sanveer

The DR in that video looks like 8 stops. Not so hot, probably user error, I hope.

I hope if/when Andrew will sell his beloved EOSHD, he may open a new one where we can all come aboard once again : D along his unique contribution to the mirrorless world IMO as the most important pioneer (of the whole press) he is :- )

@Andrew Reid wouldn't you like to pass the buck with a nice review of the GH6 and, maybe, one last artistic shot?

I bought my Resolve Studio 17 for $145.00 on ebay. Lots of people sell them when they buy the Blackmagic.controller. It's just a credit card looking thing now you get.

Thank you @kye

Thank you @kye

Thanks for that panel discussion link, truly informative!
The section that I most wanted answered was regarding whether or not the USB-C port will be able to provide both power and data transfer (e.g. power the unit while recording RAW to an SSD) simultaneously? At the 55:50 mark Panasonic's Matt Fraser goes to check it out with the camera he has but the subject never gets revisited in the video.
If it does turn out to be functional/possible then I would hope that either Panasonic or some 3rd-party folks might also be working on some sort of SSD/battery combo device to fill that need and provide for that functionality? Maybe something in a battery grip design with a short USB-C cable that will both record-from and power-the-unit at the same time?!
To muse further...had they added an HDR rear display (ala Atomos, BlackMagic, etc.), it would then have negated the need for a cumbersome Ninja or VideoAssist for monitoring (?), would make for a tidy and stealthy package for us folks who like-to and need-to travel as light as possible!
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Regardless of my hopeful ramblings...the camera is shaping up to be a 10-bit internal recording beast, it will be nice to stretch my creative impulses with locational natural-lighting possibilities with the extra DR and bit-depth and see how it helps out in those brutal imaging and lighting environments outdoors (i.e shooting into the sun or against excessive specular highlights, etc.). Fingers still crossed on the whole internal RAW thing (ala Nikon, Canon, etc.) coming to be for this camera. 🙂
 

But they are factory ready for shooting video. Just not with a 180-degree shutter. Cell phones, action cameras, dashcams etc all lack NDs, do they not shoot video? Ugly video is still video.
I'm not sure we'll ever see hybrid cameras come with built-in NDs outside of a few models that are very video-biased, in the vein of an S1H, GH6, etc. It just adds too much bulk to keep the traditional photo-camera form-factor.
You have to have room for an assembly a bit wider and taller than the sensor to completely slide/rotate/flip out of the way. Ideally you'd have a clear replacement to keep the backfocus to the sensor consistent. And this is competing for space with IBIS and mechanical shutter mechanisms.
If global shutters ever happen without DR or sensitivity compromises, that would clear up some room I guess.
You could use a fixed E-ND that doesn't need to move, but then you're always losing whatever its minimum setting is... a stop, two stops? Low-light sensor performance hasn't improved enough lately to absorb that difference and stay competitive.
IBIS is too valuable to photographers (and many videographers including myself) to trade it for ND. Adding an ND to my lens or lens adapter is massively easier than adding and using a gimbal.

At 27:45, he mentions 16-bit RAW. Which me6snd that the signal strength (can be further widened and?) can help with exposure latitude making it as good (if better than) RAW codecs on larger cameras. Though he mentions that it's for photo (for now?). Maybe, if it does external 16-bit RAW, that would be superb. Also, I hope Panasonic releases a much thinner version of that awful looking Yagn, for real-time compressions into an external RAW recorder (SSD) at 1:3 to 1:18, thereby circumventing that RED patent and also having a recorded for quicker turnaround. 
 

It depends on what you're trying to do really.
Before the DSLR revolution shooting a video was likely an auto-SS kind of situation and shooting a film was more of a completely controlled full-manual situation.
Really, the concept of shooting something that looks like a film but is shot like a video (ie, with no control over the situation) is something quite new and quite indulgent, in a sense.  To want it all, so to speak.
I will be the first to admit that it's what I do, I absolutely want to walk around in the world waving a camera around with one hand and somehow miraculously getting silver-screen quality images.  Vloggers and low-budget film-makers and corporate and wedding and event videographers are often in this camp as well.
But the industry hasn't really caught up.  It will, and I'd imagine that in 5 years or so many video-first cameras will have auto-eND filters in them that can do it for you.  I look forward to that day, but in the meantime I just use auto-SS for my videos (as they are actually videos) because for what I shoot, speed matters in getting the shot, where I currently sometimes catch the moment only by a couple of seconds and if I added having to adjust exposure to my camera operating responsibilities then I'd often miss shots entirely.

We all know, that the Exposure Triangle is mostly not applicable for video. Because one cannot have super high shutter speeds for 24p video, or randonly keep varying the f-stop across frames or scenes. While ISO limits have probably becoming wider in terms of usability, camera which have minimum ISO for log profiles have lesser options, since the base ISO starts pretty high.
While this may be acceptable for well controlled environments, it may not be possible for most run and gun shoots, or shoots without absolutely natural ideal lighting conditions (natural and cameras specs being coincidentally complimentary)  or shoots without elaborate controlled lighting. 
So, would be be fair, that for video shooting, ILCs/DSLRs, not having internal NDs (whether manual or electronic), is actually a bad unfinished job. Because without internal NDs, the cameras are not truly factory ready for shooting video. They could be for photos, but not for video. So, why even make the video shooting devices without such NDs? 
What do you think? 

We all know, that the Exposure Triangle is mostly not applicable for video. Because one cannot have super high shutter speeds for 24p video, or randonly keep varying the f-stop across frames or scenes. While ISO limits have probably becoming wider in terms of usability, camera which have minimum ISO for log profiles have lesser options, since the base ISO starts pretty high.
While this may be acceptable for well controlled environments, it may not be possible for most run and gun shoots, or shoots without absolutely natural ideal lighting conditions (natural and cameras specs being coincidentally complimentary)  or shoots without elaborate controlled lighting. 
So, would be be fair, that for video shooting, ILCs/DSLRs, not having internal NDs (whether manual or electronic), is actually a bad unfinished job. Because without internal NDs, the cameras are not truly factory ready for shooting video. They could be for photos, but not for video. So, why even make the video shooting devices without such NDs? 
What do you think? 

Please do share the details here, too.
(I find that the GH6 seems to have been improved in so many amazing ways. The 100MP handheld alone is pretty insane.).

I was really happy when I realised that the GH5 2x in 1080p was downsampled - it is even downsampled in the 1080p60 too, so if you shoot 1080p ALL-I codec then you get full-readout and 2x digital zoom downsampled in every framerate, and you also get the 1:1 ETC which is a ~2.5x zoom.
How odd that the larger cameras don't have as good video modes in this way.  The GH5 was the flagship though so maybe the S1H has those modes?
Fascinating about the 16-bit output.  I guess it might depend on the sensor mode.  IIRC other sensors sometimes have a higher bit-depth readout mode with limited fps, and then a reduced bit-depth mode where they get higher fps readouts, so maybe the 16-bit can only happen at 10fps or something.  
It would be great to see if that's possible at the 60fps speeds that the DR boost feature can do for video.
That makes sense.  Potentially then it's quite a different equation for your ND setup, but I keep thinking that all you need to do is work out what the maximum and minimum amount of ND you will need in daylight and just buy a fixed ND that compliments your vND to give you that range.  Then after sunset you remove the fixed ND and your vND should cover the range of shooting under artificial lights.  ISO 2000 should be a good base ISO for most low-light situations, so you should be using your vND even after dark anyway.
The GH6 is 5760 x 4320 and the GH5 is 5184 x 3456 so if you multiply those out then you get a 38% increase in total number of pixels, or a 11% increase in width, so not entirely sure where they're getting that number either.
Still, it's more pixels, and not stupidly more pixels, which is probably the right balance.
Yeah, odd, but I agree that the GH6 is a winner.
I see so many tiny little improvements they've made - I was contemplating writing a summary of what improvements I see that would be relevant to me in the real world and how I shoot.
The ISO performance on the GH6 is pretty darn good!

I think it was the combination of the screen and the fan.  
I'm super happy with it as it's not too much larger and it's not larger from the front, which is what matters from the perspective of shooting in public and not gathering too much attention.  By the time you put a lens on a camera, then depth of it is huge so a few extra mm isn't a big deal.
My suggestion is to start with how and where you shoot and work backwards.  For events you'll probably be valuing flexibility over other performance, so you're probably talking about zooms.
Then the question comes of how much you care about having a long zoom range vs having a faster aperture.  At one extreme you've got the 12-35mm F2.8 which is the fastest but shortest zoom, then things like the 12-60mm F2.8-4, then all the way to 12-100mm F4 and even the 12-200mm F3.5-6.3.
I don't shoot events but my understanding is that mostly there is decent light, and many here have commented that the longer zooms work best because you're always just a zoom adjustment away from the shot.  Especially with the improved low-light from the GH6.

Anyone found any good Vari NDs that can handle 10+ stops? I use an SLR Magic on GH5. It maxes out at 6 but doesn't introduce any significant colour shifts that I've noticed. 
I'm also wondering about 1080p land, as that's where I'm very happy.
1. Will 1080p be as artifact free (moire, aliasing, softness) as GH5 is?
2. Will we be able to do some sweet EX Tele in 1080p? This is a godsend for run and gun or events. No need to change lens (and ND filter!). Hypothetically we should be able to get to 2x downsampled centre crop of 4k. This means I could live with one speedboosted 24-70 f2.8 lens on the camera for 95% of the time (effective equivalent range of 30 to 180mm with a 0.64x booster)

I guess it's official in Europe. OMDS is no longer accepting pre-orders for the OM-1 due to high demand. It's funny because some people thought it wasn't worth the price tag, but the evidence shows otherwise.

I don't know if this has been posted before, but this review is very important from a user's perspective (IMHO). Also, he tests a lot of things, especially in comparison to many previous M43 cameras, and also the A1 (for autofocus). 
 

Wonder if Felipe used a Sony?
Fucking reprehensible.

Shooting video at f22 is gonna be a thing.
Yup, that shallow DOF is sooooooo 2021.

This is available in mid-March for €349 and could be a very interesting alternative to the F6 if you only need 2 channels and/or prefer to have something much more compact for camera mounting.
Runs for 8 hours on two AA batteries and with the optional BT1 adapter it can not only be remote controlled but also have wireless timecode sync over BLE.
I think the F3 would partner up well with a couple of Zoom's F2-BT lav recorders to make a very capable 4 channel 32 bit float audio system that would all be timecode synced and remote controlled through BLE for around €700.
Not having to worry about setting levels and never having to wonder whether the lav mics are in record mode etc would be a boon for solo operators in a hurry.

Yes. Caleb mentioned that the new colour science is vastly improved. 

They do have a chart of sorts - it's a few posts back.
Short answer:
Normal VLog = 4 point something stops above, the rest are below
DR Boost VLog = 5 point something stops above, the rest below middle grey

This is a screengrab from the livestream.
P.S. I JUST noticed that @Roger posted it above