IronFilm

Having mic & headphone jack is still worthwhile for those ultra lowbudget or ultra fast turnaround jobs, or even just simply so you can stick a little shotgun mic on the camera and get better scratch audio for syncing than use the camera's own microphone.

Having mic & headphone jack is still worthwhile for those ultra lowbudget or ultra fast turnaround jobs, or even just simply so you can stick a little shotgun mic on the camera and get better scratch audio for syncing than use the camera's own microphone.

Not in my experience, at most I have accidentally pressed DISP on GH4, while on 5D I've pressed REC on and off at the most inappropriate times during run n gun shooting.
I think GH4 is the most ergonomically sound mirrorless/DSLR type camera for video shooting including the "mental ergonomics" of it -- there's no quirk that drives you crazy like with some others.. It's very solid throughout and it looks like GH5 has built on it, which is great.

Evil? Or Evil genius?
 
http://www.independent.co.uk/arts-entertainment/films/news/directors-crowdfund-78000-for-a-film-spend-it-on-champagne-and-limos-a7336836.html

Evil? Or Evil genius?
 
http://www.independent.co.uk/arts-entertainment/films/news/directors-crowdfund-78000-for-a-film-spend-it-on-champagne-and-limos-a7336836.html

I recommend dvxuser as better and more diverse source of info FS5:
http://www.dvxuser.com/V6/forumdisplay.php?219-PMW-Cameras-(-amp-temp-FS7)

And yes it has had firmware updates.

It is generally more just hobbyists who have the time and interest to make video tests to share online with others like themselves.
Plus Kinefinity is focused on first meeting local demand, will take longer before many people in the western world get and use their newest cameras.
Yeah if you need a camera ASAP then get an URSA Mini 4.6K / Sony FS5, otherwise be patient and see what happens with the Kinefinity Terra 5K

IronFilm, I decided to go with the Odyssey Q7+ I have an F3 as well and on the site of Video Devices, for cameras supported it stated 720p for the F3 only? I called them and have not got the call back from their support team on weather the Pix E5 does capture the 444 RGB 1080p 10-12 bit through the single SDI F3 output. When I hear back I'll post their reply.

Yes, ISO and WB are set or "baked-in" to a certain degree, as seen in Canon's white paper: 

Of course, WB can be easily manipulated in the RMF files in post as with any RAW format. As for ISO, like the Panasonic Varicam, the C500 employs analog gain control (as Policar already mentioned on page one of the thread). Combined with its noise performance, this allows for outstanding low-light abilities for a cinema camera.
I'm not here to defend Canon's, Sony's, RED's or any other manufacturer's definition of "RAW." I would only point out that Canon's Cinema RAW offers some unique features:

Compared with conventional approaches, this image processing chain results in improvements and advantages in the following areas relevant to the four color data streams: color separation, demosaicing, resolution, and anti-aliasing. This is why some have noted that the C500's 4K resolves a very high level of detail per pixel (something that is also true of the C300 II).
Moreover, like ARRIRAW, Canon Cinema RAW reaches an insanely high data rate. In fact, a Canon RMF file delivers more data per frame (over 11 MB) than almost any other 4K RAW format with the exception of ARRIRAW in open gate, which matches Canon’s data rate of 11 MB per frame, but at a lower resolution than 4K.
For these reasons, and despite fixing ISO at the time of shooting, Canon RAW is a formidable format that was apparently designed as the antithesis to Redcode, which has relatively low data rates, no analog gain, poor ISO/noise performance, and high compression in the green color channels. In this way, you can think of Canon RAW as diametrically opposed to Redcode. The latter has its own advantages of course in terms of reducing storage and unlocking 5K, 6K and 8K recording in a very portable camera package and easily manageable RAW format for editing. Nevertheless, I would say that RED has a lot more to answer for than Canon when it comes to defining its format as "RAW," considering how much sensor data is discarded in Redcode compression.
 

It shocks me a person would sell a GH4 and BMMCC to raise money for a Canon DSLR. As a GH4 together with a BMMCC already covers so much, is a great versatile pairing. 

Discussion on Newsshooter 13 comments
Photokina 2016: We ask Panasonic all the questions about the GH5
 
Will ; a reply to Mark Ellsworth 4 days ago
"Right, but the micro43 standard is rather open about sensor size and aspect ratio. Crucially, the standard requires that the imaging area of the sensor be a specified diagonal measure. All Micro43 cameras but two have featured identically sized 4:3 ratio sensors. The GH1 and GH2 featured larger sensors that covered that diagonal in 4:3, but also 16:9 (and necessarily, 3:2 as well). Because lenses produce a circle, standardizing the diagonal ensures that every lens will still cover.
Understand, this is not the same as generating 16:9 or 3:2 imagery from a 4:3 sensor, where you just throw away some of the pixels from the top and bottom of the 4:3 imaging area. This involves using fewer pixels on the top and bottom, but also additional pixels on the sides. So your 16:9 image is both shorter AND wider than a 4:3 image taken with the same camera.
As regards video, this means that the effective sensor size is actually bigger, and the "crop factor" is thus less. The "crop factor" of the GH4's full sensor is 2, but the 4k video in the GH4 uses only some of the full width of the sensor, so the crop factor ends up being close to 2.3. In the GH1 and GH2, the larger 16:9 imaging area resulted in horizontal crops closer to 1.8 or 1.9, if I recall correctly.
So the GH5 may be a return of the multi aspect sensor. And if it is, this would explain a few things. Namely the 6K photo mode. Nominal 16x9 6K (not full DCI spec) is 5760 x 3240, much like we call 3840 x 2160 4K. A 4:3 sensor with 5760 pixels wide would be 4320 pixels tall and thus a 24.8 MP sensor, quite different than any yet seen in Micro43. But if that width is only in 16:9, the 4:3 imager would be 20.9 MP... slightly more than half a megapixel more than in the GX8's sensor. So with a minimal reduction in pixel size, this theoretical multi-aspect sensor is possible.
In addition to the benefit of 6K photo mode, there's more magic in a 5760x3240 16:9 imaging area. That size is exactly 1.5 times wider and 1.5 times taller than 3840. 1.5 is a kind of magic number in this regard. Oversampling by a ratio of 1.5 allows for computationally easy downconversion with improved color accuracy at each output pixel. Don't take my word for it either: you can look at the specs for every different version of the Arri Alexa, which generates its 1920x1080 from a sensor with 2880 x 1620 pixels (which it now allows you to record all of, a compromise in the original design that attempts to eke more resolution out of the sensor at the expense of color accuracy).
In summary, it doesn't take much of a leap (basically, just Panasonic returning to multi-aspect sensor, and developing a new sensor design with pixels only marginally smaller than their current generation) to arrive at a possible GH5 with internal 10-bit 4:2:2, a horizontal crop factor of 1.8 or 1.9, vastly improved color accuracy in video (in addition to the greater color sampling rate), and a true 16:9 6K photo mode with no interpolation or computational trickery".
Pretty interesting post by Will on Newshooter. He might have sort of a answer on sensor size of the GH5. Food for thought..

I'll send you the shirt of moire if you like
So I ended up fixing it in a hilarious way.  I tried in photoshop and in premiere, I used several techniques that I've used before but it none of them really cut the mustard. So I found a frame that was slightly out of focus (no moire) and animated that over the chap.  He was pretty stationary, it mostly works :D
 

There is a working Gh5 sample at Photokina thats for sure...

I completely fail to see this. A GH4 is vastly preferable to use than a Canon DSLR. 
Strongly suspect that the massive majority of preferences for Canon's so called "ergonomics" is just to the *huge* number of ex (or current) Canon shooters, thus saying "ergonomics" is just a code word for "familiar". There is nothing truly great about Canon's DSLR ergonomics for filming with, it is just "what we are used to" (personally I'd rather take a Nikon for stills!).

If you're going to buy a Canon DSLR and **not** use Magic Lantern then you're really throwing your money away. 
One of the few rare good reasons to consider a Canon DSLR for filmmaking is because of Magic Lantern. 

Yeah, but switching between boom and lav can be a little tricky as they could sound different. But is better to have the option than not have the option. 

Indeed quite a few productions will have everyone lav'd up plus a couple of boom ops!

But sadly sound is often treated badly, so while camera + G&E might have 3, 4, 6, 8+ people...  the poor sound department has one person who is booming and recording it at once!

Dogma 95 consolidated the hype. Brecht's Verfremdungseffekt / V-effekt can mirror that. But, the fact is the suspension of disbelief requires to make the editing transparent. That is, if you're willing to sell "your reality" as real.

The comment was deleted but confirmed ?

Wow. Now I guess that explains why his posts have now been deleted.... 

If it is only 2.2x vs 2x crop, I don't see much point in being able to switch between the two. But if it has a 20MP sensor, then a pixel-to-pixel 4K crop would be a significantly higher than 2.2x final crop? Which could be worthwhile, as if it then makes your lenses a wider range of focal lengths. 

Handy for events for instance! If I want do shoot 4K from the back of the room and need a little bit of extra reach. 
 
100% agree! Ideally it would have full size HDMI + full size SDI
But even mini HDMI + mini SDI together would be nice. 
Doubt any sort of SDI would happen... but even so, double outputs would be very nice! Maybe full size HDMI + mini SDI? You could have full size HDMI going out to your external recorder, plus your EVF hooked up to the mini SDI with a LUT applied (ha, if the GH5 can have LUT support! :-D ).
In such cases a GH4/G7 with a fast lens will still be sufficient. 
We're not talking about a national level brand here! But a garage band doing a live performance, a GH4/G7 is totally fine for that. If you can't do that then: 1) you're having unrealistic expectations for a zero budget (or a few hundred bucks, same same thing) production which doesn't have to be perfectly 100% clean 2) you're not using an appropriately fast lens / focal reducer 3) you're not picking the right shots / angles for the edit
 
Yes I would like the GH4 a stop or two faster in lowlight, but would I trade that for the higher price and limitations of a Sony? Nope, but at least that option does exist if you want to go Sony instead!

Should Panasonic focus on this aspect first next above everything else? Nope, small things like crop aspect ratio markers or 4K 10bit 422 @ 60fps, or 4K DCI 24fps raw onto CFast / XQD cards, or full size HDMI, or movable EVF, keeping a low price, built in ND filters, multi aspect ratio sensor, etc etc etc.... all matter more than pushing the lowlight performance even further. 

The circle is completed ;-)

Wow. Now I guess that explains why his posts have now been deleted.... 

I completely fail to see this. A GH4 is vastly preferable to use than a Canon DSLR. 
Strongly suspect that the massive majority of preferences for Canon's so called "ergonomics" is just to the *huge* number of ex (or current) Canon shooters, thus saying "ergonomics" is just a code word for "familiar". There is nothing truly great about Canon's DSLR ergonomics for filming with, it is just "what we are used to" (personally I'd rather take a Nikon for stills!).

Yeah, but switching between boom and lav can be a little tricky as they could sound different. But is better to have the option than not have the option. 

Indeed quite a few productions will have everyone lav'd up plus a couple of boom ops!

But sadly sound is often treated badly, so while camera + G&E might have 3, 4, 6, 8+ people...  the poor sound department has one person who is booming and recording it at once!

Oh. That is awful when people assume that

People don't assume just because you're a plumber that when you pop over for a BBQ that you'll also fix their toilet!