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@KnightsFan it's only being manufactured by them. Z-Cam did the reverse engineering, design and coding to have the lenses communicate with their camera bodies.

Been using the C70 the past few days and have to admit I wasn’t the biggest fan at first. It felt a little unwieldy to use, I’d have loved to have been able to swivel the handle a little as the joystick is in a tricky spot to reach sometimes. The dials are also a little oddly placed. Second day filming and it feels a lot more natural after I started to think of it more as a small cinema camera rather than a big mirrorless or DSLR. As always, love the internal NDs, like having false color and so many customizable buttons. The DPAF seemed snappier than the C200 but still not perfect and not something I would fully trust for some shots. 
Footage seems clean, not overly sharp but I haven’t really had time to play around with it properly yet. I’m still not entirely sure the price is justified, it seems a little high in Europe especially, but once it drops a little with cameras appearing on the used market I think it will be a lot more attractive. The BMPCC4K, and even the LUMIX S1, have really screwed with how I perceive what a camera is worth these days. There’s so much value to be had at lower price points, it’s really becoming more about convenience features and ergonomics.

Wow.

The above: Z 6 recorded in 10bitProRes 422 HQ using the Ninja V. Nikon N-Log LUT used for grading. DX Z 16-50mm lens.
 
Shot in DX mode with Nikon DX 16-80mm ED lens. and the FTZ adapter.

Wow.

If Apple was interested to have a pro camera business, they would buy RED. They didn't. 

I’ll let you guys see this. I had the chance to try out the C70 and A7SIII side by side on a very simple shoot. 
Using 4k100fps and 4k50fps. 
I have more interesting projects to show soon! 
 

I am indeed! I meant to thank bloggers (including Andrew specifically) for bringing the issue of overheating up so much. The pressure about the timer nonsense forced Canon to change the way the camera monitors temperatures, which is the reason the mod works at all.

I'm fine with Mac, I have no problems with it. I have a whole business ecosystem around it. All the apps I've bought are Mac. 
I've used FCP for 13 years. I'm happy with it and making platform changes isn't a priority whatsoever. 
I also don't like Windows OS. I get no pleasure using it. 
Sorry to disappoint you. 

I use FCP and have done for 13 years. I'm not using a PC, ever. Sorry. 

I stopped using any IS for my real estate GH5 gimbal work. I just turn it all off, I shoot 60FPS and stabilize in post if needed.  At least for the MFT sensor size I found I could get much better results this way. I also spent many hours tweaking my Ronin S settings and perfecting my ninja walk. What I have learned after many years of shooting real estate videos is that you literally should slow every movement to nearly a crawl, especially pans and walks. If you don't start out super slow with every movement you will regret something about the footage later.

By moving super slow you will not need IS at all as long as your gimbal settings are optimal. I then use speed ramps and 60FPS to control the actual speed of the footage. You can always speed up footage, you can't always remove instability or slow down the footage enough to make it smooth. But if you start super slow and focus on stability you have much more flexibility in post. For really large properties I've seen people on YouTube use things like skateboards, etc.....to try to remove the up/down bouncing, but if you perfect your ninja walk and go super slow or use speed ramps Resolve can even remove the Z axis movement.
The other mistake people make is when they speed ramp real estate footage they only go to 200% or 500%, that's a mistake, that just magnifies any instability that is already there; if you are going to speed ramp do it right.....jump to 2000% or higher then add the motion blur FX and suddenly your footage is buttery smooth; then drop the ramp down to 50% since you shot 60FPS and it looks great. Obviously don't over use this technique and its better for larger houses or commercial properties; for smaller ones I use a mixture of a monopod for pans, tilts, and detail shots, and only a little gimbal work and jump cuts to go from room to room.
But back to the S5, I haven't shot any real estate with it and really don't know what lens I would use if I were to shoot one tomorrow. I feel like the 16-35 EF Canon lens that I have would be too front heavy for the gimbal. It would be great if Panasonic released a 14mm F1.8 prime lens for landscape/real estate use.

Some other interesting pretty neat useful feature is this one, never seen before going along a smartphone AFAIK:
 

Some idiots came first.
Many idiots came after the algorithm.
The reasons are many. The dissemination and profiteering (by the social tech companies) is just part of the problem. The profits first approach is the cause of much destruction in the world from ecological to societal to our own mental health.
I’m not a doom-and-gloomer but there are seriously dark times ahead. We are seeing even the craziest bat shit fringe bumbling up to the highest levels of society. We are seeing massive inequality in wealth breeding a tinder box of dysfunction and disillusion in everything.
A reset is coming. It probably, most definitely, won’t be pretty.
 

I watched this video just for the comedy factor. Just watching the video started giving me a headache. The Panasonic S5 is such a joy to shoot with compared to the R6. It's like Canon is selling a sports car but puts a limiter on it, rations the amount of horsepower it can put to the wheels at random times, then expects you to thank them those few times you can actually drive it like their marketing material said it could be driven.
 
 

Here are some frame grabs from my first feature length film Bad Decisions. I started on the GH4, then shot some scenes on the GH5. I will finish this next year with the S5 and S1H if COVID-19 doesn't turn into COVID-20. 😬 I'm probably going to go straight to Amazon Prime. My budget thus far has been $10K and I have another $3K or so for the last two scenes. 
As so many of you know, no ifs, ands or buts about it; filmmaking is fucking hard!  This is probably why this is my last one. I've been discouraged so many times that I had pretty much decided to delete the whole film and just quit altogether. But looking at these grabs, and knowing that I lit that, I blocked that, I wrote that, I shot that and I directed that gives me the courage to complete what I've started. It would be nice if I break even, but even if I don't, I can say that "Hey, I did that!" And boy I didn't do that alone! I had so much help from friends, family and complete strangers that it's too much to even count! They were angels, there just when I needed them, and for not a moment longer,
There was one scene, that I was shooting straight guerrilla style. I needed to shoot on three city blocks at night, and I had to light it, and there was a gun scene that kinda made me nervous for the safety of the cast and crew. We have no permit process in my city, so I went to the police department, and explained what I was doing that night, and they were like "Ok".
As soon as it got dark around cast and crew call time was at 6pm. We went to the neighbors houses and let them know what we were doing. We started blocking, and laying down markers for lights tripods and actors. It got dark at 9pm, and we started shooting. We were shooting in moving cars, had special effects, and every scene was lit. We even faked a window getting shot out. We wrapped that scene at 5am the next day, right before the sun came up.
Do you know for the entire time we were shooting, not a single car drove up any block visible? It's like we rented 100 homes, paid everyone to stay inside and blocked off the area for a 1/4 mile radius! God was most definitely on my side that day, and it was one of the best scenes in the entire film!

I did it guys. I went back to the Sony F3! Finally found a descent deal on it. 2.1k for all this. Since I don't need the 4k I was between this, a canon c300, c100, Sony fs5 and fs700. 
The F3 with 444 has 850hrs and the pix e5 came with 960gbs of storage. 

Logically, you'd think they'd put the R5 internals in the C70 style body, whack on an EVF and even double the price if they wanted to and serve up a powerhouse that still undercuts the Sony FX9 by 20%.
Then you wake up and remember who's logic it is that we're dealing with.
 

Indeed : )
And if Spielberg's Saving Private Ryan is typically the finest example for high shutter speed creative use from Janusz Kaminski's tip, Mel Gibson's Apocalypto (cinematographed by the Aussie Dean Semler) is the opposite for a 360 degree shutter or open shutter, that is, double motion blur when a video smear look ends as purpose. Just for our matter of taste on the basis of need, function and alike. Not everyone sees it in the same way, no matter what. We can't all share the same yellow colour in point of fact.
a7RII release, as for instance, came along its slower shutter speed capability in video mode beyond the 360º shutter as a very special hybrid acquisition experiment tool as you wish (I am used to shoot both video and stills with my Blackmagic Pocket series in 2020).
Here's Dan Chung's sample:
https://indietips.com/shutter-speed-and-shutter-angle-explained/

@Nathan Solomon Please keep us up-to-date, I am personally enjoying following this project and am interested in pursuing doing something similar. 🙂 Everything you share is a great help.

This youtube video lists the camera as "Ursa Mini Pro 12k".
Wow - impressive!  The color rendition is special in the way that the different shades of a color appear distinct and unique even when they are very similar.  I also like the motion cadence.  The image is solid and without distraction.  It's nice to not have any obvious flaws that steel my attention from the content.
 

There will be PREs if the codec is lacking for the main log format; only the Cine-D Pre would be needed, but I like that HLG on the GH5 could use the default saturation setting.
The standard bar is absolute for each new camera; I'd like to do a comparison in the future, wherein the same subject is filmed with every camera. Here are the Alexa, P4K, and GH5, with the most recent conversions/EC709:


It will interesting to see; I hope to explore it soon!
All-I will give you a codec advantage over 8-bit 60 (and 10-bit 150mbps 24). There is less macroblocking and denser color gradients. The exception is 1080p 100 Long, which was similar to All-I in my gradient motion test. 1080p on the GH5 is very detailed (at the limit of 1080). Cine-D is better than VLog for 4K 8-bit

I don't know if it's interest to anyone, but I took the information here as a starting point for exploring use of D-Mount lenses. I tried to document the process as well as I could, so it's probably pretty boring to anyone not specifically interested. I hope it's of use to those who are. By the end of the month I should be done with the building, and probably have two more posts yet to write to cover the completion. http://coldmaceration.com/camera-conversion-project/

This is the initial design, sent off now for SLA printing (high-res, tough-durable) to test the form and basic dimensions. In the image, I have it unscrewed to show the components, but essentially, I’m thinking the space between the D-mount lens base (screwed atop the red ring), and the bottom of the M12 blue ring is 10mm, with another 2.3mm from the bottom of that to the sensor. If anyone already knows that this will fail, feel free to tell me why. Otherwise 🤞🤞🤞

Definitely match in heaven for Panasonic shooter!

Possible answer, Dolby paid them. I'm someone who thinks the Dolby Vision workflow is incredible, doing HDR and SDR in single grading pass is witchcraft but their system pulls it off,  only problem with it is it is proprietary and expensive.