sanveer

Actually if Nikon claims the cameras have 12 stops in video, I would guess it's a little less than 12 stops. 

Since they're in Aus, they could actually do 1st Oct and (most of) their customers would still get it in Sept haha!

I would expect it to surpass it. Certainly does on paper. Apart from 4K 60P I see no reason to get the Phantom... I hate the form factor!

Just realised that DPR put out a dedicated video just for the 10 year anniversary of the G1:
 
 
 
Happy Birthday Panasonic G1, the world's 1st mirrorless! I never used you, but the Panasonic GH1 was my first ever camera I purchased for filmmaking. (after borrowing Sarah's Canon T2i or Tintin's Nikon D90 for a while to be able to do my film school assignments)
 
Then later on got the GX1, a G3, a GF3, and another GH1, and a G6. I certainly loved my Panasonics!

I agree with you. The average IQ (of people) in these forums is rather low ???
H.265 is at best, twice the efficiency per bit of H.264. The Panasonic GH5 has 400mbps in H.264 for 10-bit 4k. Which, for some people is still less, for the sheer amount of colour information needed. I am not sure how DJI will be able to pull off the 10-bit 4k at 1/2 (less) the amount of information/efficiency. 
Those figures dont make much sense. Could you post the links to these figures? 
 I am comparing stills RAW with Stills RAW. According to DXO Mark it is 12.5 for the Phantom 4 (which is most likely the same sensor).
https://www.dxomark.com/Cameras/DJI/Phantom4-Pro
 
For the X4S (12.6 stops):
https://www.dxomark.com/Cameras/DJI/Zenmuse-X4S
 
For the X5S (12.7 stops):
https://www.dxomark.com/Cameras/DJI/Zenmuse-X5S

The dynamic range difference between the 1inch Sony sensors and the top M43s (except perhaps the GH5s), is about 0.5 stops. Also, Sony uses the Slog brilliantly in its video codec implementation, pushing dynamic range very close to stills territory (for their A Series). 
If this sensor can be pushed by the HDR or DLog + 10-bit codec (actually even the 8-bit handled well TBO), then it could reach or come close to 12 stops in video. That would be better a lot of ILCs for video out there (even the GH5 does under 11.5 stops in video).
Like you mentioned, the 100mbps even in H.265 may be the weak link. 
 

And still no Cinelike D
I'm going to wait for the Leica version of it so I can feel as let down but with a slightly more elitist glow.

Sharing a few pics

I believe the movement from the left hand side of the road to the right, was the movement from swords to pistols, and which side should prepare you for a possible attack. 
I could obviously be wrong. 

And thats just the Houses Of Parliament.

Sounds like a modern day drive around some parts of London in the past couple of years.

Yep.I will definitely take 2.7k/60p 10 bit over 4k/60p 8 bit any day.Hopefully the codec is much improved over the way that the Mavic pro handles sharpening/NR.
I have done hyperlapse with the Mavic Pro before but it is somewhat limited by the flight time and the need to do a prerun in waypoint mode before. Also the app on my Crystalsky limits photos to once every 10secs as opposed to once every 2secs on the smartphone. At once every 2 secs you are looking at a 1 second hyperlapse for every one minute of flight  time.
The rumored price tag for the Mavic 2 Pro is US$1499 for the basic kit. That is a 50% price increase over the Mavic. While this sounds a lot I think it is pretty 'fair' based on the rumored specs.

Gonna be a big day tomorrow

Hahaha. My autocorrect is Chinese or something. This is still decent. In social media chats it indulges in all sorts of innuendos. I think they will arrest me soon for obscene language, very soon. 

Absolutely, I was just clarifying in case any unintended tone might have been coming across in my replies.
It was the availability of adapters that allowed a lot of people to dip their toe in the water with Sony in the first place though as they already had Canon glass which meant they didn't have to throw the baby out with the bath water and could also use Canon glass to fill the gaps in the Sony lens lineup which are still not completely filled even today.
There are also still plenty of Sony A7 cameras of various models with M mount adapters permanently attached to them to enable people to use them as a (much) lower cost alternative to Leica M and latterly SL cameras.
As far as the GH5 is concerned, I'd venture that for every youtuber posting "hey guys, whats happening, lets check out the face detect AF as I am sashaying towards the camera and appearing from below frame" videos, there are probably at least 3 other people using it with adapted (probably vintage) glass on it who would probably struggle to tell you where the AF settings where in the menu because that is the heritage of the GH line.
I will also venture to say that the adapter as weakness rather than opportunity issue will suddenly be put on the back burner by a lot of people when the BM Pocket 4K finally appears....
If you don't mind, I'm going to clip together a few lines from your posts because I'm getting a bit confused about your position over it so thought I'd clarify mine against those.
I'm reading that as you saying that
The lenses are the limitation of MFT That there are no fundamental limitations of MFT That the sensor is a fundamental limitation of MFT That the lenses are the limitation of MFT. I disagree with 1, 2 and 4. In the case of 4, primarily because 3 trumps everything and also because I don't even think Panasonic and Olympus in their wildest dreams ever thought it had a shot of taking over the entire industry.  
As per my example with the PL lenses, it is everything behind the lens that would negate their use so I agree with 3 for that specific context and quite a few others but it still does have its place.
I'm more than happy to agree to disagree and leave it there though mate  

No and yes, I guess. By the specs and pics, it really looks like an GX9 inside in a LX100 body with no modifications.

I always think that when M43 users see the need for extremely fast, large, heavy and expensive lenses, they are missing the point. BTW, the Zuiko 35-100 f2 weighs 1.65kg which is more than the Sony 70-200 2.8 GM. You see what you are really asking for is a bigger sensor....
https://camerasize.com/compact/#482.460,777.639,ha,t

@Cinegain what an exhaustive and interesting list. 
 
I agree. Sony seems to have gate-crashed the Mirrorless party. Big time. The fact that it has probably dethroned Nikon in many markets and had dethroned Canon recently in the US, which has pushed everyone in the ILC business into Mirrorless. 
Both were like Dead on Arrival. The Panasonic GM Series is Even Smaller than the Samsung NX Mini while having a larger sensor and much better image quality. 
 
You could add Price to that list, and with the A7iii, Sony seems to have dealt with almost every issue.
 
Various Panasonic (and Olympus?) Cameras do have ETC kind of zoom too, which are similar in function. Obviously with lesser megapixels, there is lesser megapixels to zoom in from . 
 
I guess reading from the above and adding a few points, Panasonic needs to address the following:
1. Video Dynamic Range on the Panasonics are mostly disappointing. If the GH5 can do 13 stops in RAW, why should VLog L be in the 11.36 stops range? It is definitely a forced handicap by Panasonic, which is a fundamental flaw witj the video codec (all profiles) on the Panasonics. And if the GH5s can do Over 13.5 stops, then the VLog L is definitely the weakest point on the camera.  On the Sony A7 and even the other A Series, SLog has dynamic range in video very close to that of the photo dynamic range, and mostly 13 or more stops (upto 14 stops). On Panasonic other profiles (non-VLog) have another Stop of 2 less of dynamic range, and you pretty much get the picture. 
2. Panasonic Needs to move go 14-Bit RAW photo on it's Flagship Cameras (the GH and G Series). The ability to push photos in post is just amazing. Recovery of 3-4 stops of shadows (or highlights), is just phenomenal on the Sony A Series. Panasonic Needs to implement this. 
3. Panasonic Needs to have PDAF. There is no other viable option. DFD is like 1-2 years behind the competition (wrt PDAF), and this is most apparent in video.
4. I am wondering whether Panasonic needs to Explore Image Fusion from a much smaller sensor like on Dual Sensor Smartphone Cameras? It could use the recently announced 1/2 inch Sony 48MP IMX586, sensor along with a 20-24MP M43 Sensor, combining information from both, and having excellent low light and very high detail for a 24MP Sensor, or have the option for 48MP in reasonably good light. Plastic lenses and other shortcomings and handicaps of smartphone cameras can also be dealt with this way.
5. Like someone suggested above, I too feel Electric NDs should be a standard on Panasonic's GH Range. That could really be an added feature in the next GH Series camera. 
6. The GH5s has shown that there is a market for non-IBIS and IBIS Cameras, in the GH Line to co-exist. Also, the JVC's GY-LS300 has shown that there is scope for a larger sensor inside Panasonic's M43 Mount cameras. It can help with much larger pixels or much higher pixel count, or both plus multi-aspect zooms.
7. While I never got to use the GM1 or GM5, a lot of people swore by them as being the best travel cameras. I am not sure why Panasonic ended that line so abruptly. Like someone mentioned above the 12-32mm is such an amazing compact zoom. Even the GX9 seems to be a strange decision, the GX8 after the GX7 and the GX85 in between. That entire line seems to have no consistency or roadmap. Which, unfortunately doesn't speak very well about the product line and the guys planning it.
8. I guess Most Importantly while Panasonic and Olympus and many others M43 partners  (Sigma, Voigtlander etc), are making some great glass, M43 is in need of some Super Fast 3x Zoom Glass like the Original Zuiko f2 Zooms, only with OIS and much faster autofocus. Like f2 12-36mm and f2 35-105 Zooms. They could have built-in speedboosters if it helps.
9. Panasonic does need a Higher Resolution (24-28MP) Model, and should not make all sensors around the 20MP cap, that seems to be the current standard.
 
Edit: like @jonpais mentioned (and so many other too), Panasonic's 400mbps is just too heavy a codec, and Panasonic needs a 100mbps equivalent of Sony's XAVC-S present in Sony's Slog, with the full dynamic of VLog (not in its present form, but in one that exploits the sensor's full dynamic range). The 400mbps is very processor and space heavy. And it doesn't justify the heavy bitrate. 

@Cinegain what an exhaustive and interesting list. 
 
I agree. Sony seems to have gate-crashed the Mirrorless party. Big time. The fact that it has probably dethroned Nikon in many markets and had dethroned Canon recently in the US, which has pushed everyone in the ILC business into Mirrorless. 
Both were like Dead on Arrival. The Panasonic GM Series is Even Smaller than the Samsung NX Mini while having a larger sensor and much better image quality. 
 
You could add Price to that list, and with the A7iii, Sony seems to have dealt with almost every issue.
 
Various Panasonic (and Olympus?) Cameras do have ETC kind of zoom too, which are similar in function. Obviously with lesser megapixels, there is lesser megapixels to zoom in from . 
 
I guess reading from the above and adding a few points, Panasonic needs to address the following:
1. Video Dynamic Range on the Panasonics are mostly disappointing. If the GH5 can do 13 stops in RAW, why should VLog L be in the 11.36 stops range? It is definitely a forced handicap by Panasonic, which is a fundamental flaw witj the video codec (all profiles) on the Panasonics. And if the GH5s can do Over 13.5 stops, then the VLog L is definitely the weakest point on the camera.  On the Sony A7 and even the other A Series, SLog has dynamic range in video very close to that of the photo dynamic range, and mostly 13 or more stops (upto 14 stops). On Panasonic other profiles (non-VLog) have another Stop of 2 less of dynamic range, and you pretty much get the picture. 
2. Panasonic Needs to move go 14-Bit RAW photo on it's Flagship Cameras (the GH and G Series). The ability to push photos in post is just amazing. Recovery of 3-4 stops of shadows (or highlights), is just phenomenal on the Sony A Series. Panasonic Needs to implement this. 
3. Panasonic Needs to have PDAF. There is no other viable option. DFD is like 1-2 years behind the competition (wrt PDAF), and this is most apparent in video.
4. I am wondering whether Panasonic needs to Explore Image Fusion from a much smaller sensor like on Dual Sensor Smartphone Cameras? It could use the recently announced 1/2 inch Sony 48MP IMX586, sensor along with a 20-24MP M43 Sensor, combining information from both, and having excellent low light and very high detail for a 24MP Sensor, or have the option for 48MP in reasonably good light. Plastic lenses and other shortcomings and handicaps of smartphone cameras can also be dealt with this way.
5. Like someone suggested above, I too feel Electric NDs should be a standard on Panasonic's GH Range. That could really be an added feature in the next GH Series camera. 
6. The GH5s has shown that there is a market for non-IBIS and IBIS Cameras, in the GH Line to co-exist. Also, the JVC's GY-LS300 has shown that there is scope for a larger sensor inside Panasonic's M43 Mount cameras. It can help with much larger pixels or much higher pixel count, or both plus multi-aspect zooms.
7. While I never got to use the GM1 or GM5, a lot of people swore by them as being the best travel cameras. I am not sure why Panasonic ended that line so abruptly. Like someone mentioned above the 12-32mm is such an amazing compact zoom. Even the GX9 seems to be a strange decision, the GX8 after the GX7 and the GX85 in between. That entire line seems to have no consistency or roadmap. Which, unfortunately doesn't speak very well about the product line and the guys planning it.
8. I guess Most Importantly while Panasonic and Olympus and many others M43 partners  (Sigma, Voigtlander etc), are making some great glass, M43 is in need of some Super Fast 3x Zoom Glass like the Original Zuiko f2 Zooms, only with OIS and much faster autofocus. Like f2 12-36mm and f2 35-105 Zooms. They could have built-in speedboosters if it helps.
9. Panasonic does need a Higher Resolution (24-28MP) Model, and should not make all sensors around the 20MP cap, that seems to be the current standard.
 
Edit: like @jonpais mentioned (and so many other too), Panasonic's 400mbps is just too heavy a codec, and Panasonic needs a 100mbps equivalent of Sony's XAVC-S present in Sony's Slog, with the full dynamic of VLog (not in its present form, but in one that exploits the sensor's full dynamic range). The 400mbps is very processor and space heavy. And it doesn't justify the heavy bitrate. 

I guess while this Site is called Eoshd.com, it was the GH2 (and its various hacks) that really got things going, and the various models of M43 cameras that got most indie filmmakers excited around here.
The Sony A7iii seems to have ruined the party for a lot of people, way more than one could imagine. And the below $2000 price tag has suddenly made things harder to sell, for almost everyone (Including Sony's own models that can be easily replaced by the A7iii, due to its price advantage, and plethora of superlat8ve features for the price).
It was the 10th Anniversary of the birth of the M43 and Mirrorless format, last week. While the GH5 and GH5s, and the Olympus OMD 1D are great cameras, their (former) $1999 price seems a lot, especially for Olympus.
What all areas do you think Panasonic and Olympus need to work on, to push the Mirrorless advantage for Mirrorless, now that Nikon is also finally crashing the party? 
Suggestions could be anything from the high bitrate (with no noticeable advantage except in very heavy grading) to the low dynamic range of VLog (between 1.5-2 stops below that of the sensor's in RAW), to the Lack of 14-abit RAW to lack of PDAF (on the Panasonic) etc.
 

I guess while this Site is called Eoshd.com, it was the GH2 (and its various hacks) that really got things going, and the various models of M43 cameras that got most indie filmmakers excited around here.
The Sony A7iii seems to have ruined the party for a lot of people, way more than one could imagine. And the below $2000 price tag has suddenly made things harder to sell, for almost everyone (Including Sony's own models that can be easily replaced by the A7iii, due to its price advantage, and plethora of superlat8ve features for the price).
It was the 10th Anniversary of the birth of the M43 and Mirrorless format, last week. While the GH5 and GH5s, and the Olympus OMD 1D are great cameras, their (former) $1999 price seems a lot, especially for Olympus.
What all areas do you think Panasonic and Olympus need to work on, to push the Mirrorless advantage for Mirrorless, now that Nikon is also finally crashing the party? 
Suggestions could be anything from the high bitrate (with no noticeable advantage except in very heavy grading) to the low dynamic range of VLog (between 1.5-2 stops below that of the sensor's in RAW), to the Lack of 14-abit RAW to lack of PDAF (on the Panasonic) etc.
 

Ok, interesting. Especially considering its like 1/4th the bitrate and 10-bit 4-2-2 vs 8-bit 4-2-0. 
 
Dave Dugdale did a video where he pushed the A6500 (I think that was the Sony model) against the Panasonic GH5, and he didn't notice very serious advantages of the Panasonic over the Sony. Also the 400mbps bitrate is just unnecessarily demanding on the space (and processors and cards). The XAVC codec seems to really have some secret sauce.
Plus the lower forceful limitation on dynamic range in VLog L seems to be a bad idea? 

I guess while this Site is called Eoshd.com, it was the GH2 (and its various hacks) that really got things going, and the various models of M43 cameras that got most indie filmmakers excited around here.
The Sony A7iii seems to have ruined the party for a lot of people, way more than one could imagine. And the below $2000 price tag has suddenly made things harder to sell, for almost everyone (Including Sony's own models that can be easily replaced by the A7iii, due to its price advantage, and plethora of superlat8ve features for the price).
It was the 10th Anniversary of the birth of the M43 and Mirrorless format, last week. While the GH5 and GH5s, and the Olympus OMD 1D are great cameras, their (former) $1999 price seems a lot, especially for Olympus.
What all areas do you think Panasonic and Olympus need to work on, to push the Mirrorless advantage for Mirrorless, now that Nikon is also finally crashing the party? 
Suggestions could be anything from the high bitrate (with no noticeable advantage except in very heavy grading) to the low dynamic range of VLog (between 1.5-2 stops below that of the sensor's in RAW), to the Lack of 14-abit RAW to lack of PDAF (on the Panasonic) etc.
 

@BTM_Pix just give him a kidney ???

@BTM_Pix just give him a kidney ???