Don Kotlos

I know only of Olympus pro lenses and all manual focus lenses

I think it makes sense for Fuji to enter the video market. I do like fuji colors and the flog looks closer to clog than either slog or vlog. That being said, I agree with @jonpais that the ergonomics of their current cameras are quite poor for video purposes. So a larger X-H1 with a better grip would make sense. They will also have to do something about that awful rolling shutter ...

1:1 is very convenient for a multi format audience

I would like to do the first but always end up doing the second. On the upside many times I find out that the old was better and return the new.

I would upgrade for that feature alone. Two reasons: 1. For many projects having great personalized colors in camera would be a big advantage. 2. Better quality than recording Vlog and applying the LUT.

That's my guess as well. Larger pixels will also give better color information, and if the sensor readout is faster then maybe GH5s will also have improved AF performance.

Looks good but I agree with @Jonesy Jones it needs less magenta. Even though colors are well matched, the weak codec compared to the Alexa gives you these ugly green-magenta blotches: Recording externally and baking-in your LUTs should give much better results:

Increase red color depth to +5, and leave yellow color depth at 0. Move the temperature to something warmer with a slight tint shift to magenta. Don't use any premade non-rec709 LUTs unless you match exactly all their settings. Personally I wouldn't use them at all if you want a straight out of the camera look. If you still feel that colors are not to your liking, try pro color or cinema color modes.

Of course not. I am not sure where you got that impression. I was just explaining how bigger pixels affect dynamic range. Sensor technology (e.g. BSI), clever readout (different integration times) , or many other things can help as well.

Sure but those "merely larger pixels" gave A7sII a 2 stop advantage in low light dynamic range.

The per pixel dynamic range is defined as the log of the ratio of the maximum signal (until saturation) to the total noise (Shot noise + dark noise): The signal which is the number of photons is proportional to the pixel area, whereas the shot noise is proportional to the square root of the number of photons. That is why the signal-to-noise ratio, and the dynamic range, changes with pixel size - the larger the pixels, the higher their dynamic range (everything else being equal of course). Now the dynamic range of the whole sensor can also depend on other things. For example one potential chip that could be in the GH5s can change the integration times between nearby pixels:

Its all their VideoMic line "shotguns"

Max Yuryev did a very informative test. I thought I was biased with my videomicro but turns out if you own a camera with decent preamps (Not Canon or Olympus) then it is very a good and cheap solution. Not to mention the small size:

After GH5 and EVA-1 I can't see Panasonic releasing another videocentric camera this year.

I know not the best quality out there but if you need something with relatively large sensor and interchangeable lenses, I guess this could be used.

At $700 it wasn't really a good buy, but for $200 it might be a nice crash cam ... https://www.bhphotovideo.com/c/product/1203955-REG/z_camera_e1cam3a701_e1_mini_4k_video.html

It looks good. I am hoping that E-M5mkiii brings even more video friendly stuff like 4k 60p and 10bit output.

Yes we had capable HDR cameras for many years. The important step is to be able to store more than 10 stops in either log or RAW. The only thing that was missing was the capability of monitors to display such a large contrast. Once we got that NLEs supported a HDR pipeline. Having HLG in camera is meant for delivery purposes. If you are a heavy grader then Log or RAW still is the way to go. Creating a LOG to HLG LUT should be fairly straightforward. You just have to be careful of banding if you are working with limited bits.

Yeah thats true especially if you are using windows in which you cannot use apple's algorithm. I would minimize transcoding steps as much as possible and if you are using windows change to different intermediate codec:

Yeah he had this video about gear:

It is not as far off as you might think. Max Yuryev did some head tracking comparisons between C200, A6500 and GH5 and I would say the A6500 did pretty well. The AF from A9 & A7rIII is supposed to be even better than A6500.

Yeah I was very annoyed by the push from all photography oriented sites. I just briefly tested the trial version. It clearly has been influenced by the FCPX interface... It offers much more extensive use of Masking/layers compared to Lightroom. Also I really like the LUT support. I think every software should have this feature. I cannot see any DAM so it is not a Lightroom replacement if you need any type of photo management.

Luminal just got released today if someone wants to try: https://macphun.com/luminar?clickid

You do loose some information on the second transcode but not much after that: If you have a problem with xml files and you cannot do what @EthanAlexander suggested, then reduce transcoding by at least one step by working with proxy files in premiere and exporting from the original H264. That will give you one less transcoding step.