Axel

Spec-wise, that means on paper, the GH5 crossed every t and dotted every i, but yet, in direct image comparison to the smaller and cheaper A6500 (my choice eventually, no Sony fanboy at all) there is no clear winner - see proof on Youtube. Both have their issues. The GH5's unique feature, 10bit in V-log, apparently doesn't win over simple 8-bit S-log2 as far as DR is concerned. The biggest downside of the alpha 6... series is the display. Too dark, too low resolution, not fully articulated. If they just improved that and added 4k60p. Poor battery life is no dealbreaker because cheap powerbanks exist. 

I'd definitely try "STRONG". But also I recommend using another lens for the Zhiyun, shorter and lighter. Clearly the whole thing was designed to work best with weights between 800g and 1200g and a not too oblong form. Because you can tilt without limit with shorter lenses, and you can hold the gimbal for several minutes if it's not too heavy.
EDIT: for all those who search in vain for the WEAK-MEDIUM-STRONG settings in their Zhiyun app because a new version (red logo instead of blue) was automatically loaded from the appstore, here is a direct link to the old version:
https://itunes.apple.com/us/app/worldview-assistant/id1195283390?mt=8
Note: this version is called "World View", not Zhiyun Assistant, it works nonetheless.

Yes, film means additional challenges because you have to master the techniques. Because it's more complicated, the nimbus is greater. Orson Welles on cinema: the biggest electric train set any boy ever had.
I find myself enjoying books and comics more than movies. They became too elaborated in film language and are constantly trying to overwhelm me. They look too perfect to make me suspend my disbelief. It's like you are offered a wooden horse for the hundredth time. I am actually more immersed with less audiovisual input.

Spec-wise, that means on paper, the GH5 crossed every t and dotted every i, but yet, in direct image comparison to the smaller and cheaper A6500 (my choice eventually, no Sony fanboy at all) there is no clear winner - see proof on Youtube. Both have their issues. The GH5's unique feature, 10bit in V-log, apparently doesn't win over simple 8-bit S-log2 as far as DR is concerned. The biggest downside of the alpha 6... series is the display. Too dark, too low resolution, not fully articulated. If they just improved that and added 4k60p. Poor battery life is no dealbreaker because cheap powerbanks exist. 

Spec-wise, that means on paper, the GH5 crossed every t and dotted every i, but yet, in direct image comparison to the smaller and cheaper A6500 (my choice eventually, no Sony fanboy at all) there is no clear winner - see proof on Youtube. Both have their issues. The GH5's unique feature, 10bit in V-log, apparently doesn't win over simple 8-bit S-log2 as far as DR is concerned. The biggest downside of the alpha 6... series is the display. Too dark, too low resolution, not fully articulated. If they just improved that and added 4k60p. Poor battery life is no dealbreaker because cheap powerbanks exist. 

They reposted the old app. I put a link to it in the read more section of the video

Exactly. Also:
Many seem to mix up the words professional and high end. An Alexa or a 20.000 Dollar cine lens don't support autofocus. Does the camera operator therefore have the camera always sitting on a tripod or on his shoulder? - because these were the only modes that allowed him to focus manually? 
Hardly. Take a closer look at any modern film (cinema, TV/PPP-series). If you look at them shot by shot, you'll realize that there's a big percentage of steadicam shots, for which someone else has to pull the focus.
One has to do with the other. The higher the resolution, the smaller the pixels (particularly if the video image is downsampled from even more megapixels) and the shallower the DoF due to bigger sensors, the less acceptable is the good old hyperfocal distance, which allowed - through short focal length in combination with smaller aperture - a fixed-focus and point-and-shoot solution. With 4k viewed on 4k displays, we've all become pixel peepers. 
For a low end user (and no professional) like me this means that a lot of shots I dreamed about in the past became possible now that gimbals and good AF are available and affordable.
... and will be nothing special anymore. People will have to learn to hold off. Forbid themselves "narrative pans" (like in the opening of Rear Windows), bragging with pointless sequence shots or overuse of focus transitions (which should be really rare and well motivated). 
That said, I never was a big tripod fan. I'm glad that there are IBIS and OIS. And gimbals. And AF. And miniature field recorders. Better lowlight. Spare me a lot of expensive and heavy rig junk. 
The argument that pros don't use AF doesn't impress me. I shrug. So what?
 

Exactly. Also:
Many seem to mix up the words professional and high end. An Alexa or a 20.000 Dollar cine lens don't support autofocus. Does the camera operator therefore have the camera always sitting on a tripod or on his shoulder? - because these were the only modes that allowed him to focus manually? 
Hardly. Take a closer look at any modern film (cinema, TV/PPP-series). If you look at them shot by shot, you'll realize that there's a big percentage of steadicam shots, for which someone else has to pull the focus.
One has to do with the other. The higher the resolution, the smaller the pixels (particularly if the video image is downsampled from even more megapixels) and the shallower the DoF due to bigger sensors, the less acceptable is the good old hyperfocal distance, which allowed - through short focal length in combination with smaller aperture - a fixed-focus and point-and-shoot solution. With 4k viewed on 4k displays, we've all become pixel peepers. 
For a low end user (and no professional) like me this means that a lot of shots I dreamed about in the past became possible now that gimbals and good AF are available and affordable.
... and will be nothing special anymore. People will have to learn to hold off. Forbid themselves "narrative pans" (like in the opening of Rear Windows), bragging with pointless sequence shots or overuse of focus transitions (which should be really rare and well motivated). 
That said, I never was a big tripod fan. I'm glad that there are IBIS and OIS. And gimbals. And AF. And miniature field recorders. Better lowlight. Spare me a lot of expensive and heavy rig junk. 
The argument that pros don't use AF doesn't impress me. I shrug. So what?
 

"Pulsing" in AF mode is an old Pana problem, facing FZ1000 and new models too (as the FZ2000). The only way to sail around this AF flaw (continuous AF) is to lock and use the area mode (I told this @jonpais in this forum some times though...). When using a Pana in area mode (subject within a fixed AF area), there is no much pulsing/micro-hunting forth and back (microadjustments of the faulty AF).
Take a look at the "successful" AF video of PhotoJoseph...Full of visible and abyssmal pulsing forth and back in the background. Look at the video of Peter Gregg...Again the pulsing when focusing on the remote of his TV...Hehe, this is a "P&P"-camera - permanently pulsing and pumping...
It's simply a shame to blame users by saying, they can not handle it. Same users do well with Canons DPAF and with Sony's standard settings. No need to go to a university to use AF. It's simply a barefaced claim of fanboys & paid henchmen, who simply don't want to accept the truth. BTW: I use more Pana cameras, but AF on them is simply BS...far away from current standards...By "tweaking" you can get it to work in some situations...Continuous AF for professional use has to be reliable, that's why many DOPs rent the C300 mII...
The AF ist not a great strength of the GH5...But as many Pana fanboys claim, AF is only for pussies... 

I actually know how it is when Windows and Mac users sit together. No evangelizing, just respect and acceptance for the other's system. Everybody around is fully aware that this is necessary. Don't frown or shake your head. Don't praise a friend's workflows either (despite your internal disagreement), even this poisons the communication, because people tend to be so touchy (why?) that they sense the false tone immediately and find it unbearably patronizing and dishonest. Keep your mouth shut (as you said). Tell outright that you don't participate in discussions about your or their OS or NLE preference. My New Year's pledge.
But then again, someone makes a remark (I won't repeat them, read above). Keeping my mouth shut isn't easy then. But I will. 

I actually know how it is when Windows and Mac users sit together. No evangelizing, just respect and acceptance for the other's system. Everybody around is fully aware that this is necessary. Don't frown or shake your head. Don't praise a friend's workflows either (despite your internal disagreement), even this poisons the communication, because people tend to be so touchy (why?) that they sense the false tone immediately and find it unbearably patronizing and dishonest. Keep your mouth shut (as you said). Tell outright that you don't participate in discussions about your or their OS or NLE preference. My New Year's pledge.
But then again, someone makes a remark (I won't repeat them, read above). Keeping my mouth shut isn't easy then. But I will. 

I am continually amazed at the lack of congeniality that is exhibited on this forum.
Ad hominem attack is the standard of the day ... disagree with me and I will make you look so low, so incompetent ...
Really guys it is all marketing ... find a platform that works for you ... shut your mouth and show your output.
Ideally if we were all sitting in a pub ... talking then the interchange would be perhaps a bit more civil. Should
be the same here ... 
Started with CPM moved to DOS then to Apple then to Windows then to Unix then to Windows then to Mac OS ....
It is all a window painted onto the reality of the hardware ... nothing more. You like Tomatoe I like tomatoh
But to assume you are my better because of your hardware ... knowledge ... sensibilities ... 
Would love to see a mature discourse on this site that did not degenerate into an immature attack that does nothing to
advance the knowledge of those who hope to be informed not entertained.
Just sayin ...
Bob

Before flat panel TVs there was a not-so-popular solution to achieve bigger images: rear projection. That's what it looks like, an NTSC-video rear-projected. But one thing is true: the image is big! 
I saw another review:
Well, it's not exactly "pretty lousy" but not "brilliant" as other reviewers call it. The truth is in between.

Good to know, thanks.

Only lately I was tempted to buy the GH5 (after I had sold my Pocket), but decided to give the A6500 a try. Reluctantly, because ...
> I had seen the awful menu of the A7S and A7rii
The menu is a mess. Fortunately, you have the FN-button and can dial M1-M4 for quick access and your preferred shooting modes. 
> I'd never liked the Sony "color science"
There is S-Log2. Within the last 2 months, I learned to expose it properly and (almost, with the help of the histogram) intuitively for every situation except night shots, where Cine1 seems to work better. The DR preserved within S-Log2 is very good, the GH5, 10-bit or not, has less. The colors? I tried a few things and found the Omeneo primers (20 bucks) to be to my taste. Not much headroom left for extreme grading, but I'm not good at that anyway.
> I was sceptic about the usability of AF
Yes, I always focused manually. I still do, with very shallow DoF or in dark, low contrast places. But for most situations, the AFC is better than me. Fast, spot-on, reliable, no hunting.
> I did not like any of the lowlight demos
... but nobody forces me to shoot like this. What's wrong with being able to shoot at ISO 6400 without needing Neat? 
> I heard terrible things about the rolling shutter
I found this to be true. The solution to this is IBIS. Problem solved.

Only lately I was tempted to buy the GH5 (after I had sold my Pocket), but decided to give the A6500 a try. Reluctantly, because ...
> I had seen the awful menu of the A7S and A7rii
The menu is a mess. Fortunately, you have the FN-button and can dial M1-M4 for quick access and your preferred shooting modes. 
> I'd never liked the Sony "color science"
There is S-Log2. Within the last 2 months, I learned to expose it properly and (almost, with the help of the histogram) intuitively for every situation except night shots, where Cine1 seems to work better. The DR preserved within S-Log2 is very good, the GH5, 10-bit or not, has less. The colors? I tried a few things and found the Omeneo primers (20 bucks) to be to my taste. Not much headroom left for extreme grading, but I'm not good at that anyway.
> I was sceptic about the usability of AF
Yes, I always focused manually. I still do, with very shallow DoF or in dark, low contrast places. But for most situations, the AFC is better than me. Fast, spot-on, reliable, no hunting.
> I did not like any of the lowlight demos
... but nobody forces me to shoot like this. What's wrong with being able to shoot at ISO 6400 without needing Neat? 
> I heard terrible things about the rolling shutter
I found this to be true. The solution to this is IBIS. Problem solved.

The Sony A6500 can be powered via USB (but then you can't use a remote, there is only one USB port). The 30 min limit can easily be removed with open memories tweak, and the overheating shutdown can be overridden in the menu (in a test they had it record for an hour in midday sun). I have that checked, but to be honest: I'd never record for more than, say, 20 minutes, because it gets very hot. Can't be healthy for the sensor ...

I see. Then you need to know a few things:
> The rolling shutter of the A6500 is really, really bad. To an extend where it's unacceptable to shoot handheld without IBIS. That means you can't use a zoom lens if it can't communicate with the camera. Old zooms can't (=you can't use them), new ones only can if the adapter is reliable. On the other hand, if you have IBIS (or Dual-IS), this spares you a cumbersome rig. You can adapt old *primes* with cheap adapters (of course they must have an aperture ring then too) and still have IBIS, because you can record w/o lens and set the focal length manually.
> AFC of the A6500 is very useable. The E-Mount AF-lenses tend to have servo-rings for focus (slippery, bad for MF) with very short ways, which makes the AF quieter and faster. But of course, with very shallow DoF and if the AFC area is not permanently set to center, you will have problems even with native lenses. 
> with the said Sigma 18-35 and the MB, AFC works for short distances (short ways), but is then too slow for a bigger focus transition with open aperture. This would take too long. My advice: forget AFC with non-native E-mount AF lenses altogether!

I can try to get a tutorial for that in. I have been on back to back shoots for over a month now so not much time, but I will try to get something in soon for that. Thanks!

EasyDCP is, as it says, the easiest way to export a DCP there is. Did that a couple of times with my own stuff, and didn't worry about the watermark. Just keep in mind that DCPs usually need to be 24 (not 23, 98...) fps, and that "2k" either refers to 16:9 - 1920 x 1080 (if an HD film runs in between 2048 clips, it will then have narrow black borders on all sides) and 2048 x 1152- or 17:9, 2048 x 1106 (standard cinema widescreen, as you can see similar to HD). Or of course Scope, 2048 X 848.
However, EasyDCP is not free, the licence is like 1500 bucks last time I checked. OpenDCP (for instance) is free, and afaik it now accepts ProRes as input, but the audio needs special treatment. You should then read the FAQ. And test the DCP in (any) cinema in advance!
EDIT: I consider it somewhat risky to have just one day left for your first DCP. It's about as complicated as authoring a DVD, and as many things can go wrong. So either you hurry to get it done on your own and test it, leave the task for someone who did it before or ask the cinema, if their projector likes Blurays or has a scaler (that means the projector accepts any laptop signal like a beamer would). Probably the standard with every newer server-projector-system because it allows to rent the cinema out to companies for keynotes and sth. like that.

You bet, and it even has been proven scientifically. It was a report in a german magazine for cinema owners some 20 years ago, so I have no links for you to read, but let me explain the method: 
The same film was shown to big audiences various times in the same cinema, in mono and surround, with different sound levels. Right afterwards, the people were asked to sum up the plot on one sheet of paper. The most accurate and most detailed descriptions came from those who listened to the loudest surround screening. A good sound mix also emphasizes emotions much better than the best graded images. Those audiences also generally liked the film more.
Personally, I often think that very much stylized and abstract images with very rich and atmospheric sound and music work best to trigger the 'suspension of disbelief' and let the viewer invent his own, deep and emotional story. Much in the way you lie in your bed and listen to your grandma's voice who reads you a fairytale. Is what you imagine then less intense than the latest Hobbit? I don't think so.

@Axel Yes and no. It would of course make the monitor unnecessary for most applications. But then the monitor can use a sun shade (you will always struggle to see the camera screen in really sunny environments), has custom LUT preview, custom aspect ratio markers, false color, etc. so I would still find use for it. After all you can use the monitor also when on a shoulder rig or tripod, plus it has a full HD screen so it helps with manual focus.
And yes, it's the SmallHD 501. Bought it when it was on sale for like 600$ at B&H.

Thanks, mercer, this is a very good trick for ETTR, better than using zebra. If it comes to skin tones, the best method for checking exposure would be false colors. One should check if a monitor has this feature.  

Yeah monitoring rec709 helps a little, the screen is still faded but between that and focus peaking, which works great with the a6500, it is doable.
And yes, the metal from the cage works as a heat sink.
I didn't have any issues with Wasabi Brand batteries, but I only used the camera a few times, so I concede to Oliver's suggestion.
With the IBIS, I found using a neck strap, keeping my elbows at my sides and pulling the strap taut helped. As Oliver said earlier, subtle slow movements are your friend... any quick pans or jerks and RS jello will invade the shot. 
Also, experiment with the sLog2 settings but don't obsess over them. A minor tweak here or there won't make much of a difference. In the end, with my RX10ii, I ended up using a combination of GeoffCB's GFilm and Flaat for the a7s...
http://www.similaar.com/foto/flaat-a7s/download.html
sLog3 is awesome but I almost recommend not even bother trying it because once you do you'll be chasing those 14 stops of DR and just end up in banding hell on half of your shots... but the ones that don't have any banding will look amazing.
Also cine2 profile is your friend if you don't want to correct and grade sLog2... in fact a lot of people suggest using it over sLog due to the potential artifacts using sLog with an 8 bit codec.
With a light hand in post, you shouldn't have too many issues with sLog... but overexpose by 1.3 or 1.7 stops, depending upon your light for best results.
The a6500 has the ability to use auto ISO with manual lenses. You can set a minimum and maximum ISO... I used 800 and 1600, or sometimes 800 and 800. The cool part is now, even with manual lenses, in manual mode, you can use exposure compensation to set your +1.7 stops. If you don't have enough light, or too much, the meter will blink. It makes the camera's meter act as if you were shooting in Shutter Priority mode. Then if you're using a variable ND filter, you can adjust accordingly until the blinking stops.