always the same...

If you don't need the speedbooster style optics I bought one of these years ago and the machining is in a whole other league...all his adapters are first class manufacturing. http://www.ebay.com/itm/Canon-FD-FL-lens-mount-to-micro-4-3-MFT-GH4-Blackmagic-ciecio7-adapter-/251021722531?hash=item3a720f83a3:m:msoDJIVcy6LCbjL_OsnADaA