IronFilm

Sony PMW-F5, they're crazy dirt cheap now, almost being given away. And if you're lucky enough to get one with an R5 (an R7 would be even nicer... but that's just impossible and living in a dreamland) then you've really got something special. And with storage now being so dirt cheap, why not? 

Any affordable 100mm bowl tripod with a smooth head would be a good tripod to start out with for your URSA Mini.
And that's exactly why you should use a VCT-14 and not arri dovetails. You won't have the time / budget / manpower. 
I started with dovetails years and years ago, for my F3. Later on switched to VCT-14, so much better!

Sony PMW-F5, they're crazy dirt cheap now, almost being given away. And if you're lucky enough to get one with an R5 (an R7 would be even nicer... but that's just impossible and living in a dreamland) then you've really got something special. And with storage now being so dirt cheap, why not? 

Slow motion skateboarding in a holiday video:
Makes use of the Sony E PZ 180105 lens as a video zoom lens that is mostly par focal.

It'd be asinine to fly a bunch of auto focus obsessed YouTubers across the world to release another contrast AF camera, right? Then again this is Panasonic, so who knows?! 

I'm crying at the very thought it's 'only' a G9 mk2. If that is what it is... Crying I tell ya! 🤪

Company A. “We will make ours overheat”.
Company B. “We will give ours autofocus from the mid 90’s”.
Company C. “We will withhold anything that might compete with our cinema line”.
Company D. “We will produce the best camera…but then make it absolutely massive and heavy”.
Company E. “We will keep on doing retro funky but segment our product lines so no single camera within our lineup can do it all”.
Company F. “Ve don’t give ze two sheetz about your gentleman’s agreement and vill continue to sell to ze dentist market”.
 

Samsung could have been amazingly disruptive if they had stuck around in the camera business

I believe at the 0:38 second I saw the Video Sound Police violently interrupting the shooting!

No. 
(plus for focus pulling you'll usually want to use SDI wireless/monitors, otherwise the delay becomes too much via HDMI)

 
Suitable for casual youtubers or cameraman on simple nondemanding / noncritical shoots. 
There are many deal breakers with it:
1) 2.4GHz
2) low power RF
3) no locking connector 
4) no swappable batteries
etc 

Don't. 
Sony UWP-D21 is the standard for the minimum threshold for prosumer budget wireless.
https://www.reddit.com/r/LocationSound/comments/yhclyx/comment/iuhhpsr/?utm_source=reddit&utm_medium=web2x&context=3 

Yes you can
 

It crops in on the sensor in 4k 120fps, which makes noise larger and less fine. You just have to expose more carefully or over expose a bit. The good thing is that it's still high bitrate, 10 bit so you have that dynamic range and color information to play with. 

I’m not too bothered by the current Panasonic AF system. For me, it’s been serviceable, not the best. For stills, I find it great. I really like the idea of a focus limiter, but I’d like to see an improvement in the interface or methodology to set it. If you watch YouTubers, you’d think contrast AF is more out of focus than in focus, which is total BS. Also, you’d think it works like crap in stills, which is also not the case. LiDAR sounds interesting, but I don’t know enough about it to comment.

Why not both Lidar and DFD? A simple Lidar system built into the camera to get general ballpark focus then DFD to subtly fine tune it. As DFD is worst when it does those drastic big leaps backwards and forwards, if Lidar could eliminate that then it is a big improvement. 

I'm not very techy, but I guess that is what they mean/are working on?
Or at least exploring...
Indeed who says PDAF has to be the epitomy of AF. Like with so many new things, new tech comes along...
I don't care what it is, as long as it works...

Sony has their Sony Catalyst Production Suite, and with their gyro sensors as well then they can get very good stabilization indeed. 
And Sony's color science in their latest generation cinema cameras are a massive leaps and bounds ahead of what their early generation a7S cameras were like. 

Sony has their Sony Catalyst Production Suite, and with their gyro sensors as well then they can get very good stabilization indeed. 
And Sony's color science in their latest generation cinema cameras are a massive leaps and bounds ahead of what their early generation a7S cameras were like. 

And the cp2s look ugly on mft bidies compared to the elegant meikes or veydras. @PPNS
 Btw, how is your short doing, which you did with your bmpcc4k meike combo?

probably some of the nicest lenses to use for video on mft. what might also be interesting is that i had the chance to compare them to Zeiss CP2s. while i dont want to take away the advantages of the zeiss (PL/swappable mount, the majority of the set covers FF, some lenses are faster), they really dont look better than the meikes. the general look is very similar, but the zeiss set has more unpleasant aberrations wide open when pointed towards a light source. the focus breathing is way more apparent on the CP2s as well (cropped to mft, on FF theyre almost unusable due to the breathing imo). pretty crazy for a set thats easily about 1/10th the price.

Online stores have essentially become like auctions. Computer sees what all customers and competing online stores are doing in real time and adjusts it's price according to fancy algorithms trying to maximize profits. Most shops have the decency to only adjust prices during the night but Amazon and decency...
In physical stores they are gradually switching over to digital price tags. It is only a matter of time until these start to adjust automatically as well during the day if local laws will allow for it. If only it was legal to set the price based on user profile data...

Yes, I would very much like to know 'if' closely followed by 'when?'.
Surely they could not realistically release another camera without some form of 'on par' AF?
I think they'd bomb 100% if they did not.
And other than perhaps a size & weight concern for some, it's not just their weakness, but their Achilles Heel.
For some dedicated hardcore filmmaking purists, maybe not, but to the other 99% of the market, decent AF is a must.
I've wrestled with it for the last 2 years now.
OK, it's ONLY been an issue for less than 5% of my work where I need decent forward or backward tracking and there IS a workaround (it's called f8), but it's not ideal and I came sooooooo close to flipping to another brand to counter this.
That 5% need may be small, but it's a very important 5%.
But ultimately I decided against switching at this point in time and will go at least all of 2023 before making any changes for the simple reason that the cost to change is not worth it for the workaround.
Basically, it's a ballpark figure of 10k to make the move and it would be Sony because despite having zero desire to go with them, currently the package I'd be looking at with them works better than the package with anyone else.
But as above, I am sticking with L Mount for at least 2023.
In the process of having 2 bodies repaired from '22 battle damage, dumped a whole load of lenses (still have an EF Meike 50mm T2.1 cine if anyone is interested?!) and purchasing a few faster f1.4 primes and one new zoom.
All Pannyboy need to do to NOT cock it up for me with their next FF camera is:
A. Reliable AF at least close to if not better than current Canon/Sony.
B. Ideally, S5 size, but with the S1H style screen.
C. Ideally no crop 6k 50p / 4k 100p, 10 bit, internal.
Job done. I'll buy 3.

How often do you need your backup files? If rarely ever, then I'd say keep your originals for a month after delivery, then once that date has elapsed have a batch script you run to convert the originals to teeny 1080 h265 8bit files to then store forever ("just in case" in an emergency) and delete the originals. 

It seems like Panasonic does a couple of fantastic deals per year. This time, Panasonic France got that deal, but you had to see it at the right time and not everyone participated. In France, FNAC and Darty (for some reason) have the best deals on Panasonic cameras in general. I picked up the GH6 for the 1579 euros deal (-400 euro, 3-year warranty, and an extra 1tb SanDisk SSD). This deal clearly (although no communicated) had a quota. I got lucky as it's sitting here in front of me and I've put in for the promotional deal, but it could take awhile (I let the community know when it comes through). The moral of the story is that you have to move fast on ANY Black Friday day/week/month/year deal. No, I seriously doubt it's sign that the GH6 is a huge failure or that Panasonic is getting out of M43, or Panasonic is failing completely as a company... just a company that needs more buzz in a crowded market where the A7S3, OM-1, XH2/s are competing hard with the GH6 for various reasons. Panasonic could have been pressured by distributors in this case due to too many cameras on shelves, a more likely scenario.
On a side note, I think I might have to reevaluate my workflow. I can no longer keep original files forever as if I choose the best quality in prores 422HQ at a rediculous 5.7/5.8k, I think I'll have enough space for a week. Instead, I think I'll need a more streamlined approach, correcting footage on the fly to make make reasonably-sized 150Mbps files that would still be good for making final small edits. I'm almost considering to just shoot 1080p on the camera as it looks so good and no one I know will probably see a difference anyway. Any Suggestions?

I agree the 18-105 is a really versatile lens: power zoom and near par focal. A little deficient on the wide end, but now there is a perfect complement: the Sony E PZ 10-20mm constant f4.
Shooting Sony APS-C has real advantages in terms of video-advantaged lenses.