ntblowz

I once drop the 12-35mm and gh4 from a monopod and both work fine (monopod at 1.3m high), only the lens hood broke.  Panasonic stuff are pretty well constructed compare to Olympus in terms of internal robustness.
 
M43 lens is good for ninja shoots and on gimbal, good luck try use that 70-200mm f2.8 to look casual, I only used prime lens on gimbal to save my arm. Even 12-40mm is too heavy for me on gimbal for all day shoots, I only used m43 prime on it.
 

Use patreon, I know some are sustainable but some still got a few miles ahead by using patreon. Subscription (or monthly contribution) is the way to go.  There is different mindset of paying to support and get content vs paying to buy content, which I doubt many want to spend to buy just the content, I know I wouldn't.  (look at honest trailer, their $1 subscription end in epic failure, if they do it on patreon that will be a complete different story)

Use patreon, I know some are sustainable but some still got a few miles ahead by using patreon. Subscription (or monthly contribution) is the way to go.  There is different mindset of paying to support and get content vs paying to buy content, which I doubt many want to spend to buy just the content, I know I wouldn't.  (look at honest trailer, their $1 subscription end in epic failure, if they do it on patreon that will be a complete different story)

About 4 weeks ago I talked a guy owning a camera store and a small photo studio. He told me, he doesn't close his store <ONLY because his family owns the building and he doesn't want to rent the store to other people. But in fact, he should close, because it doesn't pay at all. He is very friendly and knowledgeable, but most nowadays customers don't honor this. (A small town with about 25.000 residents 30km far from Frankfurt/Germany)
Most people try to abuse his store as a free camera test location: They come in, put an own card in a camera, shoot a little bit around and go home...They never return to buy, probably they buy online for much cheaper...To stop this mess, he started to charge 50 Euros for testing and consulting (for about 30-45 minutes) - when people buy the tested gear/camera in his store, he refunds this fee...After starting this, there are about TWO people per week who want to test and get some advice, he said...He is glad having stopped the "test-mania", cheapo-parasites stealing his time at his costs...

After having written a few physics-based computer simulations (flight, driving, and virtual reality), I can tell you that vehicles that can make instant turns and stops effectively have no mass. Very small, lightweight objects with high-thrust systems can approximate this kind of motion, however 15+ foot objects going incredible speeds then stopping instantly defy explanation if these objects have mass (vs. a massless optical projection). The theory is these objects don't subject their payloads/passengers to any g-forces at all. They are either warping space, and thus the object isn't even moving (space is warped around the object, creating effective motion without any velocity and thus no momentum), or somehow partially or fully shielding the object from interacting with the Higgs Field (or whatever is fundamentally really going on) to massively reduce apparent mass. Without additional tricks up their sleeves, objects that have effectively zero mass travel at the speed of light, so they'd need some kind of additional shielding.

Thought I'd throw this one into the mix:
Again, if anyone spots nice pricing: sharing is caring.

Just ordered a GH5, V-Log Update, two spare batteries, hotshoe audio adapter and a 16mm Veydra mini prime (wanted to try one before special ordering the full set). I'm hoping that this kit will deliver the image quality that I demand in video. If so, I'll pick up a second GH5 for a B-cam. I'm not sold on the IBIS yet... mainly because I would need to use Panasonic lenses, and that is not really a direction I want to head in. Also I changed my mind on the Metabones. I want to keep this system as light weight as possible, so the Metabones + my Canon lenses, seems... well, like a step in the wrong direction. If this setup works I will ditch my Letus Helix Jr and opt for one of the new 45˚ angle one handed gimbals. Lastly, I plan to add a Silencer Air remote follow focus. So I guess I'll have to let you know how that works out. I'm pretty pumped about this system. I believe this should come pretty close to the promise of the DJI OSMO Pro but without the compromises.

Looking at your setup I seriously doubt a GH5 would boost your creativity... In some cases it is true that a better/more ergonomic/more versatile camera could enable you to do things you can't do with your current gear, but having an a6500 and an FS5... Come on! Both cameras are light, small and very capable -with some shortcomings, like every camera-.
I use the FS7 and the FS5 for paid work and frankly, if I don't enjoy as much as using a stripped small cam it is because I am WORKING. Even if your job is your passion, there's a tiny bit of pressure when there is a client, pressure to not screw up, to not miss any shots, to go on schedule and even pressure to "get it right" -sometimes you shoot and edit exactly what was agreed and scripted and the client doesn't like the final film and wants to re-shoot, re-edit or start from scracth-. There's also the fact that you are many times not shooting what you really want but what serves the client's purpose.
No matter what camera you use, nothing will compare to the joy of shooting with your small cam on vacation or shooting an improvised goofy short with friends. You'll always find more joy when you can experiment with lighting, camera angles, lens choices -or lack of, using just one- having the luxury to get it wrong or "not perfect". All that "dedicated video cameras kill creativity vs mirrorless open up new worlds" is the enthusiast/purist/idealistic/childish filmmaker in all of us talking. We've all felt a little bit that way some time or another, but deep down we know it's not true. It's the kind of BS that crumbles down the moment you are faced with the reality of the industry, its tight deadlines, its constant need for quick technical problem-solving, for formats that meet the detailed requirements, for footage that is easily cut with the rushes someone else has shot who knows where, for files that are platform and NLE agnostic...
Your tools are just that, and fatigue may set in no matter which tools you use. Take some time off, maybe? Try different projects? I, too run a production company and know more often than not this is not possible. If you find there's some limitation that really affects your work -what clients expect of you- such as 200p @ 8K then sure, look for a new tool that'll serve you. The FS5+RAW is a real workhorse, uncomfortable at times for sure, but it's a professional tool that gets the job done. The a6500 not so much -was never intended to- nor the GH5 nor any other camera that is not meant for that use, even if we all use them sometimes with mostly acceptable results.
I've been in your place more than once and what I learnt was to stop, leave emotions aside for a moment and objectively evaluate if the change is really going to have a meaningful positive impact in my workflow or what I offer to the client. Will it make you faster, more efficient or allow you to offer something clients might want that you can't give them now? If I were you I know I'd end up missing having proper internal ND filters, proper audio connections (even though I have a soundman recording externally) and the rest of the "little things" a dedicated video/cinema camera provides... even if the GH5 is a true accomplished camera.
Sure, like the F5, F55, FS7, FS5... if you use a prosumer stills camera with hybrid/video features, even if the specs are impressive and may deliver stunning results, do not be surprised if those things happen. I seriously doubt the casual street photographer shooting RAW stills is ever going to experience those problems.
In a shooting there are things far more "impressive" than a rigged camera: large lights, grips running around, lots of stands with flags, cables, trucks, an old DP with his light meter... The rigged GH5 might be cumbersome and uncomfortable compared to an FS5, so the advantage of "going light and free" is lost. Even in a small shooting with few people, If my livelihood is at stake I'd always choose convenience/usefulness over looking cool... I'd probably choose a C300 or C100 over the GH5 provided the requirements of the project are covered with the C100 -even if it's not the best iq available-.

I picked up a em1 ii at a similar price thinking i would play with it for a few weeks then sell it out for a gh5. 
I have not compared directly to a gh5 (Andrews comparison mentioned above would be most welcome).
In all honesty i have been so impressed by both video and still quality that im reluctant to let it go without a good go on a gh5 first. The colours are leagues ahead of the gh4 and even the gx80 i would say. The flat profile (along with a gentle tiffen ultra con or black pro mist) contains reasonable dynamic range and seems to hold up well to pulling around.
Im going to film a short in a couple of weeks with the em1 ii and have not felt the need to try another cam for the job.
Maybe i need to meet up with a gh5 owner or rent one to be sure.. But i think ill be hanging on to the olympus for a while yet

I've received exclusive info from a trusted source to exactly what this new gizmo does:
1. VR, Holographic, 3D and some other cool sounding stuff that actually does sound cool but we have to use our imagination into exactly how it will work. 
2. New Module - RED Car Control. Simply control your actual car in a VR Google map. Pretend it has guns to shoot other cars in your way. (Bluetooth and Cruise Control vehicles only). 
3. New Module - RED Nightmare Grenade. Record and play your worst nightmares in REDs r3d codec at up to 8k 120fps and share your experience online in VR. 
4. New Module - RED Weapon Tank. Convert your RED Weapon into a tank so you can film it blow up stuff at 1000fps. 
5. New Module - RED Blast Radius. Use your Hydrogen radar module to identify Google, Apple and Samsung phones around you. Detonate them with a single touch. 
6. New Module - RED Interrogator. Use your phone's A.I assistant (like Siri but angry and military like) to question other peoples camera choices as they are inferior to RED. 
7. Camera Expansion - RED MAX. Combine your phone with RED's new RED MAX projector that can predict the future of all other camera brand resolutions and frame rates. Comes with canned laughter. (the projector comes at up to IMAX size and can also be combined with helicopter propellors for RED SKY IMAX. 
8. Camera Expansion - RED Chain Bomb. You can "daisy chain" all RED Hydrogen phones together by Bluetooth or Wi-Fi to create a holographic RED logo in the sky which explodes into red fireworks. Doing this increases your RED Weapons ISO temporarily to ISO 3000,400,700,201. 33. It's so sensitive that you can actually film through objects. 
9. Firmware Update - RED Handed. This is sort of like Apple's "Find Your iPhone" app, but this actually detects if someone has stolen the phone and activates an electric shock so the robber drops your phone. It then has wings that come out the sides and flies back to you. 
10. Firmware Update - Code RED. Write your own code and add features to your RED Weapon camera, such as a Disney film app or even better, a library of War genre films to watch while you judge exposure on your shoot. 
 
The trusted source also said the price for the phone is just for the actual shell of the phone, and you will have to buy all the separate components and modules to make it work. Each module is rumoured to be priced around $47,500 and there will be 437 to choose from by 2019. 
Text messaging will be added as firmware update in 2020 and it will cost a cut-price of $23,000. 
 
Ok, ok....it's Friday, I've finished for the day and I fancied have a mess around. But of course, this is all true! 

While watching one of their BTS videos (which they'd linked to as part of their advert for a new flatmate) of a local kiwi filmmaking duo:
 
I realised from watching their BTS of the film, that their feature film (which is a damn decently good one for a person's first feature and done on a very low budget, absolutely worth a watch!) was shot on the Panasonic AF100 (for those who are somehow not familiar with this camera, think of it as like a hacked Panasonic GH1 but in a camcorder body):
 
I think (?) that their second feature film (disclosure: I was involved myself in its shooting for a very tiny part of it! As the sound recordist for a few pick up shoot days) was primarily shot with a Canon 1D C and a 5Dmk3 ML raw, thus this film when it is released should also be of great interest to members of this forum:
 

Oliver Daniel i truly understand you... i know what you're meaning with the FS5. 5DIII Raw files are way too heavy for me and difficult to manage on some big movies. Good to shoot sometimes with but not a camera i like to carry with me now since i got my A7SII.
Here is a great camera... A7SII. With a powerbank and a good lightmeter with you this camera makes such fantastic things. 8 bits ok... we all know this... What i like is the Slog and its great latitude in contrasty situations and its 24x36mm size... Big shots with this cam. And the slomos are great when light is enough. Great 120 fps even with a 2X coefficient. A 16-35 2.8 does the job well for me with this 2x high fps mode.
What we can expect from an A7SIII will disappoint us i think... i think this won't be 10 bits... And a 10 bits hdmi output will disappoint me also as what i like from this camera is shooting ultra light, gimbal or zacuto shoulder rig and that's all... I've shot with 7" screens on the rig etc etc and i really don't like it... Too much equipment ruins creativity... Personal point of view of course.
The GH5 looks great to my eyes too... And this little beast has made some charms to me... I used to shoot with a GH2 and have been blown away with its inner qualities. The GH5 has a v-log mode and high frame rates... tempting features.
But, micro 4 thirds with native electronic lenses i don't like it, and metabones adapter with EF or other mounts that's what i used on the GH2 and sometimes had problems...
 
Why don't you use that fantastic A7SII ? have it from its exit right now and still have no problems with a cheap commlite adapter, damped with black cloth inside it...
My advice in your case would be stay with an A7SII till an A9S comes out !!!!! ;-)   As you know the tool is secondary and that A7SII ticks a lot of what i need to make it my A-cam on most of my projects. Why would i need to upgrade or change this lil baby ?!!!!!!
 
My A-cam for little projects like this :
Trailer for a drama company.
 
My 0.02 euros. :-)
 

What, you think I'm just going to wander into a camera shop in London tomorrow asking for a demo of a G80 and casually try and put VLOG on it?
Because of course thats precisely what I'm going to do !
 
 

Very nice even grade. 

From GH5 try and experience event in Taiwan today, they said firmware to improve GH5 Video AF will be up around September.

If you bothered to check their financial report they are still healthy, its on their website, not some third party speculation.

You are not crazy, my fs5 will be posted to new owner
 

 
the 7Q+ used to pair with FS5, sold that earlier
 

 
Current workhorse (c100mkii is from work, hopefully to C200 lol)

You are not crazy, my fs5 will be posted to new owner
 

 
the 7Q+ used to pair with FS5, sold that earlier
 

 
Current workhorse (c100mkii is from work, hopefully to C200 lol)

You are not crazy, my fs5 will be posted to new owner
 

 
the 7Q+ used to pair with FS5, sold that earlier
 

 
Current workhorse (c100mkii is from work, hopefully to C200 lol)

Wow, stinging article. 
Sadly the money wagon does take over in every genre of publication ever. 
It's great that EOSHD is still impartial, brutal, sometimes funny, insightful and on a few occasions, off the rails! But I like that. It's genuine and human. 
I cant give an opinion on DPReview, I've barely read it as I find the site design frustrating. 
Oh, and Ebrahim is a video genius, obviously. His knowledge is the greatest thing on Earth  

Just earn more money so you can buy all the gears you want, seriously, more action less whiny lol
 
can't wait for the C200 to be released.. looking forward to it

I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.

The footage should be much crispier than the one we saw from low res phone quality shacky video 
 
But man don't you wish you have the 150-600 for this kind of thing

this camera continues to amaze me. Please panasonic, give me the GX90 with mic-in and 4k teleconverter!
 

Here in NZ it is easy to setup 1 person company, pay the registration fee and you are set