Fritz Pierre

That's why it will make more sense in the future if you pick up a crate of vmounts for a shoot from a rental house instead of a genny with a truck and operator....as LED lighting improves, so power consumption needs go down...but owning a bunch of vmounts become expensive and they have to be maintained and charged regularly, even when not in use...that kind of thing is ideal on the gaffers truck, with lights from a rental house

Wonder if a trend will  develope with rental houses where they will be renting milk crates of fully charged vlocks and one will have the bliss of true silence while shooting away from AC sources...Aperture just released a light (300D??)  that they claim to be equal to a Joker 800 or 2K tungsten...whether there yet or not, this seems to be where the future of development in lighting is going. Owning and maintaining that many batteries seems impractical and expensive though...and a lot of work if they're sitting idle
 

I am this weekend in fact. Shooting a music video with both. It's mostly anamorphic, but I'm going to shoot a couple of takes with our actress using the Sigma 18-35 on both the GH5 and UM46K.

Still think you should do a small comparison between the GH5 and the Ursa 4.6k..if you find yourself with a bit of spare time??...even if just comparing footage you've shot with both...I remember your early footage you posted shooting with the 12-35 and the GH4 and it was lovely...

No...an m4/3 mount will cover the sensor...difficult to see them supporting the EF mount...especially if they're going after the 100-300 series canons and the Sony fs series...I thought your article on what the camera should/might be spot on...and I agree on price....people are dreaming if they think a 4000 camera.... but what Panasonic will do, as they did with the Varicam, is they'll blast completely past the price point on the camera image wise...as they did with the Varicam LT...Panny seems to take a longer view with their cameras...

I don't see it that way. To me, they are entirely different products and Panasonic should always have both in their arsenal. GH5 is much smaller to carry around. Handy for certain situations. Not to mention some of us actually rely on taking stills with our GH4/GH5s, shocking as that may seem!
Larger camera is more appropriate for other situations. Honestly I would want both if I could afford. Especially if they matched in look easily.

Hence the 'but you know...', you know.  Though the argument for a native EF mount is pretty weak and mine was more illustrating the fact a shallower mount is more flexible. Now we even have Kinefinity releasing an E-mount adapter for their system, you know. Not sure if the diameter of the MFT imposes a restriction on lenses that even do cover APS-C, but anyways, there's very shallow adapters for m4/3 - E-mount, non exist the other way around... so, that's still a thing.

This is really the essence...you're the one that's put the work into this for all this time, and to change it now would be crazy...you have the recognition in EOSHD and in marketing nothing is that literal...I would never change it if it was my site

Can't see this camera under $5000...so no issue with GH5 buyers...the difference between spending say $2000 and 5000, is the difference between buying a camera or not...and that goes for most GH5 buyers...there are however a lot of GH5 buyers who recognized the completely ridiculous value they got in the GH5 for $2000...those who have never shot on a GH4, would not!...it suits their work needs so why not...you could shoot a low budget feature with it providing you have producer control, but this next camera will be better suited for that....not in terms of image, but in terms of usability....though the GH series cameras are easy to operate, nothing beats the simplicity of an Arri/Varicam style camera for shooting day in and day out....12 to 16 hours a day and repeat for 6 weeks or more....oh....and m4/3 mount on variable s35 sensor is of course the answer to everybody's lens needs....and it will probably have no EVF....so you can pair it with any number of 3rd party EVF's too...the Varicam is equally modular...

You can't just put the GH5 into a bigger body, slap a huge price on it and call it a day. I mean, you have the XLR unit for on top of your GH5 now and can use the Aputure DEC vND EF-mount as well. BOOM! Done. They also can't create a Varicam LT with the exact same specs in half the size and price.
But to give it some proper production value the S35 is just about a must. It will especially help to more easily get some great dynamic range and lovely colors going for it, the thing we all expect to see out of a camera like that. Of course, it would also be one less reason for people to look at other cameras that are in fact S35, which kinda is the production standard. Should help with the crop and in turn to easier establish a shallower depth of field as well I guess (nice with S35/APS-C lenses, but I do see an issue here if it does in fact come with a native EF-mount, because... how are we supposed to speedboost fullframe lenses then??? So yeah, seems to me it makes more sense to bring out cameras with the shallowest mount possible for most flexibilty, E-mount would be ideal here, since that even adapts MFT, but you know...).
So... I think dynamic range & color science is what people will really appreciate. Other than that, just to have something that's all-in-1 and covers the basic conveniences such as ND filters (evND?), XLR interface, more controls, awesome flip-out screen, long battery life, ability to run it offa external power, things like that. No more frankensteining with little cages and coldshoe mounts, external monitors, magic arms, ballheads and cable jungle. Just drop it on a tripod and hit record. Speaking of which... for a recording media it might be interesting to pull a Videodevices on this... see, they have the PIX-E5 recorder and use a so-called 'SpeedDrive'. They will sell you empty enclosures which house a mSATA drive and functions as a USB3.0 thumbdrive. You can buy like a Samsung 850 EVO 250GB mSATA drive for about 100,-. You'd just pop it in your camera and once you're done: fuzzless and speedy offloading onto a computer. The mentioned Samsung mSATA drive is rated at 520MB/s writespeed. Should be no problem for high-bitrate recording anything I imagine. Concerning that, I'm guessing this will write away files similar to the GH5, but can do it all internally. So... you get that 4:2:2 10-bit 60p at 400Mbps and FHD slow-mo at up to 180fps. The big difference? It would additionally support RAW output to an external recorder, though it would of course be great if they could manage that internally or give us internal ProRes. Just... probably not.
Anyways. Legit reasons to get one, but no groundbreaking ones. It wouldn't really be innovative or do mind-boggling things. But it would be a superb step-up for people with GH-range cameras. Because that's always been the question... where do you go from a GH-camera? But then it all comes down to pricing... they're not suddenly going to sell a ton of these if they're exactly in the range of Blackmagic/Sony/Canon/Kinefinity/2nd hand RED/etc... these are systems that will get you far north of $5k, more like 10k once you're fully configured and accessorized. If it does nothing that hasn't been done before... why bother at all? That's where the price comes in. If you're a small production house, maybe just a single dude or dudette doing his/her thing, 10k is quite a stretch to up your productions from the GH5 to something with a little more oomph. It's far more likely to get people looking for a step-up from their GH-range camera interested in something like a JVC GY-LS300 or something 2nd hand perhaps. But... if you can get a camera as described above... for a little bit more than say the launchprice of the LS300 or DVX200, so perhaps 4995,- then I forsee a bright future for it.
So for me, I'd be pretty stoked to see, whilst being fairly realistic about it:
S35 sensor with great dynamic range and color science a fairly compact professional body with ND filters, XLR interface, plenty of controls and easy navigation/menus GH5 resolution/framerates, all capable of being recorded internally RAW output $4999 Like an AG-AF100 successor with 2017-like Panasonic specs. A mash-up of things I like about the JVC LS300 & Panasonic DVX200/GH5/AF100. Not a hardcore cinema camera, more something to use as a production camera, where the GH5 would start to feel a little out of its element. Still great options with the GH5, though. And it does have that 5-axis B.I.S. and all that good stuff that makes it the most perfect B-cam. They should compliment eachother rather well.
Should this come in at 6999-9999, well... tough...

Excellent point about motion....and I can guarantee you with a professional colorist and the same 3 guys that are  filming on an Alexa, films on a GH5...properly lit scenes as you have to have with the Arri....you could cut together so that in a blind test you could not tell them apart...the GH2 did it in the Zacuto test over the Alexa and the Sony F65...it turned out as the image Directors chose in the last test in that competition including Francis Ford Coppola...I still own a GH2 and I would say in the right hands, the GH5 blows completely past it

On the camera front yeah. Two things I'm super excited about are the Teradek iOS wireless feed, and the Aputure 300d.

Beautiful... Panasonic made a great choice signing you up. That is exceptional

As I don't have the GH5 myself yet I thought I'd just post this link to Luke's anamorphic shoot on the GH 5 re the videos comment.
 

I seriously considered the Kinemax...liked the image from that camera a lot...but found communication with both Beijing and Berlin a bit vague...not quite sure how else to put it....but if I was going to spend $10k on a camera, I was looking for more in terms of support and clear communication...I thought the image lovely though!

It looks great!...as does the design!...beautiful production value in your film, and the GH5 delivered as well!...can I ask which of your LUTS you used?

I think it would be smart for Panasonic to make this smaller Cine Camera usable with their native glass...you can still adapt any FF stuff but the M3/4 flange distance is attractive as would be s35 sensor size....and one could argue that JVC copied the m3/4 mount from Panny Oly...also the s35 to m4/3 crop would be something like etc. on their earlier GH cameras...technology they already use...and people talked about on this very forum, when speculation and features wanted for the upcoming GH5 were being posted a few months back...looking at the Leica fast primes that Panasonic's releasing now, why not...the glass is amazing...sell more of their glass for this camera and for those already invested in the M4/3 system, the attractive idea of buying a s35 camera with which they can use their already owned stock Panny glass....but hey, I could be wrong!...would not be the first time lol...??

I think if Panasonic put a s35 sensor with a m3/4 locking mount capable of cropping to m4/3 also for use with their native lenses (ala JVC LS300) and some nd, xlr connections....kept the price point reasonable and made all other aspects modular...and SSD media instead of SD, they would hit it out of the ballpark, just as they're doing now with the GH5....I suspect the response to the GH5 which, if you ignore the AF crowd, and just look at how difficult it is to even buy one now, has been overwhelming and has affirmed for them that there is a market for this camera...and I suspect that they will come out with a camera that far exceeds the features and image quality at the price point they release at...they are already doing that with the Varicam LT...that camera produces image quality and features that can go up against any camera out there in the world....the Varicam 35 & LT are both Netflix accepted production cameras (Netflix is rapidly becoming the largest "studio" producing content if not there already), so Panasonic is well positioned with their Varicam line, the astonishing features and IQ they released in the GH5 (because they pay attention to what shooters really want and need) and now with the pending release of this smaller Cine camera, they will firmly establish themselves in the marketplace in that middle pricepoint that Sony and Canon are grabbing now.

The licensing excuse is not the real reason that camera manufacturers don't provide shallow mounts.  M4/3 works fine for up to S35, and there must about 5 zillion ways for manufacturers to allow a female E-mount mount (or an EF-M mount) on their camera/adapters, while avoiding licensing problems.  One easy way is to simply provide a front plate with just screw holes and the end user can purchase the female e-mount separately.
 
I saw the Kinefinity e-mount adapter at NAB, and it is definitely the way for camera manufacturers to go -- provide a shallow mount (simple mount plates are best) and make adapters for every possible lens.

It looks great!...as does the design!...beautiful production value in your film, and the GH5 delivered as well!...can I ask which of your LUTS you used?

@webrunner5 We obviously talk about a variable sensor, not a m43 one. I do not own or have any m43 glass or cameras while I have a lot of different lenses for different mounts, I just express the versatility of such a thing, and why not, but use some m43 glass too (even though we use EF lenses with LS300 right now!) with a smaller, and all around camera like the GH5, or other.
I thought that JVC is owned by Panasonic by the way, and I do not think that having a sensor, and take parts of it is copyrighted or whatever!
That would be an obvious upgrade for a lot of m43 users that started video productions with the GH series cameras, and would help (or at least support and defend) their native sales too. 

I seriously considered the Kinemax...liked the image from that camera a lot...but found communication with both Beijing and Berlin a bit vague...not quite sure how else to put it....but if I was going to spend $10k on a camera, I was looking for more in terms of support and clear communication...I thought the image lovely though!

I think it would be smart for Panasonic to make this smaller Cine Camera usable with their native glass...you can still adapt any FF stuff but the M3/4 flange distance is attractive as would be s35 sensor size....and one could argue that JVC copied the m3/4 mount from Panny Oly...also the s35 to m4/3 crop would be something like etc. on their earlier GH cameras...technology they already use...and people talked about on this very forum, when speculation and features wanted for the upcoming GH5 were being posted a few months back...looking at the Leica fast primes that Panasonic's releasing now, why not...the glass is amazing...sell more of their glass for this camera and for those already invested in the M4/3 system, the attractive idea of buying a s35 camera with which they can use their already owned stock Panny glass....but hey, I could be wrong!...would not be the first time lol...??

I seriously considered the Kinemax...liked the image from that camera a lot...but found communication with both Beijing and Berlin a bit vague...not quite sure how else to put it....but if I was going to spend $10k on a camera, I was looking for more in terms of support and clear communication...I thought the image lovely though!

There are some long plates that also act as lens supports or large telephoto lenses.....if you mounted one of those on the tripod head as per Hans Punk's suggestion, and then mounted the camera where the lens support goes, it will put the sensor exactly at the eye position of a passenger...a little modification may be required (I've never used one) but it could be a sturdy rapid solution...any ratchet straps from a hardware store for luggage racks will work for securing the tripod...
https://www.amazon.com/Sirui-TY-350-Telephoto-Support-Plate/dp/B00AZTCHI4
something like this