IronFilm

Well I would imagine in a few more generations someone, probably will be Sony, will make a consumer camera that IS almost what everyone here pleads to have.
The A7sII is really not that far off in reality. Build one with a S35 sensor, 6k, internal ND filter, better codec, little bigger body for a larger battery, and sensor cooling ability. They could have done  some of that with the A6500, but I think they wanted to save that for the A7 series.
We really are getting close to the real deal if only they would stop worrying about loosing sales on their top end stuff. Seems to me they would sell more of them at 3k dollars than the few they sell at 10k dollars. No one is ever going to give up on buying a real full size camcorder for serious work. so they will still have a base for that category of bodies.

You just need the right adapter, with the Metabeans Speed Roaster your GH5 can do an espresso just fine! 
Just make sure your sensor gets really hot!

I'm actually all for biological cameras. That will crossbreed and evolve into new species. Or atleast mechanical ones that have 3D print functionality and instead of firmware updates, they actually upgrade themselves on a physical/mechanical level. And have one of them StarTrek replicators in the future. I have to agree, serving beverages would be utterly convenient.

Is it really so much for us to ask for it to have a coffeemaker built in, though? I mean we've got IBIS now, so caffeine jitters won't be an issue. This is obviously the next logical step here.

Fat cat laws on the definition of a camcorder. When Brexit happens in about 100 years, things will change on that front.

I agree about the lens choices too.
Can't figure Why the M43 makers don't concentrate on Faster Lenses. Like maybe a few f1.8 zooms or f.95 primes
 Even if it means collaborating with Voigtlander or Sigma. Leica is great but their prices aren't.  

Yea, a super FS5 is more of what I was picturing- still m4/3, real video camera shape, but very small for such, and bigger than the GHs... just big enough to have real controls, ergos, XLR, ND, etc. Although then you're not a whole lot bigger than the GH5 with the XLR box, so maybe it's just not worth it at that point. And the GH5/XLR combo is pretty similar to the C100 shape and layout. Just needs a rotating grip and a tilting EVF.

There are some examples of the hacked NX at the NX sub-forum. Even Samsung's early (and rather "weak") H265 implementation, is great for live performances and other byte consuming jobs.
There is always the option of 160/180 even more, Mbps which grades better and holds more information. The codec is not that great though, because Samsung probably used a very basic one (do not forget that was back in 2014).
In anyway, H265 will be the future for the next multiple K generations (I think it supports up to 8K?) and that's it was created by the same H264 consortium.

I am glad that's been cleared up. Thought for a moment we might be heading for a ten page debate similar to the senor crop factor / light gathering fiasco from last year.
This is the most excited I have been about a camera that I have no intention of buying since first taking an interest in video three years ago. The GH5 was on my immediate radar before settling for the a7sii and I might well have bought it had it arrived a year earlier, or a large sum of money I was owed had arrived a year late.
I like Panasonic and hope that the GH5 is a huge success for the company and for those who buy it.
Certainly, 4k 60p will become the standard for prosumer cameras from now on and I expect that the a7riii and a7siii will both need it in order for Sony to remain on the same pitch.

Biggest thing I could hope for from Panny on the GH5 is if they move to the newer H.265 format. That would really free up space for a looser, better Codec.

Wait hold on folks, I apologize I am totally wrong on the bit size increase!
I just cleared up my brain fog!
Of course, while the information quadrupled the required space is only 10/8 more, a factor of 1.25!

 

Maybe I am wrong in absolute data increase cause I don't really know what exactly goes into describing each pixel but certainly 10 bit value doesn't take four times as much storage as 8 bit value. Computer memory is measured in bytes, each consisting of 8 bits. You can read the whole value as well as specific bits, so to store a 10 bit value, you'd use a byte plus 2 bits of another byte, still having 6 bits of that byte available for the next value (of course, you have to keep track of where your bits are as there is no address in the computer memory for separate bits, only bytes). At most, if you just leave a full byte for the extra 2 bits, it will still take only the double of amount.

Agreed, I'm curious too. The GH4 has always had a very filmic motion cadence in 24p 4K if you ask me, and I've been crew and DIT on productions with Alexas and C300.

Yachts: Too expensive!
Jets: Too fancy!
Jetpack: Too dangerous!
Trip to Mars: Too exotic!
Panasonic GH5: Just right!
 

It is just for marginally better scratch audio.

Wasn't that the same guy that asked to get banned and went to write paid articles somewhere himself? Guess there's a tiny bit of irony there. Though, in his defence, after having cooled off for a bit he came back with a proper attitude (forgiven but apparently not forgotten quite yet, sorry bro). Ebrahim has been given a lot of chances, but I guess a soab once is a soab for life.

Very ironic clicking on these old threads and seeing posts like this pop up at the top to read first.

So will you buy a few dozen Nikon lenses as well??
There is the newer Tokina 11-20mm f2.8 as well!

Have you actually seen the image the F35 puts out, alongside the Arri cameras it is the most cinematic image you can get in a digital camera imho, it's not always about specs, the camera is a few years old now but was $250k when released. The OP was looking for a camera with film like texture and motion cadence, the f35 is still a great camera 

Some people have made their own Nikon F mounts I believe?

Noooo way will Sony give us 10bit in an A7-series. They have to protect their video cameras. 
4K60, yea, sure, probably. But can their processors handle it without melting the camera? And will they squash it into 100mbps? I think so.

That camera is gigantic and heavy , you also need an external recorder, and pl glass only . 
Sure it as global shutter but no slow mo at all .
This camera is still overpriced as it s very hard to use if you don t have a full crew with you , they should go for 2k not 4/6k , I d rather for for a red one if I had to pick one of the two.
 

Instead of redheads/blondes, look at Source Four Pars. They can be had for $60-80 each, produce excellent light quality, and are extremely versatile. Used Mole fresnels are great too--an industry standard, and so easy to work with.
A lot of people will steer you toward LED, but the fact is that tungsten is cheaper, produces better light quality, and is generally more robust than its LED equivalents. Supplement a few larger lights with paper lanterns and clamp lights, and you should be set up for a wide variety of lighting situations/styles. 1-2 small LED panels can be nice for some run and gun or accents, but most production lighting kits are 90% tungsten.

EDIT: I broke down a lot of my favorite lighting gear in this topic a while back. Most of it is budget-oriented, as I'm writing from the perspective of a student filmmaker.
 

You could get TWO of *both* and still probably manage to squeak in under budget!

You could get TWO of *both* and still probably manage to squeak in under budget!