Fritz Pierre

I would recommend the P/L 12-60 as a starting point with the GH5...@ 35mm it's only a 1/2 stop slower than the 12-35 and the extra 25mm reach is significant...then you have the very wide 8-18 for down the road if you ever need to go that wide (personally on the GH5 12mm is adequate for most wide shots for me) you can then add the 35-100 or any of the longer Native lenses down the road...the Leica build quality and weight for an all metal lens is very good, as is the IQ.

In that case I would say get the GH2...and sign up with personal view...all the patches and how to's are available in their search section...just don't ask questions there??...the patches are effortless to change, as with each PTools Patch, the camera thinks it's upgrading FW...buy yourself a few 8Gig transcend cards...they are cheap, and load only 1 hack per card...a 2nd battery is recommended, as if you want to change hacks in the field, the FW will only "upgrade" with a charged battery...lastly, I think you'll love the camera...it's a simple and solid little brute...and it sings with the SLRMagic lenses!!

The GH5 does not have poor lowlight performance at all!...lol...have you shot with one?

Any movement on wide anamorphics of the camera, have always been problematic anyway...your results are actually remarkably good, considering you're shooting handheld on a 2x...both the SLRMagic and the GH5 are very impressive in your footage!.. locked off...as is really the most practical way to use a 2x this would be a killer combo!!

@mercer...the GH2 gives a ridiculously good image...lol...there's little to touch it at any price in my opinion...and although old it's easy to shoot with...depending on what you shoot though, it can eat the data, but as you already shoot in RAW, I think it's a no brainer for you...I will say the thicker files in the GH5 is easier to grade to your 5D than the GH2...you should check out enough clips to see if it would work for you, as grading the 5D to the GH2, may be the easier workflow, but not give you the look you need/want...the movie Musgo was shot on the GH2 which I love the look of, as was Mandorla...I would suggest you check out the trailers to see if you like it. I would also add that as another camera, one in good nick picked up for 300 to 350 would give you great value for your money....not the camera for unskilled shooters, but you'd get great results if you like the look from the samples...

In that case I would say get the GH2...and sign up with personal view...all the patches and how to's are available in their search section...just don't ask questions there??...the patches are effortless to change, as with each PTools Patch, the camera thinks it's upgrading FW...buy yourself a few 8Gig transcend cards...they are cheap, and load only 1 hack per card...a 2nd battery is recommended, as if you want to change hacks in the field, the FW will only "upgrade" with a charged battery...lastly, I think you'll love the camera...it's a simple and solid little brute...and it sings with the SLRMagic lenses!!

I would opt for the GH2 over the 1...I still shoot with mine regularly...though the features seem like ancient technology now, to my eye...2K/4K...the image is unequalled...I carry four small capacity SD cards in a little Pelican case with the Drewnet T9 Long GOP (my personal favorite), flow motion, Spitz and the EOSHD Vanilla hack...and the only card that works with all of these is the Sandisk Extreme Pro U3 95mbps...this essentially gives you four phenomenal options with the Vanilla hack giving the most reliability...I've yet to have a single failure with any of the four mentioned though, and L Powell has done some amazing versions too.

Curiously people keep confusing a M4/3s sensor with a M4/3s mount....if I had to change all the mounts on my legacy glass using something like Leitax mounts to adapt to EF mounts, that alone will cost me over 2000 and then I lose the ability to squeeze a GH5 into a tight space for a car interior or grab a quick handheld IBIS shot....for me the negatives with this mount are considerable...If we acquired the Varicam for a feature, production would buy a PL mount and I would rent Arri masterprimes and shoot BCam on the GH5 in tight spots...so the mount on the EVA for me is a dealbreaker...in all other ways it makes the C200 look like a badly thought out joke to me!!
Alonso curious about what so many Canon "color science" lovers are doing in the Panasonic thread lol???....not enough excitement going on in the C200 thread...this feels like the GH5 all is revealed thread starting anew....probably deep down everyone loves Panasonic and is looking for a group intervention to bring them around!!!?????

I spoke to the folks at Veydra, and they told me the cost of producing an anamorphic that would meet their requirements was too high, and so they canned the project. I would have felt much better about dropping $3k on a Veydra anamorphic than an SLR Magic. But right now SLR Magic are really the only game in town for $3k and less.

Not at all...if I included you in that category, why would you be asking questions about the GH5 if you owned one??

If you've never shot on a GH4 or 5, you cannot appreciate how the camera becomes an extension of your hand/arm...plus the ways you can customize the camera to suit your needs, are virtually unlimited...it you want a large Cine cam it goes on rails, cage and sticks...the modularity is fantastic....yet in the right hands, and especially with IBIS on theGH5, you can be on a street corner literally anywhere, and with what looks like no more than  a tourist camera and get footage that looks locked off and and can cut together with virtually any camera...another value of walking onto an airplane with a couple of light lenses, a 16" travel tripod and one or 2 GH5s in a small backpack  cannot be understated enough...I will get a second body soon....if you're curios about the camera...rent one for a week...don't go into a store and ho,d it and snap a couple of picks....this is no a camera for amateurs....it takes months to really master it, but when you do, the results, the operating experience, the ergonomics...it all becomes clear.

The whole discussion about what camera Netflix would allow for their  projects seem a bit curious...is this like a scenario where one has just negotiated a 20 million feature that Netflix wants to produce, and then the discussion of permissible cameras come up and the director storms out lol?...it's not a quick process, getting anything greenlighted...there are multiple areas that are up for discussion...with ANY studio, and Netflix after all, is just becoming one of the largest studios in exsistance...I could give a shit if Netflix allows me to use my cameras or lenses,  if I brought them a project they want to executive produce....far more important to me would be the choice of Line Producer, DP, Production Designer, Editor and where I'd get to make the film....when somebody puts up the money to make one's project, the camera used will be decided by the DP in discussion with the Director, relative to the logistics and look and ergonomics of the project....it will almost never come down to just one make of camera, and is pretty far down the list of hurdles one has to overcome!..With anything done on a budget, the size of what Netflix could provide, if you did not already own one of the cameras on their list, production would rent what you needed and that would come out of the Film/TV series budget.
 

Their camera list only pertains to projects they produce...most content they stream are shot on cameras not on their list...when they put up 8 or 25 or 60 million to make a project though, they will decide what gets used...really no surprise there at all!

Their camera list only pertains to projects they produce...most content they stream are shot on cameras not on their list...when they put up 8 or 25 or 60 million to make a project though, they will decide what gets used...really no surprise there at all!

Their camera list only pertains to projects they produce...most content they stream are shot on cameras not on their list...when they put up 8 or 25 or 60 million to make a project though, they will decide what gets used...really no surprise there at all!

I've used Leeming's LUT with both the GH4 and now the 5...it's for both CineD and VlogL and it gets them to the same color space....comes with a settings manual and his follow up support is ridiculously good for what he charges...the big advantage is that CineD is a better choice for shooting high ISO and Vlog of course for higher DR...he calls it a LUT to get you to a point to begin your grade, but I do little to the image once applied...most  the guys on DVXuser use his Luts for shooting professionally with their GH cams...he developed the first (for GH4) over a period of months with several members and through tweaking...testing and feedback, really tapped into the enormous pottential these cameras have...could not recommend it highly enough for the Pannys.

I think he actually does it for the A6500 too...not positive though, but I know he does them for more than Panasonics.
Yes...ditto the Impulz luts...bought them initially with the LUT Utilty but I never use them.

I've used Leeming's LUT with both the GH4 and now the 5...it's for both CineD and VlogL and it gets them to the same color space....comes with a settings manual and his follow up support is ridiculously good for what he charges...the big advantage is that CineD is a better choice for shooting high ISO and Vlog of course for higher DR...he calls it a LUT to get you to a point to begin your grade, but I do little to the image once applied...most  the guys on DVXuser use his Luts for shooting professionally with their GH cams...he developed the first (for GH4) over a period of months with several members and through tweaking...testing and feedback, really tapped into the enormous pottential these cameras have...could not recommend it highly enough for the Pannys.

I've only had my GH5 a few weeks, with very little time to spare on it...the menu system is enormously complex...this is not a pick up and go shoot camera...as something carelessly selected in one area, disables other things elsewhere...I will say though, that once you've configured it to your liking, the GH5 IMO is simply unequalled in so many areas and in comparison to cameras costing far more...I would use it without the slightest hesitation alongside a Varicam LT (which I consider the current Holy Grail of cinema cameras!)

I've only had my GH5 a few weeks, with very little time to spare on it...the menu system is enormously complex...this is not a pick up and go shoot camera...as something carelessly selected in one area, disables other things elsewhere...I will say though, that once you've configured it to your liking, the GH5 IMO is simply unequalled in so many areas and in comparison to cameras costing far more...I would use it without the slightest hesitation alongside a Varicam LT (which I consider the current Holy Grail of cinema cameras!)

I've only had my GH5 a few weeks, with very little time to spare on it...the menu system is enormously complex...this is not a pick up and go shoot camera...as something carelessly selected in one area, disables other things elsewhere...I will say though, that once you've configured it to your liking, the GH5 IMO is simply unequalled in so many areas and in comparison to cameras costing far more...I would use it without the slightest hesitation alongside a Varicam LT (which I consider the current Holy Grail of cinema cameras!)

I would ditto that, and add depending on the speed you need, that the Panny Leica 12-60 is outstanding to...and at the 35mm point only a 1/2 stop slower than the 12-35, but with a. Additional 35 mm of reach available....undoubtedly shooting with native lenses will yield more footage during a live event...plus you can have the 4K ETC enabled on a function button 12-60 changes to a 16.8-84 by pushing a function button twice!...of course you have the same crop of 1.4 to apply to the 12-35 with ETC...I've never used the 12-35 but the balance between the Camera body and 12-60 is one of the best I've ever used just in terms of feel.

I would ditto that, and add depending on the speed you need, that the Panny Leica 12-60 is outstanding to...and at the 35mm point only a 1/2 stop slower than the 12-35, but with a. Additional 35 mm of reach available....undoubtedly shooting with native lenses will yield more footage during a live event...plus you can have the 4K ETC enabled on a function button 12-60 changes to a 16.8-84 by pushing a function button twice!...of course you have the same crop of 1.4 to apply to the 12-35 with ETC...I've never used the 12-35 but the balance between the Camera body and 12-60 is one of the best I've ever used just in terms of feel.

@DBounceNever owned them, but I think they would be amazing on the GH5...If you could rent a combo as a tryout, that would of course be ideal...a pro-shooter at DVXUser owns the combo and he's very satisfied...as you know though, these are pricey but you get true Cinema Primes...really nothing to equal them for the price though...like you I was keeping my eye on the Terra 6K too...completely underwhelmed in the end by the footage...IMO the GH5 blows past it....I bought the Leica 12-60 to use purely as a lens, to use with the GH5 auto rack focus..to my surprise (I don't buy Panny Native Lenses) this has not come off the GH5....I love this thing...In combo with your DX1, a GH5 and Veydra Primes you'd have a "shoot anything" production package IMO...especially narrative...personally I would opt for the 12, 25 & 50 kit at around 2800 including a 6 lens Pelican case...then shoot 4K ETC so the 12 also becomes 18, the 25 a 35, and the 50 a 70...you land up with 6 focal lengths and if Vedra developes their Anamorphic primes, you have room in the case.

The SLR Anamorphot-40 1.33x, mounted on a very cheap Panasonic 25mm f/1.7 looks pretty sharp for the money
That this is all hanheld is testimony to Panasonics implimentation of IBIS