IronFilm

A 12 megapixel 1" sensor would be epic!!

I hope for an 18-105mm like Sony has, plus pancake lenses. (Saw the Canon 40mm f2.8 yesterday on a camera, so jealous!) I dream of 10bit, & to have 4K with no crop. But this is Nikon, I won't hold my breath. It better have a mic jac, & a screen that can flip forward. I could have written that myself. Agreed. Do you realise how MASSIVE that heatshrink is?? And that isn't even a FF sensor. If Nikon made a FF mirrorless with that heatsink then it would make the D5 look small!!

But EF mount + the sub 4/3" sized BMCC sensor is a very bad combo indeed.

Maybe that is a bad thing however? As if they patent had remained then perhaps Blackmagic would have done BMCC MFT first!

I'd say a teenage is "under 20"

Wow!! That is for most practical purposes basically "full frame"! Maaaaaaaaybe the Sigma 18-35mm might work at some focal lengths but not all? Maybe only 24-35m for instance? Be interesting if someone could test it out on a GH2/GH1 of a Speed Booster XL with a Sigma 18-35mm f1.8. But with a "normal" focal reducer (0.71x) you will be completely 100% fine. I use a Sigma 18-35mm f1.8 on a RJ Lens Turbo with my Panasonic GH1 (which has an identical sensor width of 19mm in 16:9 as the GH5S, which is already very close to the Canon APS-C width of 22mm!).

Who believes GH6 will have 4K 60fps 10bit internal? Remember that the GH6 is a year (or more) away. I think optimistically the odds are only at best 50/50 Might need to wait for the GH7 before we see that. oh what the fvck, I hadn't seen that video beforehand! Wow, the PR guy was trying to spin that much harder than I expected.

Next step is to watch videos without sound, in B&W, and at 320P

No need for IBIS here: https://www.youtube.com/watch?v=-f2b9xsAtnY

Panasonic didn't say they *chose* to remove IBIS, the benefits of not having it was just a thing mentioned in passing to point out "hey, it isn't all bad!" Anyway, this video didn't need IBIS: https://www.youtube.com/watch?v=-f2b9xsAtnY

I generally want a scene to look *realistic*, doesn't mean it should look identical though! I might go a little brighter (or even a little darker, if that is the mood desired), but to be massively different in appearance to reality? Unlikely I'll take that path.

Yeah, Teradeck is almost an "industry standard", such that people will just say "hey bring a Teradeck" when they don't even mean specifically that but just a wireless in general.

I saw it pretty much immediately, but was waiting on their reply (as I thought surely they must have got it wrong in the review!) before kicking up a fuss over this.

RED? What is that? These cameras can film ALL colors! Not just red ;-)

Simple. You use a very very very very very very very very very very very very tall monopod.

Was so extremely excited and happy over the Panasonic GH5S announcement: http://ironfilm.co.nz/leaked-the-specs-of-the-panasonic-gh5s-finally-we-get-the-first-stills-camera-with-timecode-i-o/ But now I'm starting to get very worried, extrashot just replied in the comments of their YouTube video: Wait... what?? No way, it can't be constantly jammed to the input??? I hope this isn't true in the shipping product. Otherwise I have to ask what were the Panasonic designers smoking at the time?! This is a major major issue that Panasonic needs to address asap!

Is tricky to give advice without knowing your budget range, but here are some suggestions I'd give: Varicam LT: arguably "the best" camera right now (short of an Arri 65 or Sony F65 etc... those truly ridiculous priced ones!). Yes, even better than say the usual Arri Alexa. Plus, you can pick up an EVA1 or GH5S as a great B cam for the Varicam! Sony F5 / F55: the F5 is going very cheap these days secondhand, is packed with more features perhaps than any other camera at this price point. (and you're F3 could stick around as a lovely B cam for its "free" price! ha) Sony FS7: basically is a "baby F5", very similar in picture quality, & capable of 4K 60fps 10bit as well. But lacking many of the extra bonuses you might see on the F5, such as TC or genlock, but you said you don't care about those anyway. URSA Mini Pro: best bang for buck of all of these that I'm mentioning! (unless you get an absolute bargain for an F5, which I've seen occasionally them go for FS7 secondhand prices) The URSA Mini Pro is a lovely evolution forward from the URSA Mini 4.6K (which is itself a *lot* better than its brother the URSA Mini 4K, so don't get those two mixed up when reading reviews!) Kinefinity Terra 4K: gives the URSA Mini Pro a hard run for "value for money", coming close behind. Has an eND option with the Kinemount with EF lenses. (also can do PL lenses, but I don't know of an eND for PL, however I imagine with PL lenses you'd be more ok with using a mattebox as well) EVA1: the most compact 4K 10bit on the market! Super lightweight for a camera with those specs plus S35 + NDs + TC + SDI + etc... and you've got the option between EF or PL with a third party accessories. Ones I would *NOT* consider (but you might, but probably won't... as you're stuck with EF *or* PL, not both! But all the cameras I mentioned above, at a minimum, can switch between EF and PL): Canon C200: lacks a middle codec, you only have the extremes of 8bit or raw!! C300 mk2: overpriced (although, its price has massively come down since launch. So not so crazy to pick it now)

Or even "seventeen stops" if someone is pedantic and totally ignoring noise levels!! :-P This is why it can be so tricky to trust stated DR numbers, unless you see them side by side. (for instance reduser fanboys are well known to overstate DR!) If only that GH5's in your sentence lacked the apostrophe! That awesomeness of own Nikon lenses is you can very easily use them on any EF camera.

We should get extra spare likes to spread around every time Panasonic releases a new camera. Damn, look at the size of that thing! Maybe you need one of those URSA Mini heatsinks/fans to cool you down? Agreed about "tougher nut to crack". Even if Panasonic just got par with Sony (which isn't really that far off?) then it would do wonders for them. But makes business sense for Panasonic to target the "low hanging fruit" that they can do to "get ahead" of the competition, such as 4K DCI 10bit or better lowlight Agreed also about waiting for used copies of the GH5S, what is the rush? I am going to try hard not to buy any cameras this year! (although I am discussing with one person about buying a RED ONE.... oops!)

Hahaha, patent lawyers are hilarious! :-P Which depreciated faster, the RED ONE or the Porsche?! Guessing the RED

Have a serious look into the new GH5S (not the GH5! Different camera). And how are focal reducers "nonsense"? Darn it! Was going to suggest the FS700 with 4K raw. As they're selling for sub $2K on ebay. But what if you had no crop for 120fps? Then there is 240fps with a crop? I'd assume that would still be ok? You can swap it with PL, back and forth between the two. How big may we go with the gimbal? https://www.came-tv.com/collections/came-prodigy/products/came-prodigy-3-axis-gimbal-camera-32bit-boards-with-encoders The URSA Mini Pro and URSA Mini 4.6K are a *lot* better than the URSA Mini 4K / BMPC4K / original URSA 4K.

Shadows? Where? Sorry, I couldn't find any.... How do you know if this was shot with the GH5S?

I've got the same smoke machine as him, but when I was shooting a scene for a feature last month I realised it had broken :-( We had to run out and buy smoke in a can instead A camera mounted mic on *ANY* camera is never going to be a great option.

Haha! If you want it for that purpose, why not just buy an old Arri or Aaton 16mm film camera instead to put on your shelf? Even nicer! :-D

Just because they were both developed at the same time, doesn't mean the R&D costs for the GH5S was "free".