matthere

Published by Canon (JP 2025-040484) a month ago... 
«To provide a compact imaging optical system that’s wide and fast.»
The prototype coming (or is it mere proof of concept for patent purposes?) would be for a 24mm f/0.7 from those white papers announcing they have worked out «a long-standing challenge in lens design» but according to Canon rumors, any RF f/1.0 lens is then just arriving around the corner, very likely.

Few additional findings and notes:
Tested it in bright sunlight conditions. It is great. Fully isolates the eye. Because it perfectly isolates the eye from external light, once brightness is adjusted there is no need to change it. Optics actually are better than thought initially. It has several lenses not just one loupe. Most likely metal housing was designed and used for smaller sensors - 0.5''. Current one is bigger at 0.7'' that's why far end corners aren't perfectly visible. I saw this only when was feeding it with signal from my laptop. When shooting with Sony ZV-E1 as already mentioned it displays a 3:2 crop at 1620x1080px and everything is perfectly visible and in focus. one relatively simple modification would be to cut the current cable and solder a female HDMI and probably glue it to the side of the EVF. This would allow to use better or custom HDMI cables. size is just perfect for cameras like Sony ZV-E1 and all other mirrorless cameras, especially when you don't want to use a rig and have just the camera and a lens, probably also a cage as it is in my case. Nice experience. Makes shooting with an EVF really comfortable. The more I use it, the more I like it  😀

Recently saw a second hand Sony ZV-E1 on a local online market place. Price was good and I bought it. Great video camera but lacks EVF. Same is true for it's pro oriented brother FX3.
Typically those type of cameras are used with external monitor on professional shoots or with camera LCD display only when vlogging. If you like EVFs and want to add one,  choice is not great. No external add-on EVF from Sony like the one Sigma FP has. Portkeys LEYE III modified with better loupe is the cheapest one at 450-500 E/$ but I wouldn't call it small. Then Kinefinity EVF for 1250 E/$. Great one but definitely not affordable. There is an obvious gap and need for a relatively small, high quality, affordable external EVFs for cinema / hybrid cameras.
I was looking for quite some time on AliExpress for Mini OLED displays (0.39'' to 0.7'') as a building blocks for DIY External EVF. Usually they come with controller board with HDMI input too. Almost bought some components preparing to do some 3D design and printing around them. Surprisingly found an EVF ready to be used. This type of EVFs were designed to be used with industrial instruments and were on AliExpress for quite some time. They all had lower resolution and AV video inputs in the past. For the first time saw one with 1920x1080 resolution on a 0.7'' mini OLED display and HDMI input. Also for the first time this type of EVFs is targeted toward cameras. Price was good too at 230E/$ so I decided to give it a try.
Received the EVF few days ago and am happy to report that it is better than expected. Here is the list of things that I like and few that I don't like:
What I Like:
High resolution 1920x1080 ( equivalent to 6 220 800 dot camera EVF).  Cameras EVFs have 4:3 ratio to cover 3:2 frame + some black strips on top and bottom to display information like exposure and other camera settings. The sensor on this one has 16:9 aspect ratio. To get 3:2 ratio the EVF crops the image to 1620x1080. Still great resolution at the level of ~5 mln dots EVFs like the one in Panasonic S1 series. I see in the EVF exactly what I see on the LCD screen of Sony ZV-E1 minus peaking. This is a rather good thing. Solid, all metal outer shell, good, even great quality of craftsmanship. Eye cup is big, made from rubber and fits around the eye much better than traditional camera EVFs. Big and bright screen - has at least 10 levels of brightness that can be changed and controlled manually. Picture inside looks big and bright, quite easy to see. Smooth focusing / diopter correction ring. HDMI cable is integrated, ready to be plugged into a camera. HDMI cable looks to have good quality. No need of additional power or battery. It gets small amount of power (500mA) from HDMI. This is a huge plus for me. Has mounting thread, can easily be mounted on rigs or cages or even on camera hot shoe. Can be tilted  and placed in any position you want. Another huge plus. I've simply put it on monitor holder for hot shoe, which is mounted on the camera cage. EVF sits higher and is slightly tilted. It also provides 3rd point of contact and add stability. I am able to hold the camera lower and closer to the chest, which makes it more stable when shooting.  Optimal size for me ! Not too small and not too big. Relatively light. Another huge plus. Optics made of glass, look high quality. Great price for what it offers - 200 Euro ($) including shipping and taxes after some Aliexpress discount. Because EVF receives its power from HDMI you don't have to switch it on separately. It has its own ON/OFF switch but if you stop the camera, EVF stops too as it doesn't receive power from HDMI. This is very convenient because it semi integrates with the camera, you don't have to switch it on/off separately.
What could be better:
While loupe (optics) craftsmanship is high quality, optical schema is probably not the best. Seeing tower end of the frame and in the corners is kind of difficult. In photo mode EVF has to show picture with 3:2 ratio. It crops the display at 1620x1080 to achieve this ratio. Same is true for video. This is great because this way corners of the OLED display are always cropped and dark while picture in the EVF is still high quality and resolution is still great too. So you always look at a picture which is in focus from end to end and you can see the whole of it. Brightness control  has many steps but goes only in one direction. Adjusting it when you want to make picture darker or go at the opposite direction is difficult. You have to cycle trough all settings value until arriving before the setting you were a moment ago. Brightness control button is too small and uncomfortable to use. Both are not huge issues because eye cup completely isolates your eye and cuts external light at almost 100%. Once you set the brightness level you rarely need to adjust it. It doesn't have the additional tools a pro external viewfinder usually has - like peaking, False color, zebras, etc. Because it takes power from camera and becomes additional consumer, battery is drained a little faster. Hard to say how much faster. I still prefer this compared to EVF that have their own battery. Picture is not as clear as in a high quality camera viewfinder. Native camera EVF receives video stream that already has noise reduced. Image on HDMI out from the camera is more like RAW video, lots of noise in the shadows at high ISO, some noise even at lower ISO. I guess the same would be with any external EVF, even expensive PRO ones. It's not EVF's fault. I also see sometimes some texture like noise, not sure because of this particular OLED display or because of the HDMI out stream. Overall picture quality is not up to what you see in a camera integrated EVF but it is close. Surprisingly noise in the shadows helps me better judge exposure and use successfully ETTR. I live in a PAL region but camera was set to NTSC to have 24fps. There was a lot of flicker in EVF image even when only natural (sun) light was available. Maybe this can be avoided with some additional camera settings. No such problem when camera is set to PAL and 25fps. Sometimes when adjusting brightness, EVF looses sync and doesn't display any image. Have to switch camera on/off one time and problem is resolved. Not a big deal but it happened once or twice. HDMI cable is integrated. A PRO EVF has just HDMI out socket and you can choose your own HDMI cable. This one can be easily modified IMHO.   Size: L=~50mm; Diameter ~43mm; weight 188g with the integrated HDMI cable

Overall I like it a lot. There is nothing like it on the market and especially at this price point. I am surprised it took Chinese manufactures so long to figure out that a good market for external EVFs exists. I prefer it over modified Portkey LEYE III because of the smaller size and no need to plug and charge another battery. I may buy another one. 🙂 Now my Sony ZV-E1 has an EVF and a great one too. 🙂 
Here is the link:
On Aliexpress
You can find it on ebay too. Search for V780H EVF
Here how it sits on top of Sony ZV-E1

I'm keen on our own findings, footage, artistc work, analysis, concepts, our creative work in general and reflection about it. Like in my post above, I am with @kye and @QuickHitRecord on this.
Well designed challenges are a great. I'd love that.
I don't care about the endless repetition of specs and mediocore youtube links over and over again, which have been bloating some threads.
Less hot air, more artistic work and experiments. Like in pre corona times. The cinematography . com forum has tons of that kind of great stuff. Why not getting back to focus much more on that rather than recycling internet discussions.
 
 

One topic I find missing is discussion of the creative aspects of our own film-making.  Maybe there are too few people shooting things, or too few that are willing/able to share, but to me this is the only topic worth discussing.
We all know that the pros can take most equipment and create great images from them, proving that creativity and skills are far more important than equipment, yet the discussions focus on the equipment, the industry politics, the changing media landscape, and everything except what matters - the skills.
As much as there are many reasons to hate on other social media platforms, there are many places out there where people post their own work and discuss it on both technical and non-technical levels, creating an opportunity for constructive feedback and creative growth.

More Nikon fuel to the fire. 
In case you are interested how S5ii, GH6, GH7 and Z6iii look on one timeline, here’s a video from footage we shot last year.

About first 2/3rd of the video is shot with S5ii and GH6, and the rest with Z6iii and GH7. Edited and color corrected in Resolve UHD 2020 ST.2084 (PQ) 1,000 nit timeline on a M3 Macbook Pro with P3 ST 2084 display preset. Exported to H.265 80Mbps with HDR10+ metadata embedded. 
 
Resolve color space transform:
GH6, GH7, S5ii: input color space Panasonic Vlog or with Lumasweet LUTs
Z6iii: Color space transform from Rec2020 NLog to Rec2020 ST.2084
 
Camera codecs and resolutions:
GH6 and GH7: 5.8k25p open gate, 5.7k50p and 4k100p
S5ii: 6k25p open gate, also with Sirui Saturn 1.6x in 2.40:1 AR, 4k50p
Z6iii: 6k50p and 4k100p NRaw, 5.4k50p and 4k100p H.265 NLog
 
Lenses:
GH6: Olympus 75mm F1.8, 25mm F1.8, 20mm F2
GH7: same than GH6 and Nocticron 42.5mm F1.2
S5ii: S Pro 50mm F1.4, 100mm F2.8, Sigma 35mm F2, Sirui Saturn 1.6x 75mm T2.9
Z6iii: S 50mm F1.2, 85mm F1.8, 40mm F2
 
The video is shot in various lighting conditions on different locations through the 4 seasons, while S5ii IBIS, AF and Estabilization firmware updates were also tested when they were released. AF was used on some of the clips with S5ii and GH7 and almost on all clips with Z6iii. 
 
And last, it’s mainly a bouldering video. In bouldering you try to climb up a specific spot of rock. The more difficult the boulder is for you the more you have to try and fail, until you may succeed. As a bonus you get to enjoy nature, what views and joys it has to offer, and capture those memories too. 
 

I am all up for that. It would be very promising for BM to enter L-mount alliance and license BRAW to everyone there. They need a mirrorless mount anyway and L-mount seems to me like their best option. Lots of glass and ability to adapt EF lenses the like so much. 

my vid is up! outside of the review aspect, i would love your feedback on my edit/ tone of this video. 
 

Panasonic (or at least their partner: Sigma) need to play this same game. 
Bring out an absurdly cheap couple of lenses. 
Don't care what they are, just make them cheap and preferably more than one. 
Could be a 40mm f4 pancake for $199. 
Could be a 35mm to 105mm variable f-stop zoom for $250
Could be a 50mm f2 for $199
Could be a 35mm f2.8 for $299
Whatever, just make a couple of them asap! To draw people into their L Mount ecosystem.
As they have to play the same game the other companies are playing. Nikon/Canon/Sony/Fujifilm/Pentax all do this. (yes, even Pentax!)
Pentax 50mm f1.8 = $97
Pentax 35mm f/2.4 = $117
Canon EF 50mm f/1.8 = $125
Canon EF-S 24mm f/2.8 STM Lens = $129
Nikon 50mm f/1.8D = $132
Nikon DX 35mm f/1.8G = $180
Pentax 40mm f/2.8 (it's an amazing pancake lens!!!) = $230
Nikon DX Macro Lens 40mm f/2.8G = $280
Nikon 28mm f/2.8D = $287
Canon RF 50mm f/1.8 = $149 
Canon EF-M 22mm f/2 = $179
Fujifilm 35mm f/2 = $199
Sony FE 50mm f/1.8 = $248
Sony E 16mm f/2.8 (pancake!) = $248
Canon RF 16mm f/2.8 = $249
Nikon Z 40mm f/2 = $277
Nikon Z 28mm f/2.8 = $277
They need to do the same too for camera bodies, how else can they compete with the gateway drugs of: Nikon Z5, Canon EOS RP, Sony a7C / a7mk3 ?? Let alone the other gateway drugs they all have of APS-C cameras for dirt dirt cheap: Nikon Z30, Canon R10, Sony a6x00
Because as fantastically great as Panasonic MFT cameras are, they're unfortunately not a smooth pathway into the L Mount Ecosystem. 
Am glad to hear that Panasonic will keep around the S5mk1, as that's a smart move. 
Because as I'll say over and over again, Panasonic (and Sigma & Lecia) **NEED** a gateway drug (camera) into the L Mount system.
Sony does this by keeping around their older a7mk3 (and even a7mk2!!) at cheaper prices.
If Panasonic had the S5mk1 available for US$1.7K , then dropping down in the second half of this year to US$1.5K, then the S5 would do well at serving that critical niche point. (and just keep on dropping it down by another $100 each year, until five years from now it's being sold for US$1.1K brand new)

I must say... I do really love this camera. Disclaimer being Panasonic is loaning me the camera and lenses and paid for an entire Tokyo trip. 
I'm trying to be as objective as possible, but the AF performance has been surprisingly good. I love the IBIS and the color science is great. It doesn't feel as premium as my OM-1 or even an R5... but this isn't in that price bracket. The fact that this camera is this good, all while being under $2k is actually a big deal. 
Makes me excited for an S2H... or other flagships. I still love micro 4/3 and think the 10-25 panny/leica is one of the best lenses ever. I can't wait for a GH version of this camera with phase detect!

It's a comedy channel where the host does wildlife photography which almost entirely consists of the squirrels in his neighborhood and where he renamed "bokeh" to "toneh" to make fun of Mr. Northrup going too far with shallow DOF.  If you're upset that he goes light on the technical details and doesn't produce Roger Deakins-level cinematography, I think you've missed the point.

(And I definitely enjoyed Kasey's video as a standout in a sea of people reading spec sheets and basically shooting the exact same video as every other channel who got invited to Japan)

I'm waiting to see what they have in store for M43 before I'd ever jump on a camera like the S5ii or S5iix. I still have hopes for a small M43 camera with PDAF, great colors, solid codec, and decent rolling shutter.

That
is an unambiguous and obvious clue to what we all been waiting for the past 5 years! Hurray comrades! 

Here's a gift from and to EOSHD.  It's been a journey these past 10 years.  Me and mine have bopped in and out of here over the years.
We would like to share our old-fashioned American Christmas film.  It takes place on Christmas Eve, so I guess today's an appropriate time to share it!  This film wouldn't have been made without EOSHD and everyone's wisdom helping us grow technically, especially with advice regarding M43 cams.
If you like classic Hollywood movies, let us know what you think about our attempt at making a 1930's style film.
Happy Christmas!
 

Well for all you BM guys out there looking for focus and AF help this may be a cheap answer.
 
  
 

I'm probably the last person who should contribute to this conversation. The last time I bought a new camera was over 5 years ago and the camera was released 5 years before that.
With that said, I think the GH6 is the best camera on the market right now. Internal 5.7K ProRes with IBIS, 4 channels of audio, etc...
I mean it's $2200! For internal ProRes and an image that comes damn close to the Red Komodo. I wish Panasonic could extend that ProRes license to one of their cheaper m4/3 cameras... maybe a 2K ProRes camera at half the price... that would be a genius move.
And with that said, I do prefer full frame. I like using vintage lenses and not have to do math every time I decide what lens to use... especially since you need a speedbooster to get the most from the lens.
And with that said... I'm cheap and I know what I need. I have a camera that works perfectly fine. I don't need 6K. I doubt anyone in the prosumer market does. So I'd wait for a big sale or to see when they release their ProRes FW. But man... the GH6 is a pretty special camera.
Sure you can get a P4K for $1299, but you're adding a lot of money to make it workable and it's a huge beast of an ugly camera.

It's definitely tilted towards the needs of the professional user over the casual enthusiast I would say.  Features like DR Boost, ProRes internal, and compulsory 4-channel audio (you can't take a stereo track into post as far as I can see), potentially make life better for the dedicated pro, but probably more fiddly for the enthusiastic amateur.
Full V-log curve seems to be a bit of a gimmick as you're not able to stretch the DR past what V Log L would have allowed from what I can calculate (admittedly not my area of expertise).  V Log highlight clipping occurs around 88 IRE (compared to 82 for V Log L, and 109 for full V Log range).

That said, as previously mentioned, DR Boost is definitely worthwhile, and gives the crucial little bit of DR I've been crying out for with this series.  It doesn't turn the camera into a dreamy DR monster, but it does take the edge off of that burnt-out DSLR look, and seems to help both highlights and shadows.  I don't want to oversell it, because it really just adds a touch of latitude rather than a major transformation, but its a very useful addition in my book. 

What is also fantastic is full V-Log gamut, which seems to be providing much richer, more natural and accurate colours. I'm really enjoying shooting with it.

I think that if you're not going to be using V Log you've got some problems though.  DR looks much reduced, and from looking at online tests it looks like it may be even worse than the GH5!  That's not good news really.  Is there any point in using Linear DR+ mode when V Log (with DR+ Off) offers greater dynamic range?

 I'm really pleased with my camera so far.  It's familiar enough that I'm getting some muscle-memory imbedded straight away, but progressive enough that its challenging me in some interesting new ways.
As well as the obvious headline features, one thing that really strikes me is that Panasonic have really sat down and thought about how to make this camera better from top to bottom.  Some innovations I really like are:
 
Improved Custom Modes.  You can now save 13 Custom Modes (and crucially give them names that come up on the screen when you turn the dial).  That's up from 5 (un-nameable) on the GH5 if memory serves correctly. Same topic, but you can now choose how the custom modes respond to shutdown/sleep, etc., even to the point of excluding certain values.  This is massive because the previous CM system was practically unusable due to the way it kept resetting exposure values 😖. There's a lock switch, and again, you can dial in exactly what you want it to lock and not to lock.  I'm using it just to protect my shutter angle dial.  Hallelujah! You can use 4-channel recording in conjunction with the (separate accessory) XLR input and the minijack socket.  You can now (I think) use this setup to patch a safety channel from the XLR, which you annoyingly couldn't do before (despite the availability of the stereo channels). The exposure tools are improved.  There's a nice luminance spot-meter which works well (though they want you to switch your thinking from IRE values to stop values when shooting log, which I'm finding a bit of an adjustment). The waveform is now bigger and actually useable (though it has no value scale). The camera is palpably heavier, which is helping me to get steadier footage when going handheld (along with the excellent IBIS of course), but I appreciate this will be a negative factor for some. You can get a surprising amount of functionality with the old GH5/GH4 batteries.  I can't remember the exact limitations, but basically you just can't record in the super-duper modes (5.7K, 800Mbps and above, ProRes, etc.), but everything else works fine.  I expected the limitation to be much more than that.  I can see certain people just sticking with their existing batteries to be honest.  The restrictions are similar (possibly identical) to those between V60 and V90 card recommendations from what I recall. The battery lock tab (inside the battery enclosure) is now white instead of black so you can easily locate it in the dark.  Admittedly this is not a significant feature in any way, shape or form, but I'm really happy to see it because it tells me that somebody has been going over every inch of this camera series and trying to find incremental ways to improve it. Some things I'm not so keen on - 
The whole 2000 ISO or bust thing.  It seems to me that if you are going to buy this camera, the top end DR improvement is one of the biggest draws.  You will have to develop a new ND strategy to use it freely.  To be honest it hasn't been the nightmare I was anticipating.  I love the DR Boost mode image output, so I might just adjust my thinking and continue to operate at ISO 2000.  It's nice for low-light in any case.
Battery life, which used to be the strength of this series (GH4 💪) is now distinctly meh.  But I guess that's just the price you pay for IBIS, Dual Gain sensor, fan, etc.
I've only just started to get to know this camera. I haven't tested any of the high speed modes (look fantastic online!) or photo features (ditto).  Overall , I'm really pleased with it.  Coming from the GH5S, the improved image quality (I was already happy with the GH5S to be honest) and addition of IBIS is an absolute killer already.  It doesn't lag too far behind the GH5S for low-light either, seeming totally useable up to 4000 ISO (VL DR+), which is more than enough for me.
 
 

Thanks for your reply - very useful, and also heartening that it's not the footage that is the challenge but the camera itself.  I'm also further heartened that it seems the challenges are just in working out the camera rather than challenges that come up shoot to shoot (like fiddly buttons or confusing menus etc).
I've done many (many...) of these types of tests in the past to learn to get the most from the GH5 (and other cameras).  I've shot test scenes in different modes, uploaded to YT, downloaded back from YT at different resolutions and then studied the resulting images to see what is visible at the end of the whole pipeline and what is not (4K vs 1080p source material is essentially imperceptibly different when uploaded to YT at the same bitrate/resolution). etc etc.
This means that those considerations are, for me at least, kind of inconsequential.  I'd do some tests, evaluate my options, and then just work out my rules for shooting.  
On first glance, and knowing what I know about lighting levels (which I've talked about in another thread) I'd be tempted to have DR+ on all the time, have a fixed ND that I put on when outside during day, and then just let it expose with auto-ISO.  I tend to shoot with aperture only varying a few stops anyway, so that sort-of doesn't factor in that much.
Every time 100 people say "FF" on an MFT thread, one less review gets published.  We're voting with every comment, and most people are voting against themselves.
Go back in this thread and re-read the last 10-20 pages - you'll be left with the distinct impression that no-one is in the market for this camera and that AF has killed MFT.  It might not be true, but it's how it sounds with all the moronic comments that people make.

Hi,
Just wanted to share my latest work which I produced and directed; a music video for Kygo ft. DNCE (Joe Jonas). It’s shot on Arri Mini + Arri Mini LF with Kowa anamorphic glass. I’ve been on this forum since I bought my (now retired) GH4 8 years ago.
Thought some of you might find it interesting ☺️
 
 

There is only some truth to this Mr Runner, and I respectfully make my case. 
I have yet to watch a singular spectacular movie or short film or documentary and then thought to myself, that is so good because of the sensor size. And I'm certain not a singular typical nontechnical layman movie goer has ever thought that either. I do realize that as technicians, we may make decisions based on the tech, but I propose that the size of the sensor is far less important than we often make it.
Consider that all of the best movies we've ever seen were shot with s35 (with a few admitted outliers). Consider that many great pieces have been shot on s16. M4/3 is already larger than s16, and speed boosted is at least similar/same as s35. I personally consider the sensor size one of the features of m4/3. The horizon of lenses that are open to me at m4/3 is unequivocal at any larger sensor size, including factors such as physical size, focal range, and anamorphics.
I concede that there are definitely other factors where sensor size does in fact play a critical role, but if we were genuinely honest with ourselves, it is not nearly as often as we pretend.
Where the GH6 is once again a failure is autofocus. This is not to say that it's autofocus is bad, because it isn't. But it is not good enough. I would actually propose that this issue is also a bit more trivial than we make it, but because of it's inability to lock rock steady and hold, it will be a pass for many, and I'm afraid too many.
If there ever is an official death of m4/3, I suppose it will be blamed on sensor size, when in reality it is because the GH-frickin-6 didn't nail autofocus.
Make no mistake, I may still buy one. For me, the advantages are far too great to overlook. And quite honestly, even it's current autofocus design will work near flawlessly for roughly all of my purposes. 
But cheesy crust, Panasonic please figure out a firmware solution that ends this issue, or I'll be one of far too few buying your dinosaur gone extinct for none of the suspected reasons. 

Very true, and my mind is always fixated on Blackmagic's codec rather than any true RAW data collection. I feel like it's a technology that isn't getting enough respect in a Prores dominated world. It is young yet though.
I would most likely be using a flavor of h265 most of the time on the GH6. Especially having an M1 Mac makes working with those files possible.
Regardless, bottom line, the GH6 looks like one sweet picture making machine. I think my next camera is going to have to be my forever camera, and this is on the short list.

Last year my friends and I put together a show which we filmed in virtual reality. We tried to make it as much like actual filmmaking as possible, except we were 1000 miles away. That didn't turn out to be as possible as we'd hoped, due to bugs and limited features. The engine is entirely built from scratch using Unity, so I was doing making patches every 10 minutes just to get it to work. Most of the 3D assets were made for the show, maybe 10% or so were found free on the web. Definitely one of the more difficult aspects was building a pipeline entirely remotely for scripts, storyboards, assets, recordings, and then at the very end the relatively simple task of collaborative remote editing with video and audio files.
If you're interested you can watch it here (mature audiences) https://www.youtube.com/playlist?list=PLocS26VJsm_2dYcuwrN36ZgrOVtx49urd
I've been toying with the idea of going solo on my own virtual production as well.

They say "A journey of a thousand miles begins with a single step" and that describes exactly where I am with Virtual Production.
The reason for setting off on this journey ?
Curiosity in the process is one aspect - and is something I'm hoping will sustain when the expected big boulders block the route - but I also think VP is going to be a process that trickles down to lower budget projects faster than people might expect so it is something I'm keen to get involved in.
What aspects of VP am I looking to learn about and get involved with ?
In the first instance, it will be about simple static background replacement compositing but will move on to more "synthetic set" 3D territory both for narrative but also multi camera for virtual studio applications.
There will also be a side aspect of creating 3D assets for the sets but that won't be happening until some comfort level of how to actually use them is achieved !
And the ultimate objective ?
I'm not expecting to be producing The Mandalorian in my spare bedroom but I am hoping to end up in a position where a very low-fi version of the techniques used in it can be seen to be viable. I'm also hopeful that I can get a two camera virtual broadcast studio setup working for my upcoming YouTube crossover channel Shockface which is a vlog about a gangster who sells illicit thumbnails to haplessly addicted algorithm junkies.
I'm fully expecting this journey to make regular stops at "Bewilderment", "Fuck Up", "Disillusionment" and "Poverty" but if you'd like to be an observer then keep an eye on this thread as it unfolds.
Or more likely hurtles off the rails.
Oh and from my initial research about the current state of play, there may well be a product or two that I develop along the way to use with it too...

Specs and a HUGE 32 minutes in video leaked, showing the camera in detail. S1H-like hinge and vents confirmed.

https://www.43rumors.com/full-panasonic-gh6-specs-and-new-images-leaked/
 
GH6 specs

25 million pixel PLF-less sensor
100 million pixel high-resolution shooting
5.7K video
Sensor read up to 300
fps High-speed read at 4K resolution 120 fps
Suppression of rolling shutter
Computation processing capacity is about double
New Intelligent detail
New 2D noise reduction
High performance 3D-NR (video)
Improved AF performance Processing speed is 3 times faster than before DFD performance evolution

New recording mode
4K120p 4: 2: 0 10bit 300Mbps
4K 60p 4: 2: 2 10bit 800Mbps /
600Mbps 5.7K 60p 4: 2: 0 10bit
300Mbps C4K 120p 4: 2: 0 10bit
300Mbps C4K 60p 4: 2: 2 10bit 800Mbps / 600Mbps

Recording file method supports Apple ProRes in addition to MP4 and MOV
5.7K 30p Apple ProRes 422 HQ 1.9Gbps

Card slot: CFexpress TypeB slot, UHSII compatible SD card slot
Weight: 739g
 
Dynamic range boost function: It is possible to shoot a wide dynamic range image at a maximum of 60 fps by synthesizing an overexposed image and an underexposed image in real time. Achieves a dynamic range of up to 13+ stops approaching the full size. The minimum ISO sensitivity is 800, and when using V-log it is 2000, so an ND filter is essential.
Image stabilization: Adopts an ultra-high performance gyro sensor and a new algorithm, and has a correction effect equivalent to 7.5 steps. Smooth image stabilization that is ideal for movies.
Dark place performance: High-sensitivity noise is much suppressed compared to GH5II while increasing the number of pixels. It can be used normally up to ISO3200.
Built-in microphone evolved from 16bit to 24bit. 4 channels can be recorded when using an XLR adapter.
Phase-difference AF is not installed, but AF is much better. The AF calculation speed has tripled, the background omission and tracking performance have been greatly improved, and the AF speed has also become considerably faster.
There are 315 AF points in the full area. Human, face / pupil, animal + human subject recognition can be used in all AF modes. The focus range can be set with the focus limiter.