IronFilm

I'm trying to say that the above shot is purposfluly made difficult in terms of colour and skintone, yet still shines.
You are not blown away by the colour science here? Skintones look perfect to me.
 

Last week you were saying you didn't care about 4k... Now it's all about 6k?!
I'd much prefer internal 10bit 4:2:2 (or compressed raw)... Better DR and low light.

Andrew, basically you want an FS5 with Panasonic logo on it. VLOG 2.0? What's the problem with the 1.0? Noise and 8bit. Noise is sensor based problem, and noone offers 10 bit internal recording at this price range. I think Panasonic will stick with the 20MP m4/3 sensor which is already developed. 6K fullreadout 4K is reasonable, 4K 60 fps is also possibile. 
In the past 2-3 years Sony produced some awesome products and even Panasonic is too slow to do a reasonable reaction to them. I dont think GH5 can grow up to the expectations.

The Video Devices PIX lineup manages to record 4k ProRes to USB 3 hard drive enclosures. Integrating such a system into a camera could be pretty revolutionary. 

Reading this thread just reminds me why Panasonic is still a viable option! 

How is the Scarlet sensor better? It's not all about specs. I prefer the image of 2k from an Alexa over 6k Red. Better colors, fleshiness, range, etc. If this camera owes anything to Panasonic's history, it's color science should be amazing. The old 2/3" three chip Varicams from ten years ago had better more accurate color than the latest Red of today. I can't see Panasonic going backwards in terms of color science. The only misgiving I have about this camera is that I wish the body were even smaller (under 4 lbs). I'd be curious to see how it'll stack up to Kinefinity offerings.

Definitely "a thing of beauty". Had hoped for F55 league and price and 240p windowed and 3s pre rec and Canon mount and all got it. And I can even mount 4 mics without hassle (hello Canon and Alexa Mini...) Have optioned the Varicam LT as it is almost exactly what I need although the 240p will probably still not look that great. The Varicam 35 has a fascinating image and when I recently graded demo files in ProResLT from varicam.it comparing Varicam at 5000ISO vs Alexa vs Dragon vs F55 at 3200ISO the Varicam made them all look very very ugly. Would have loved to see a comparison with the C300II though, but that one is severely underspeced with 120p in standard def and C500II will probably have an 8K sensor and therefore a much steeper price. 
Maybe this sensor will find its way into an FS7 counterpart, but not soon, I guess. 
RED would not be an option because of missing ND filters and weak high ISO performance.
Arri Mini is probably more than double the price and now with big players like Netflix demanding real 4K I´d rather give my distributors that spec, no matter if it is visible in the final film or not. 

It seems that everybody is asking Panasonic for a FS5/FS7/C100/C300 competitor by Panasonic.
I've already expressed that when Sony announced the FS5, it would be really great to see a FS5 competitor by Panasonic.
I wonder what kind of mount would be better, wouldn't it be better if they chose a mount with a shorte flange distance - for better versatiliy - with official swappable mount to EF and PL than simply choosing EF?
Panasonic did launch the DVX200 as some sort of gap but that is much more for broadcast and events than film makers, I would had preferred a faster zoom lens with a little less range to keep the size down.
I really like Panasonic's Varicam images, they are astonishing and it has such a nice feel to it. I know they wouldn't use the same dual ISO sensor on "budget" camera but at least all the colour science and thought would be on it - since Sony lacks a bit of attention to details.
 

Agreed. Panasonic desperately need an updated AF100 so the *HUGE* influx of new users they got with the GH4 can stay with Panasonic and then provide willing and easy customers to buy into a Varicam LT. 
But doing GH4 to Varicam LT in one giant leap with no intermediary stage of an AF100 v2.0 in between? ? That is too much to ask of a GH4 user.

Agreed. Panasonic desperately need an updated AF100 so the *HUGE* influx of new users they got with the GH4 can stay with Panasonic and then provide willing and easy customers to buy into a Varicam LT. 
But doing GH4 to Varicam LT in one giant leap with no intermediary stage of an AF100 v2.0 in between? ? That is too much to ask of a GH4 user.

The EOSHD article make it sound like it's a 4K Prores camera, but it only does Prores in HD, you might want to correct that.
This doesn't seem like anything overly special compared to a Scarlet-W or Sony F55, except that it can do both analog gain and digital EI adjustments which no other camera does.  RED Scarlet-W has a slightly better sensor at BASE sensitivity but has trouble in low light, and F55 can adjust EI in CineEI or gain in Custom but never both so you are stuck with flexibilty or sensitivity.  This is the one feature that seems especially unique about the VaricamLT.  Unfortunately it still doesn't even do 4k 120fps like a Scarlet-W will or like my FS700+7Q has for a while...  Anyone know where specs/whitepaper on AVC-IntraLT etc is?  I can't seem to find it.  FS700+7Q still seems to be the only one that does 4k 120fps prores and can adjust analog gain and EI (using LUTs) at the same time (not to mention being able to use a speedbooster)... 

This camera seems super cool and lovely and stuff, but there is a MASSIVE gap in Panasonics camera lineup between the GH4 and the Varicam LT. 
Where is their competitor to the likes of the C100, Ursa, and FS7? 
It wouldn't be too much of a stretch to see a GH-Pro Video camera with: 
MFT mount with Super35 sensor.  10 bit 4k up to 60fps. HD up to 120fps.  V-Log.  Ergonomic handheld style (like FS5). Built-in LCD/viewfinder.  Priced around FS7.  Compressed RAW HDMI/SDI out to recorder.  Would you buy it? 

True that! They're like 'hey, thanks for getting the GH4! Yeah, we are the go-to guys for video! We did it first and the longest in the segment!'... 'what's that? You evolved a little and like to get more serious? Well, hey, we got you covered... pay for this V-LOG L update and add the BLEGH brick underneath, now it's just like a proper cinema camera!'... 'And the GH4 will be relevant for quite some time ( http://www.43rumors.com/ft3-new-larger-gh4-firmware-upgrade-on-the-horizon-gh5-ready-for-early-2017/ ), don't mind the competition out there, they're not us and you've bought some native lenses anyways and video on Olympus cameras is something to laugh about, so watchya goon' do anyways?!'...
Me: ehh... I would want a serious update, have you seen the competition? Varicam means coughing up way too serious dosh as an upgrade from the GH4 and good alternatives would come from the likes of Sony and Blackmagic! Could even get myself a proper 2nd hand cinema camera! Ball's in your court, Panasonic! The DVX200 actually looks like a pretty sexy camera I'd like to pick up. But why they do not offer us something similar with interchangeable lens mount is beyond me!?

IMHO, most films are shot on ARRI (because people were making movies with ARRI cameras from a long time) or RED (because they "invented" RAW for video + high resolution and high fps). Panasonic is trying to enter this market from the top without ever succeeding. 
Maybe it would be easier to make a next-step camera for GH4 users, so trying to arrive to the top from building a base of users at the bottom. I would have gone from the 1200$ GH4, to a $5000 one, then this 18K$ and finally proposing a great all-out cinema camera. 
Hope my english is clear enough...

Hopefully many more iterations to follow such as AF100 replacement with same colour science, Prores and EF mount.  Have a GH4 with PCC Speed booster and an A7S II,  Still prefer GH4 as main camera,  wishing for a GH FF camera with same attributes so that i can get rid of A7S II.  

Personally, i think the sensor (assuming it is the same as the Varicam 35) slays the Sony offerings, so this talk of it being underspec'd for the price seems a bit skewed. I'd prefer good specs and great IQ rather than great specs and good IQ
 

Looks nice. Squarely aimed at the RED and Arri crowd.
I still think they would be better doing a Super 35mm AF100 replacement with that VariCam S35 sensor.
Just because the AF100 failed on the market doesn't mean to say Panasonic can't get it right the next time out.
Instead it is almost as if they haven't bothered.

If you're not using it for ML raw (which you're not with those puny cards, and besides I frankly feel BMCC MFT or BMPCC is a better deal for raw) then there is no point wasting money on a 5D mk3 when there are so many better options out there available for less!

If you're not using it for ML raw (which you're not with those puny cards, and besides I frankly feel BMCC MFT or BMPCC is a better deal for raw) then there is no point wasting money on a 5D mk3 when there are so many better options out there available for less!

The 28-70 and 80-200 Nikon's are better lenses optically then the newer 24-70 and 70-200 much less distortion and sharper too and the older lenses have aperture rings too , the new ones don't they are fly by wire lenses ....newer is not necessarily better in this case .....for me the Nikon 80-200 2.8 is Nikon's finest hour . their best lens in my book

What glass do you have? D750 is excellent overall but I would go for a A6300 in your position, a EOS speedbooster and support gear. 

The A7 II is not good for video (moire & aliasing), the A7s II and A7r II are where it's at and those exceed your camera budget by 50%.

exactly , a set of matched lenses is essesntial for glass parity - thats why I champion the Nikons so much - the 20-35mm 28-70mm  and 80-200mm all match and cut together very nicely

Ebrahim Saadawi, remember also for most of us film guys we do not care about the "best" lens, but rather we want the best *SET* of lenses!

So we want a cohesive matching collection of lenses from ultra wide to telephoto. So no point getting the greatest ever 85mm if its matching 24mm is a dog, or even worse.... doesn't exist!!

Im using the Nikon Glass as it is all very consistant and cuts together very nicely , and I do like the look it creates , it doesn't crush the blacks like Canon lenses do , there is alot of detail in the grays too , I use the 20-35mm with a Metabones XL Speedbooster as it has the equivilant of super 35mm gate /field of view . I very rarely shoot beyond 20mm , as Im not a fan of wide lenses much , I know lot of people on here want the widest fastest lens they can get but for me its just not cinematic at all - looks like video due to such a big depth of field . I shoot on long lenses most of the time as thats my style and I prefer the look and separation you get . most of the time I shoot with strict lens decipline on set 28mm for the wides , 40mm for the mids and 70mm for close ups and 100mm for the head shots , thats it ! so I'm never really in the 20mm range much , 20mm is there on the Nikon if I need it and I always carry a 14mm and 17mm incase for extreme wides - but they dont get used much by me!
On my last film the Producer was constanly saying - 'Don't use wide lenses they look unprofessional !!'  meaning no mega deep focus !!
on the Sony Vs Panny theme , if I was filming in moonlight in a field I migh use the Sony , but the Panny is an amazing camera , I use lighting , I play in the shadows alot , thats the look I prefer ,I dont over light and the Panny works great in low light very very clean in the blacks no fizz and noise , I never go over 800 iso , 200- 800 iso is my range and I light for that - it works.
 
The G7 really does hold it own against the RED and The Alexa , its a great clean camera - and you can stream 4k to an ATOMOS NINJA ASSASSIN and record 4K ProRes at 744 mb/s - amazing !!