ajay

Andrew...See if you can find out why they have gone to a triaxial moveable screen and not a full articulating screen. This seems really bizarre. Seems others like Fuji who had the fully articulating screen went to some flippy thing too. WHY? Is it acting as some form of heat sync or something? I really like the fully articulating screens but can't understand why all new cameras don't come with this feature, especially when older models had this feature. Very frustrating.

My only complaint with the GH5/GH5S has to do with highlight roll-off. With that stated, if you can keep your highlights controlled by not over exposing or blur the hell out of them if in a background, the GH5/GH5S is certainly a winner.
 

Don't forget that Nikon doesn't have a cinema line of cameras to protect. I bet no 10-bit anything.

Maybe when their sales figures suffer they will add C-Log for $100.

Don't forget that Nikon doesn't have a cinema line of cameras to protect. I bet no 10-bit anything.

Captain Hook: "Thank you" for the video releases. It's nice to see some footage from the camera and based on the samples, DR appears to excellent for a camera in this price range .

Captain Hook: "Thank you" for the video releases. It's nice to see some footage from the camera and based on the samples, DR appears to excellent for a camera in this price range .

I have one on order, but have been telling myself not to expect it until 2019. If I get it earlier, yahoo! I also predicted that this thread would grow to over 100 pages before any sample video would be seen. Now I think it might be 200.
It would be nice if someone from BM would give us an update. Give us some real numbers of when we'll see some sample footage and give us a legit timeframe as to when they will start to ship. It's the least they could do for their customer base.
Where are you BM?

I have one on order, but have been telling myself not to expect it until 2019. If I get it earlier, yahoo! I also predicted that this thread would grow to over 100 pages before any sample video would be seen. Now I think it might be 200.
It would be nice if someone from BM would give us an update. Give us some real numbers of when we'll see some sample footage and give us a legit timeframe as to when they will start to ship. It's the least they could do for their customer base.
Where are you BM?

Another thought if you decide to go the M43 route...Don't overlook the G9. I find the autofocus and IBIS better than the GH5. Yes, you give up VLOG-L but it has excellent color science and it still has 60p 4k. CineD ain't bad as an alternative to VLOG-L. You also have to like the lens selection with M43 compared to Fuji.
With this said, I still struggle whether to hang on to M43 or go completely Sony. (Have the A7III at present.) I'm waiting to see the BlackMagic 4k Pocket as well as the A7SIII.
If you can rent the bodies first, you might be better off. Ergonomics and ease-of-use should be taken into consideration too.
But...it's hard to stay away from full-frame bodies. The 5D Mark III is still a great camera. Had one a few years ago.
 
 

I have the G9 and sold my GH5. I do primarily wildlife photography/videography but occasionally do promotional videos.
Things I love about the camera:
Although it doesn't have Vlog-L, Cine-D is fine for what I do. I usually record in 60p, 4k. The colors right out of the camera are very Canon-like. Need very little post-tweaking if any. The image stabilization is amazing with this camera. Better than the GH5 IMO. I have a gimbal but rarely use it as the footage is usually stable enough w/o one. The viewfinder does have a bit of pin cushion, but doesn't bother me. I've gotten use to it and don't even notice it. Love the ergonomics of the camera. The grip is perfect. Autofocus in video mode is great. Don't really have any complaints at all. Very close to Canon/Sony. Things I don't like:
Limited to 10 min when using 60p, 4k. (If I'm staking out a peregrine nest and just want to leave the camera run, I have to monitor the camera.) Highlight roll-off is the same as the GH5. You really need to be careful not to overexpose. Autofocus in stills mode for BIF (birds-in-flight) is not the best, especially when attempting to focus on birds in the foreground with busy backgrounds. It always locks focus on the background and can't focus on foreground subjects. Since I do a combination of both stills and video, this is a real good fit for me. I also have the A7III but don't like the fact that I still need to schlepp around large, heavy telephoto lenses. The G9 with the 100-400mm for video/stills is liberating!

Found this clip on Youtube...Not sure if it's legit, but it certainly appears to have that BlackMagic look about it:
 
Here's another sample...Low Light:
 

Since you are there...Can you ask them when sample footage will be available?

What I find strange is they announce the camera but no footage to show? Where's the sample footage?

Yes! Good point!

Salim...Not to speak for Don, but he did state the following in his post. Hopefully he can clarify further.
 

From the footage that I have seen out of the C200, I agree. The 8-bit files out of that camera appears to have better DR than the Sony A7 series, Canon 1dx2 and 5DIV, and the GH series of cameras. It's only 8-bit yet it has better DR than a 10-bit file out of the GH series of cameras. Edits very nicely from what I have seen.
On a similar note, Dave Dugdale's comparison between the A6500 and the GH5 shows that Sony's 8-bit Slog2 performs (in most cases) as well as Panasonic's 10-bit VLOG-L. No banding in the sky and can it doesn't fall apart in post-editing unless you really push it.
You have to believe the manufacturers are all manipulating their codecs so that they don't take away from their higher-end cameras. And this leaves me frustrated at the end of the day because until you run a camera through all of its paces, you can't rely on the specs.

Yes, it is damn impressive. Plus, I already have a bunch of M43 lenses and a speedbooster.

I'm not sure 10bit vs 8bit is necessarily a factor for DR. It could be, but I think how the manufacturer implements the codec is more important. It does make a difference for color information and how rapidly footage falls apart while editing in post. If you look at the footage from the 8-bit codec from the Canon C200, it has DR that's definitely better than the GH5/s and Sony mirrorless cameras @8 bit, so there are other factors at play.
Sony's 8-bit SLOG-2 footage holds together better than Panasonic's 8-bit VLOG-L. I would never use VLOG-L @8-bit, only at 10-bit. Yet SLOG-2 edits quite well with only 8-bits. (SLOG3 is a different story. I'm not sure why Sony even puts SLOG-3 on 8-bit codec cameras.) You really have to try out each camera's codecs to see how well they handle post-editing and DR.
DpReview is attempting to test camera's codec performance. The industry really needs a comprehensive test that compares these cameras fairly on a level playing field.

I'm not sure 10bit vs 8bit is necessarily a factor for DR. It could be, but I think how the manufacturer implements the codec is more important. It does make a difference for color information and how rapidly footage falls apart while editing in post. If you look at the footage from the 8-bit codec from the Canon C200, it has DR that's definitely better than the GH5/s and Sony mirrorless cameras @8 bit, so there are other factors at play.
Sony's 8-bit SLOG-2 footage holds together better than Panasonic's 8-bit VLOG-L. I would never use VLOG-L @8-bit, only at 10-bit. Yet SLOG-2 edits quite well with only 8-bits. (SLOG3 is a different story. I'm not sure why Sony even puts SLOG-3 on 8-bit codec cameras.) You really have to try out each camera's codecs to see how well they handle post-editing and DR.
DpReview is attempting to test camera's codec performance. The industry really needs a comprehensive test that compares these cameras fairly on a level playing field.

Golden hour is not what I am looking for in a camera. It's just that without wider dynamic range, you end up giving up something (lights or darks) in high dynamic lighting scenarios. At least the way I perceive things with these cameras.
I know a lot of people did not like the fact that the GH5s did not have sensor stabilization, but I was more disappointed that the dynamic range of the GH5s was only marginally better than the GH5. The sensor has got 14 stops, yet VLOG-L and the other baked-in profiles do not take advantage of what the sensor can do. I'm sure Panasonic, Sony and the rest of the manufactures do not want to eat into their higher-end cameras, but I would gladly pay an extra $1k for well-designed mirrorless camera that offers 13 stops of dynamic range. It would be a pleasure to use such a camera.
For the work that I do, I often shoot with very large telephoto lenses. Besides smaller mirrorless cameras, the only camera that comes to mind that ergonomically fits the bill for me is the Canon C200, but then I'm looking at a 10k investment by the time I buy Cfast chips and batteries.
Maybe I should just wait and see what the A7SIII has to offer whenever that camera is introduced.

I had the A7RIII for a few weeks but especially with an adapter, the camera body is a tad too small. Knuckles get in the way of the lens adapter. The body is also not well balanced with heavier lenses. I woman wedding photographer said she was getting severe hand cramps from shooting with the smaller body all day.
If you are using the camera on a tripod, I guess it doesn't matter but one should at least consider how it balances and how it feels. Adding a battery grip would probably help balance it better.
With that said, Sony is going to sell a boatload of A7III's.

Canon's main strength is DPAF and to purposely remove it from 4k is ... vintage Canon. I truly believe they sit around in meetings discussing how they are going to cripple their next camera. I would have much rather seen this camera w/o the crippling lack of DPAF, ridiculous crop factor and heftier battery for $250 more.
Why do I keep hoping Canon will wake up? This is a lesson in futility.

In producing "The Middle Path" did you change any of the defaults such as highlights/shadows or knee adjustments? V-Log L?

In producing "The Middle Path" did you change any of the defaults such as highlights/shadows or knee adjustments? V-Log L?