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I have said before that one path for the GH6 would be to do what Sony did with the A7S3 - to keep the same resolution but make it a more serious camera by improving codecs and bitrates and other factors that influence the image, and this seems to be what they have done. To put it rather bluntly, the GH5 is 5K / poor DR / ok colour / ok codecs and the Alexa is 3.4K / crazy DR / spectacular colour / great codecs and the Alexa image absolutely kills the GH5 in every aspect except resolution, so the path is either to prioritise resolution and put the things that make a great image to the back burner, or to ignore resolution and try and catch up on the things that matter. Panasonic seem to have chosen to improve what actually matters... Cool - how does it look with vintage lenses? It sounds very similar to the Alexa pipeline - but that doesn't seem to be reflected in the DR numbers? Other companies who chase DR list much larger numbers in their specs. I'm not sure how that lines up. That looks like the ARRI pipeline from the ALEV sensor: (Source: https://www.arri.com/en/learn-help/technology/alev-sensors ) Any idea on how they are similar / different? Unlike @MrSMW I don't have a physics genius on the line!

Ah, I was thinking more about just image quality in high ISOs (ie, images don't look like there's a technicolour snowstorm), rather than DR in high ISOs, but DR is a reasonable part of the image so that makes sense.

I guess we'll see. Lots of people also selling their GH5 and GH5S's to go FF Panasonic or to other brands because the GH5 features have aged, and many of these express regret at having to re-buy their lenses etc. Lots of the newbies aren't buying a GH5 because of the price, but from the reputation. I've seen more than one person claim "this is my dream camera of all time" or similar. There's also a much higher diversity in those groups where lots of people are coming from countries where their greatly reduced buying power makes these things much more expensive in practice. It's always been hard to separate hype from actual sales except when manufacturers brag about sales numbers they are proud of.

Looking forward to your thoughts, I'd imagine you're scanning the threads for the questions people are curious about. Are you allowed to confirm when the release date will be?

There's one file from the Komodo on REDs sample footage page.. https://www.red.com/sample-r3d-files Download links in description of this video: I'm sure there will be others around, just google "red komodo download footage" and see what's out there.

If you think that guy with his Russian accent is hick, you need to adjust your expectations.... Compare them to the Canon L-mount glass or Sony G-Master lenses and see how that comparison goes! However, you're missing the point. You can't buy an apartment for 1/5th the price of a house just because it's 1/5th the total area - that's not how houses work. The reason that they don't scale is because both provide a place to live, and both probably have the same number of kitchens and how water heaters and air conditioners etc. A GoPro is maybe 5% of the weight of a large DSLR camera, but it's not 5% the price because both are cameras that you can use to take images, and both have a lens, sensor, SD card writer, screen, etc. MFT has the same features as a FF camera, it provides much the same value to the customer as a FF camera (takes photos, video, etc) and still takes the same kind of money to manufacture (takes the same number of chips and electronics and the same number of people in a factory to assemble it using the same number of steps in the various processes etc). FF has more options for shallow DoF - sure. If you accept that you won't match the DoF then MFT is smaller and lighter. It's not a competition.... Actually, not always. There were no cheap kit lenses for the Canon flagship DSLRs like the 5D. It came with constant f2.8 zooms, which aren't cheap at all. If you don't care about shooting a lens wide-open then actually most lenses are great. "F8 and be there" works spectacularly well on most lenses. Besides, the kit lens limitations actually tend to look a lot like the characteristics of vintage lenses....... check out this comparison I made.

I find this codec table useful: https://blog.frame.io/2017/02/13/compare-50-intermediate-codecs/ Prores has about the same bitrate per pixel regardless of resolution, so UHD is 4x the database of 1080p because it's got 4x the pixels - twice the width and twice the height. From this standpoint 5.7K should be about 1.6Gbps, so it's more than Prores HQ and less than Prores 4444 (which would be 2.2Gbps). Still, this is an incredible bitrate and may as well be RAW. I'd assume those would all be included. Fun times for film-makers who prefer to capture in a professional codec in the resolution they want to distribute in! If your exposure to a cameras popularity is only on forums like these then you will be missing the incredible popularity that the GH5 still has to this day. I'm in GH5 FB groups where new people are upgrading to the GH5 and posting the newbie questions regularly, like what gimbal is best? what cage? best lenses? best vintage lenses? can it shoot RAW? how can I get it to do X? etc etc.. TBH those groups are a completely different world than here, and other forums. There are people out there filming paid gigs for music videos and weddings and the like that have just bought the camera and are filming them with the kit lens and don't know that colour profiles exist. People post their (often paid) work all the time, ask for feedback, and get 50 people replying recommending they buy lights and study the framing and camera movement of movies and high-end productions. Yeah, the AF seems to sort-of jump and pulse. This might be tunable with settings perhaps. The AF issues from the GH5 were mostly it being slow or just deciding to focus on the background rather than the person in the middle of the frame, so maybe those are lesser issues. It's not like the other manufacturers have worked it out though - I still see AF fails on vlogs shot on Canon and Sony cameras. They tend to be included in the part where something funny or interesting happens and they want to include it for storytelling purposes and couldn't re-shoot it, so those moments are often little BTS on what the camera is really capturing, and sometimes the AF is seriously ugly.

Reusing parts makes sense, so potentially yeah. I dunno... if the pic didn't have a honking-great cine lens on it, made even larger with wide-angle distortion, maybe it would look more reasonable. The GH5 is very nice aesthetically and I have larger hands.

One thing that I read that apparently makes a huge difference is the inter-ocular distance (the distance between your eyes) as its critical for the angle of your eyes vs the depth of the thing you're looking at in the environment. I bought a headset for my phone that allows this distance to be adjusted, but sadly many of the VR players that websites use for streaming content offer practically zero settings. Mobile VR Station for iPhone has TONNES of adjustments, but the support to be able to stream content in it seems to be patchy and the ability to download files from many sites is blocked, presumably for copyright reasons, so you'll be stuck with whatever resolution your internet connection can provide at that exact moment. Also, the headset that I bought allows a focus adjustment (I'd assume it's similar to adjusting the focus of an EVF) and I've been able to get some great synergies between that adjustment and the distance of objects in the VR environment. It's an odd thing because the alignment isn't something you can feel directly, but when it's aligned it feels more natural and realistic. Of course, if you then look at something further away or something moves closer/further then you'd have to re-adjust that - kind of like pulling focus - so it's rather odd. BUT, it does work, even with objects that can be very close to the VR camera. The whole thing is rather sub-optimal. I believe that one of the most important aspects is any delay between you moving your head and it adjusting the image - otherwise you begin to feel drunk / drugged pretty quickly. Needless to say, that requires real graphics processing power. I suspect that this will be where dedicated hardware will come in. The latest processors seem to handle RAW 8K just fine so they've gotten much better in a hurry, so I'd imagine that we'll see decent performance from a range of products. Definitely. I've tried a range of dedicated apps, Within is one example, that allow you to download the content so you can watch it in the highest quality. Do YT or the other VR streaming platforms offer an app that does this? I can imagine we'll potentially find ourselves in a similar situation to the one we're in now for streaming, where there are multiple companies that control the content and you have to pay to get access to it. Downloading the content and then decoding it into a much easier format for playing could be a way around the processing power required - decoding to an ALL-I file or something perhaps.

If you're not familiar with the history then it's worth some googling - they're always first with every tech and they basically control the large technology choices. When it was VHS vs Beta they chose VHS and so VHS became the standard for consumers, when it was Bluray vs HDDVD they chose Bluray so that's what became the standard for consumers too. Essentially, whenever you get two groups of manufacturers that are about equally sized promoting different standards then the adult entertainment industry gets together and picks one and then announces their decision, and considering how much money they represent they become the deciding vote. They also have tonnes of money to spare for tech and R&D. The consensus is that they'll be the ones leading the development of humanoid robots too. Gaming is starting to become its own significant force in the market, so VR will likely get shaped by both markets. Interesting about rotation being an issue. I've experienced a number of videos where the camera moved, and even went from being stationary to moving and back to stationary and those were mostly ok, although I have gotten the sensation of losing my balance on a few of those transitions. Maybe the rotation has been implemented too jarringly? I recal Walter Murch talking about how in the early days of cinema there was a debate about if you could edit film, because people don't teleport in real-life so perhaps couldn't handle a hard cut. Similar questions were debated around the time that cars started going faster than a horse (and thus faster than any human had ever gone before) about what the limits of human capability are. It turns out that cutting film is fine, and the mechanism Walter cited was that we teleport in dreams all the time, so it's not a foreign cognitive experience. As someone who gets motion sick quite easily, I understand the source is a discrepancy between the motion perceived by the visual system and that perceived by the body (inner ear, and some other senses in the body too I think?) which is a sign that you've been poisoned and are now hallucinating, so the response is to reject whatever you ate/drank that is poisoning you. Another "things don't agree" problem in VR is when you switch from looking at something close to something further away and the angle of your eyes changes (your eyes get less crossed) but the focal distance doesn't change (you're still looking at the VR screens in your goggles). Apparently the solution is to have multiple displays (clear ones on top of others) so your eyes can change focus from one to another in the "stack". The early research I read suggested that not many layers were required, and perhaps only two were required, just so that your eyes change focus at all. I have experienced ending a VR experience and having trouble focusing afterwards as my eyes had kind-of forgotten they needed to change focus, so your brain does adapt even in a 10-20 minute experience.

Looks pretty good to me. If someone notices then they're probably not paying attention to the subject matter. I watched a YT video on colour matching different cameras and the guy said that the footage needs to look "like it comes from the same universe" which I thought made a lot of sense, as essentially as long as the colour differences aren't so obvious that they break the illusion then they won't be noticeable and so are fine. Interesting that the top one has the greener mids (the shirt) and the more magenta shadows (the shadow on the wall) compared to the bottom one, when they've been matched on skintones and the wall colour. How much colour work did you have to do for these shots?

You can do some of these, probably more than you think, but you have to do them slowly. Like all things in video - the adult entertainment industry is leading the way. There's good information around on what works and what doesn't seem to work, so the understanding of the medium is building.

Interesting lens. Panasonic released one for MFT but I've never heard anyone talk about it. In theory you could use the 5K 4:3 mode to get some reasonable resolution too. I suspect that a significant application of this could be virtual presence at events like concerts or weddings etc. In years past I have been into high-end hifi and making and recording music and the common approach to record an acoustic concert (basically anything in a concert hall) is to put a pair of microphones directly above the second row, and a pair high in the ceiling nearer the back and to mix them together so that when you listen with a high-end stereo setup it replicates the experience of attending the concert. Obviously audio is a little different to video, so for video you'd want to put the 3D camera front dead-centre for the best view. I can imagine wedding videographers offering a VR package where they put one or two of these in the good spot so that the whole event can be re-lived. Concerts might end up having a lot of them placed in various places and maybe you can swap between them as you like, or even provide an experience where every-so-often you move to a different vantage point to keep it interesting. One thing that's fascinating and we haven't really worked out yet is how you can "edit" VR footage. ie, I've seen people talk about how to transition from one place to another (basically you do it slowly through a dissolve or fade down/up so that people don't get disoriented - we're not that used to teleporting!) but we haven't really worked out more than that. It's an interesting space.

They wouldn't be the first people in history to end a relationship and get closure by bringing something new into the world, but I'd imagine it's frowned upon by their future partners....

Looks like they're taking design cues from the S1H... Let's hope that the GH6 isn't too big... I remember walking around Pompeii with my GH5/Prime/VMP+ combo in one hand and having a sore wrist just from carrying it around in one hand for 3-4 hours. Maybe there's a set of new "physical preparedness" exercises we need to be doing where we carry a brick around to build up strength. Like marathon training, 1 minute the first day, then 2, then 5, then 10... so that by the 6 week mark you can carry two bricks all day without straining any ligaments!

I'm not an expert in sensor tech, but Sony did a pretty amazing job of improving the ISO performance of their A7S line from normal FF sensors of the time, so if that can be done then maybe it is possible to have similar improvements in MFT sensors. If the GH5 is a reference point for ISO performance on MFT sensors then I'd suggest that we aren't anywhere near what is possible! I'm not saying anything definitive here, just that Sony showed that the tech can really be pushed - presumably with serious investment in the tech, and maybe that effort could significantly better low-light to MFT cameras.

That tech truly was incredible to see. It's nice to see that at least one company making money with product after product has decided to innovate - in anything other than their cripple hammers!

It sounds like it might be a camera for adventure photographers, but also now would be "enough" if that person decided to do video or start a YT channel on the side. I can imagine someone new to video being told "if it has 4k60p 10-bit HLG then that's all you need". I see quite a few outdoor photographers on YT who started their channel to talk about their photography and started by using their main camera. The HLG wikipedia page is worth a review: https://en.wikipedia.org/wiki/Hybrid_log–gamma. Maybe I mis-spoke about it not being a real standard? But I think "HLG" being used to market a product is more like saying something is "HDR". I shoot HLG on the GH5 and then convert from rec2100 to rec709. In Resolve you can do this via a CST in the node tree, or you can enable Resolve Colour Management (IIRC in the project settings) and then set the Input Colour Space of the clips to rec2100. The colour management behaviour of Resolve is complicated, so that's kind of a different subject. I know it's not either rec2100 or rec2020 because I took a controlled test scene and shot three clips at -1, 0, and +1 stops. I brought them into Resolve and converted them with a CST like described above, and adjusted the exposure on the -1 and +1 to the 0. If the colour space I was transferring them from was correct the shots should have all matched, but they didn't - IIRC there were strange differences in the gamma curve. That's how I knew they weren't actually those standards. However, when I set Resolve to Colour Managed and Input Colour Space to rec2100 (I think I use "Rec2100 (Scene)" - not completely sure) then certain controls in Resolve become "colour space aware" and adjust their behaviour to act appropriately for that colour space. IIRC this is things like WB and the LGG wheels, and the WB definitely does a pretty good job in that mode, so I'm actually really happy with how that works. I have a bunch of "hero" shots that I've copied to my SSD in my laptop that are from basically every camera I've ever owned, so include 700D, 700D + ML, Canon XC10, BM OG BMPCC, BM BMMCC, iPhone 6, iPhone 8, GoPro Hero 3 with Protune, Sony X3000, GH5, and probably others. I tried that mode by setting all the input colour spaces on those and then grading all the clips and it did a pretty good job across all the various colour spaces and various colour science of those, and made it pretty straight-forwards to match them pretty easily, which is a pretty good test IMHO.

The GH5 has "HLG" but it turns out that HLG isn't a standard, it's more like a concept. Rec2020 and rec2100 are standards, but unfortunately the GH5 HLG isn't either of them (I tested it myself). I use rec2100 in Resolve and it does a pretty good job, but having HLG isn't worth nearly as much as it actually being a standard.

From the above... 4K60 10-bit internal 2K200 10-bit internal ("slight" crop) HLG H.265 Prores RAW externally

Real-world review from a brand ambassador... No doubt more to come. There's chapter markers to get to the video bits - Chris does lots of stills so they're featured prominently too.

My take is fundamentally different, and I expect to get pushback on this, but I don't think it's getting worse at all. Not picking on you @Marcio Kabke Pinheiro - the "it's all going wrong" narrative is pretty common around here. I think the fundamental issues are to do with humanity and the aggressive parts of our nature. That hasn't changed. Anyone who thinks the current period in history is bad should review history and see how things used to be. Life used to be brutal and short. In almost all cases "might made right" and the golden rule was the only rule - he that has the gold makes the rules. Social media isn't bad at all, it's just an echo chamber. If you don't like the echos you're hearing then find another chamber. Actually, find 27 other chambers. Find something that inspires you. My favourite YouTubers are metalworkers and woodworkers and are building their own homes or cabins in the woods or write music or cook or talk about town planning or explain philosophy or mathematics or physics or economics or travel or living in other cultures/places or.... <and I stopped here, but I was only up to G in my subscriber list> This advice goes for me too, as I need to spend less time on social. I'm trying to read more. I'm actually looking for more hobbies as the pandemic has limited things for so long that I need to have some new things in the mix to break things up and inspire me again.

The film curves that I have seen typically have about 5-6 stops in the "linear" range, then hit the roll-offs pretty hard after that, so your curve seems to be right around what I would expect. I recall a landscape photographer I watch on YT taking out a medium format camera with an older stock that had something like 5-6 stops in total. After carefully metering the scene he took a shot of some clouds. The shot was absolutely amazing - the moodiest clouds I have ever seen! Just incredible contrast, but looked great because nothing was clipping and the image was thick as hell. In colour grading I've found a consistent challenge is how to get the 10+ stops of camera DR into the 709 container and not make it look unnatural - the rolloffs on your LUT look pretty nice in that regard 🙂

Yeah, I'm on some vintage lenses groups and people are constantly buying lenses, matching, cinemodding / rehousing, and completing sets, which then get casually listed for 4 or 5, or even 6-figures. There are also people new to things and just buying their first Helios or CZ, it's a real mixture. A month or two ago someone posted asking for info on a prototype lens which he believed to be from Panavision. Apparently it was a development prototype of a lens that never made it to production and something happened and the person was told to throw it out, so they put it in their bin at their desk and someone else immediately took it out and took it home lol.

Rolling shutter is a problem in certain situations, mostly that happen in videography. One is when there's lots of motion and you stabilise in post, the other is when you're filming something moving - like filming out the window of a moving vehicle, which is something I do a bit. You're right that it's not horrible though - I remember the Sony A5xxx and A6xxx range being way worse. I also agree that DfD has huge potential but people are just sick of waiting for it because AF seems to have become something that people can't live without. I personally don't care as I manually focus almost exclusively, but the wedding videographers who want to run around with a gimbal and keep the bride in focus at F0.5 seem to shout down anyone who suggests that there are other options. I watch lots of YouTube channels that use Canon and Sony PDAF and they have out-of-focus shots regularly - some vlogs have more than the GH5 people used to have back in the day. No-one seems to talk about that, or when it focuses on the background instead of the vlogger in the middle of the frame.